Co-founder Simon Walker said the service would be home to the “freshest, most innovative, most adventurous performances around”. Content available from its launch includes David Tennant in Richard II and New York City Opera’s Brokeback Mountain, based on the story by Charles Wuorinen and Annie Proulx. Marquee has also teamed up with Opus Arte, the company that supplies filmed productions from the Royal Opera House and Glyndebourne.
“We need hours a day,” Warner Media CEO John Stankey said. “It’s not hours a week, and it’s not hours a month. We need hours a day. You are competing with devices that sit in people’s hands that capture their attention every 15 minutes.” HBO has 40 million subscribers stateside and 143 million worldwide, but Stankey insists that it wasn’t enough. He said that they have “to move beyond 35 to 40 percent penetration to have this become a much more common product.”
In recent decades, belly dance has inspired conflicting impulses among Egyptians, who see it either as high art, racy entertainment or an excuse for moral grandstanding… But if Cairo is the global capital of belly dance, then why do its hottest new stars come from everywhere but Egypt?
Anna Meredith: “It’s five short pieces about the first world war using a big-ass orchestra, young musicians, a choir and the spectacular, eye-boggling visuals of 59 Productions. It’s not soldier’s stories but the mechanics of how they communicated: codes, redaction, field postcards.”
Peter Carey, two-time Booker winner, doesn’t think that the U.S. should be part of the conversation or the competition: “I am sure that American prizes don’t give a stuff about Australians or New Zealanders or Canadians, or any of those voices. An English prize does because there is still a family connection, a cultural connection that really does mean something.”
My Fair Lady and Carousel were both revived with careful and lush attention to their music, but they were nominated for few Tonys, and both lost Best Musical Revival to the comparatively little-known Once on This Island. “The beautiful orchestra readings alone make a trip to each revival essential for anyone who can afford a ticket — it’s hard to imagine Carousel, in particular, sounding so good again.
That decision came with input from, to put it mildly, a lot of people: “The one-off award, voted for by the public, commemorates the 50th anniversary of the Man Booker prize. The shortlist of five novels was selected by a panel of judges from the 51 previous winners of the Man Booker, which honors the best novels written in English and published in Britain or Ireland.”
Things are going to change. HBO’s new executive, who was a longterm executive at AT&T, “described a future in which HBO would substantially increase its subscriber base and the number of hours that viewers spend watching its shows. To pull it off, the network will have to come up with more content, transforming itself from a boutique operation, with a focus on its signature Sunday night lineup, into something bigger and broader.”
You can see some similarities in particular scenes of Big Little Lies, but in Sharp Objects, the visual is heightened. “Its visual language makes it a more consistently daring work of television. Sharp Objects doesn’t feel like a scripted series so much as an intoxicant.”
But French bureaucrats might not quite be with the program yet. “‘Since they didn’t know where to put me, I’m ‘undisciplined,’ ‘ [Phia Ménard] said in a recent interview, looking wearily amused. Ms. Ménard, 47, often perplexes programmers. Her stage productions feature almost no text and operate on an architectural scale, somewhere between choreography and art installation. Their slow-moving tableaux dwarf any human presence, leaving audiences with enigmatic, elemental images — a shadowy army of frozen figures melting before our eyes, say, or a lonely performer struggling in a vortex of fan-powered winds.”
The Trinity Orchestra plays everywhere, including summer music festivals (which can be rather damp on the Emerald Isle). “‘The priority is not to lose your instrument when you’re camping,’ says Kellie O’Neill, nodding. ‘Yep. That would be pretty bad.'”
About two dozen labs in the U.S. are studying “experimental aesthetics” – why we like what we like, and why we make art at all. “The mysteries of the aesthetic response, and the creative impulse, have become a burgeoning area of inquiry for scientific researchers across many disciplines. They hope quantifiable data and statistical analysis can help explain matters that some consider ineffable — like why we paint or sing, or why we naturally favor Van Gogh’s sunflowers over the landscapes we encounter in budget hotel rooms.”