“MoviePass’ business model was not sustainable because there was no reasonable basis to believe MoviePass could monetize the model to a degree that could be maintained before being too buried in debt to survive,” shareholder Jeffrey Braxton argued in his suit, which seeks class action status. A significant turning point for the company came on July 27, when Helios disclosed in a regulatory filing that it couldn’t make payments to its merchants, and that resulted in a service interruption. The company’s stock plummeted, losing 96% of its value since that SEC filing.
BAC operates using a practice model called Scratch, which involves sharing an idea publicly at an early stage of its development, getting feedback and using it to get the idea on to the next stage. We scratch everything. It might sound unfinished, but it actually gives an artist the freedom to creatively go for what they want to achieve, potentially fail, learn and go again – repeating this cycle until they get to where they need to be.
“Featured in the lineup are Eevee, Mimikyu, Rowlett, Psyduck (my personal favorite here) and Pikachu. Grabbing all of them requires making separate purchases, including buying an expansion pack from the Pokémon Center. (How to get a Pikachu card remains a mystery for now, though.)” The line of cards is being launched on the same day that a major Munch restrospective opens at the Tokyo Metropolitan Art Museum.
Hungry beyond myself, I come to a cartoon field of wet, glossy globes. Leaping into mud, I get on my knees and lean over, biting and choking to swallow one down. The way nightmares work, I see the lettuces, run, bend and chew — again and again. Then I wake up, blinking and faint.
Is a curtain – that fabric lodged in the fabric of the building – a prop? Usually, no; but Vicki Mortimer’s design for Wise Children – adapted from Angela Carter’s deliciously rorty final novel – includes mobile pictures of stage curtains of various sizes, from toy-theatre miniature to human-height-plus. Identical in all but scale, they present the very quintessence of curtain.
Michael Stephans, David Liebman, Marc Copland, Drew Gress: Quartette Oblique (Sunnyside)
“I would say two things are happening: in Canada, structurally, we all sort of operate in a similar manner—because of funding, because of Canada Council, because of history. We have these models that have been replicated from city to city. However, the various communities are so distinct and localized. That’s one of the weird things about the situation we find ourselves in right now: very standardized business models—functioning models—inside widely diverse communities.”
About the scene ion Kafka on the Shore in which fish fall from the sky: “People ask me, ‘Why fish? And why are they falling from the sky?’ But I have no answer for them. I just got the idea that something should fall from the sky. Then I wondered: what should fall from the sky? And I said to myself: ‘Fish! Fish would be good.'”
“Since my boyhood, the rise of digital connectivity has transformed every human interaction, from buying a sandwich to anal sex. The period has coincided with a crisis of intimacy. A recent survey of 20,000 Americans found that almost half suffered from loneliness, which now qualifies as a chronic public health problem. Narcissism, a related condition, has been rising over 30 years of clinical studies and has become so widespread and so fundamental to all aspects of culture that the question is whether it can properly be identified as a pathology any longer.”
Companies are finally getting there, but, as Theresa Ruth Howard reports, it’s taken a while for darker-skinned dancers to get the right to wear tights that actually match their skin tone.
Lyn Gardner: “While everyone may in theory have the right to failure in theatre, I believe we need to look much harder at who gets the opportunity to fail upwards. We’ve talked a great deal in recent years about who gets the opportunity to make work. But we also need to talk about who, once an opportunity has been secured, is allowed to fail and who isn’t.”
“There have been other television revolutionaries — Lorne Michaels, Carol Burnett, David Letterman — but, as she films the seventh and final season of HBO’s Veep, [Julia] Louis-Dreyfus’s success is unprecedented. From Seinfeld to The New Adventures of Old Christine to her remarkable portrayal of Vice President Selina Meyer, Louis-Dreyfus has earned 11 Emmys, including six in a row.” Says Veep‘s showrunner, “When people tell me that they wish Selina was president, that’s not what they mean. They wish Julia Louis-Dreyfus was president.”
The first decade of the 21st century was a transitional one in terms of reader-writer relations, its habits now as foreign as those of Edward R. Murrow’s America. Gone are the happy days when we dialed up to submit a comment to Salon.com, only to be abused by Glenn Greenwald or destroyed — respectfully — by the academics at Crooked Timber. Back then, we could not have imagined feeling nostalgic for the blogosphere, a term we mocked for years until we found it charming and utopian. Blogs felt like gatherings of the like-minded, or at least the not completely random.
“Oscar the Grouch, thank you for helping me learn as a small child that one can get in bad moods, and it’s not the end of the world,” wrote one New York Times reader in response to the news that the puppeteer behind Oscar and Big Bird is retiring after 50 years. One child psychologist “said that Oscar personified the jumble of strong feelings that children experience and must learn to sort out.”
Last October, Pyotr Pavlensky was arrested for starting a fire at the entrance to the Bank of France building in Paris — in what he calls an artwork titled Lighting. He was only released from pretrial detention last month, but prosecutors are demanding that he be returned to jail until trial (to begin in January) and are calling for a ten-year sentence. Meanwhile, FEMEN members supporting Pavlensky have been demonstrating outside the courthouse, their mouths taped shut and messages scrawled in black across their bare breasts.
“While a rapidly emerging force in modern arts philanthropy, AEFs are markedly different from other institutional foundations. What’s more, there are different kinds of AEFs, and how these institutions operate is very much a work in progress. AEFs face unique and complex accounting, governance and management challenges that can stymie the best philanthropic intentions.”
“When I write a piece of orchestral music, I can be as controlling as I want, but with a piece this big, I try to be the opposite of precious. … Obviously, it’s anxiety-provoking, but it’s not going to be me onstage in a negligee singing a high B-flat.”
“For me, every project has three clearly defined phases: the scheming and planning; the writing of actual notes; the editing. The planning process almost entirely excludes, by design, notes and rhythms. … I don’t want to play [the audience] a movie with a clear exposition, obvious climax and poignant conclusion, nor do I want to drop them blind into a bat cave of aggressively perplexing musical jabs … [and] mapping the piece’s route helps me avoid the temptation of the romantic journey or the provocateur’s dungeon.”
The room is a lararium (household shrine), 16 feet by 12 feet, with an altar, a small raised pool, the remains of a garden, and brightly colored wall paintings that “include two serpents, a wild boar fighting unidentified creatures against a blood-red backdrop, and a mysterious man with the head of a dog that may have been inspired by the Egyptian god Anubis.”
Until now, the consensus was that the fateful explosion of Mount Vesuvius happened on August 24, 79 CE — this notwithstanding the presence amid Pompeii’s ruins of warm-weather clothing and the remains of autumn fruit. Now excavators have uncovered graffiti with the date October 17. Archaeologist Kristina Killgrove explains why it’s almost certain that this graffiti is from just before the eruption and not a prior year, and why the particular date of the catastrophe matters.
“Inaugurating a program to appoint a succession of female principal guest conductors, the Dallas Symphony Orchestra has named New Zealander Gemma New the first woman to hold the revived title.” New, aged 31, is currently music director of the Hamilton (Ontario) Philharmonic and resident conductor of the St. Louis Symphony.
A survey by the Scottish Contemporary Arts Network and the Federation of Scottish Theatre found that 26% of respondents were either considering or planning on leaving the country after Brexit; among respondents who are citizens of other EU countries, the figure is 40%.
The Dorothy and Lillian Gish Prize “was established in 1994 through the will of actress Lillian Gish to honor individuals who have, according to the website for the prize, ‘made an outstanding contribution to the beauty of the world and to mankind’s enjoyment and understanding of life.'” The Gish Prize Trust selected Dudamel, music director of the Los Angeles Philharmonic, for his work both as a conductor and in music education via the Youth Orchestra of Los Angeles project.
Yes, Okwui Enwezor was basically fired. As one member of Bavaria’s parliament put it, “Enwezor had too many scandals to handle at once. [He] is not a manager. He’s a great artist, but artists are not managers.” What were those scandals? Yes, the museum has serious money troubles, but one of Onwezor’s biggest problems was a controversy over the presence of Scientologists on the museum’s staff. (Seriously? Yes.)
During a visit to Hiroshima as part of the Sofia Opera and Ballet’s current tour of Japan, two backstage workers painted graffiti tags, including the name of a Sofia soccer team, on the memorial to the victims of the 1945 nuclear bombing. The offenders have been fired, and both the company and the Bulgarian government have apologized to the Japanese nation.
“It’s absolutely going to have a profound impact. There’s no question. Everyone was lined up on the tarmac to make films there and make financing deals. That party, overnight, is going to be over.”
At Grand Central, the victory lap is well earned. This building should not have been destroyed in the name of real-estate profits. Looking forward, though, more nuanced and creative approaches to land and building are surely warranted. Awareness of all the needs of the city may be the best way to honor the past.
The total amount of investment needed in theatre buildings, according to the survey, is likely to be closer to £1 billion. This takes into account planned major works outside of the theatres that responded. However, 50% of respondents were confident or very confident they could raise the money needed.
This marked the organization’s eighth consecutive deficit, but it was “an improvement of more than ($500,000)” over the previous fiscal year, according to a CSOA statement summarizing the institution’s annual report.
At the point in his career — in his 50s, maybe, or early 60s — at which anyone might reasonably expect his voice to have run its course, Domingo politely but firmly declined to step down. And with that, the curtain gradually went up on one of the most astonishing second acts the opera world has ever known.