Marvel Phase 4 Plan Revealed, But Comic-Con’s Big Winner is Disney Plus

In a triumphant return to the San Diego Comic-Con main stage, leadership at Marvel Studios managed some splashy surprises and showed off risky creative bets for the next two years of content coming from the superhero operation. But the biggest takeaway from the Saturday presentation inside Hall H was how important Marvel will make Disney […]

Variety

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Swarovski Picks Winner of CSM Design Project, Inspired by Dior

LONDON — Piran Caseley has been announced as the winner of Swarovski’s latest initiative, The Jewelry Design project, with Central Saint Martins. Caseley has been awarded a prize of 1,000 pounds for his Swarovski embellished necklace molded into the shape of a water splash.
Caseley said he was inspired by the perfumes of Christian Dior and created a visual representation of a perfume spray.
The students were tasked with creating jewelry inspired by V&A’s exhibition, “Christian Dior: Designer of Dreams” and incorporating Swarovski’s Aurora Borealis stone, which was created by Manfred Swarovski and Christian Dior.
The stone features a thin layer of vaporized blue metal creating an iridescent effect through the crystal, reminiscent of the Northern Lights, hence, the stone’s name.
Out of the 32 entries, 10 students have been shortlisted by a panel that included course leader Giles Last, Leanne Manfredi from the V&A and Kate Filmer-Wilson, executive vice president of operations at Swarovski.
“This year, the opportunity for students to combine Swarovski product with their responses to the Christian Dior: Designer of Dreams exhibition has been a wonderful, insightful and exciting experience for the whole group. The 10 shortlisted students have gained enormously in terms of designing and making an ambitious piece and

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Agustina San Martin Talks Cannes Special Mention Winner ‘Monster God’

CANNES – An exploration of the ramifications of God, “Monster God,” from Argentina’s Agustina San Martín, took a Special Mention – an effective runner’s up prize – on Saturday night at this year’s Cannes Film Festival short film competition. It’s not difficult to see why, especially when jury president Claire Denis own films’ power resists […]

Variety

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Apple Is the Real Winner in Spotify’s Battle Against Songwriters’ Rate Hike

Streaming giant Spotify, after years of attempting to woo the songwriting community, is now at the front of an effort to pay it less. It’s a move that has seen the company, the market leader with 87 million worldwide subscribers, hand second-place Apple, with an estimated 43.5 million subs, an opportunity to make up ground. […]

Variety

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Sundance: Amazon Buys Grand Jury Prize Winner ‘One Child Nation’ (EXCLUSIVE)

Amazon Studios strikes again. The digital giant picked up global rights to “One Child Nation,” a documentary about China’s policy of forcibly restricting family size that debuted to great acclaim at this year’s Sundance Film Festival. The deal is said to be in the mid-six figures. The sale comes on the heels of the film’s […]

Variety

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HQ Trivia’s Emmys-Themed Game Will Give $100,000 Prize to One Winner

HQ Trivia is trying to horn in on TV’s biggest night: The live game-show app will stage a special Emmys-themed show next Monday, Sept. 17, during the Emmy Awards — with a $ 100,000 cash prize going to a single winner. Launched in August 2017, HQ Trivia has amassed a fanbase of millions (and numerous copycat […]

Variety

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Berlin Winner Jasmila Zbanic on Her Collaborative Approach to Filmmaking

Bosnian filmmaker Jasmila Zbanic, whose debut feature, “Grbavica,” won the Berlinale Golden Bear in 2006, was at the Karlovy Vary Film Festival this week to present a masterclass for the 10 film students and graduates taking part in EFP Future Frames, a fest section that screened their short films (see trailer above). Zbanic, whose other […]

Variety

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Berlin Golden Bear Winner ‘Touch Me Not’ Clinches Sales (EXCLUSIVE)

Berlinale Golden Bear winner “Touch Me Not,” a daring and explicit exploration of intimacy and sex, has clinched a raft of sales in Europe and Asia. Daniela Elstner’s Doc & Film has sold Romanian director Adina Pintilie’s film to Italy (I-Wonder), Portugal (Leopardo), Poland (New Horizons), Benelux (Contact Film), Switzerland (Xenix), Taiwan (Swallow Wings), Ukraine (Kinove), […]

Variety

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‘As Good As It Gets’ Turns 20: Helen Hunt, James L. Brooks, Greg Kinnear Share Secrets of an Oscars Winner

Twenty years ago, Jack Nicholson hopped through the streets of downtown Manhattan, trying to avoid the cracks in the sidewalk in “As Good as it Gets.” Playing the obsessive-compulsive novelist Melvin Udall in the James L. Brooks-directed comedy landed Nicholson his third Oscar in 1998. It was a difficult task, channeling a character that falls […]

Variety

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Trent Harmon, the ‘Final’ Winner of ‘American Idol,’ Finally Releases New Music

It’s been two years since Trent Harmon was crowned the as the “final” winner of “American Idol” season 15 (its last on Fox), and tonight he is set to finally release the first single from his forthcoming debut album on Big Machine Records. The song, “You Got ‘Em All,” will first be heard by radio programmers at the Country Radio Seminar which is currently taking place […]

Variety

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Göteborg: Ísold Uggadóttir Talks Sundance Winner ‘And Breathing Normally’

GOTEBORG, Sweden —   After winning the Directing Award in the World Cinema Dramatic section of the Sundance Festival, Icelandic director Ísold Uggadóttir’s feature debut “And Breathing Normally” will now compete for the Dragon Award for best Nordic film, which carries a cash-prize of SEK 1 million ($ 125,000), at Sweden’s 41st Göteborg Intl. Film Festival. […]

Variety

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‘America’s Got Talent’ Winner Grace VanderWaal to Return for Live Results Show (EXCLUSIVE)

“America’s Got Talent” season 11 winner Grace VanderWaal is returning to the NBC show for the first live results episode on Aug. 16. The 13-year old will be joined by other AGT graduates and success stories, including season 9 winner Mat Franco, who performs his Magic Reinvented show nightly at the newly renamed Mat Franco Theater at Las Vegas’ LINQ Hotel… Read more »

Variety

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Black List, James Schamus Announce Winner of Emerging Screenwriter Talent Search (EXCLUSIVE)

The Black List and James Schamus’ Symbolic Exchange have selected Canadian Jason Young as the winner of their partnership to find an emerging screenwriter to write an original thriller. Schamus and the Black List announced last May that they were teaming up on the initiative for a project that would fall within the Writers Guild… Read more »

Variety

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Petit Bateau to Launch Capsule by Hyères Festival Winner Wataru Tominaga

STRIPES EARNED: Hyères festival winner Wataru Tominaga’s graphic, pop sensibility comes splashed across a capsule for Petit Bateau due to launch in time for summer.
The hook-up marks a tradition upheld by the brand since partnering with the festival in 2013 where winners of the event’s Première Vision Grand Jury Prize are invited to reinterpret iconic Petit Bateau garments and codes. The designer follows in the footsteps of previous laureates Satu Maaranen, Kenta Matsushige and Annelie Schubert.
Tominaga layered up motifs on the capsule’s sporty creations which vibrate with green, red and blue milleraies and marinière stripes interspersed with checks and blooms.
“As a designer who is more focused on personal development, it was an interesting challenge to come up with designs for Petit Bateau, which is about democratic yet high-quality clothing. It was about finding the right balance,” said Tominaga who was compared to a “young Issey Miyake” by Julien Dossena, president of the festival’s 2016 fashion jury.
The designer, who got to visit the brand’s factory in Troyes and was given access to a number of archive designs, is currently on an artists’ residency program at the Palais de Tokyo and is due to present a performance piece in a private residence in Athens

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Cleveland Indians Women’s Winner Stainless Steel Watch

Cleveland Indians Women’s Winner Stainless Steel Watch


Never be late to work, class, or the next game with the Cleveland Indians Winner watch. This stainless steel accessory is water-resistant and features a clasp with easy push-button deployment, so there will be no worries when sporting it in the rain or in a rowdy crowd of team devotees. The crystals along its outer edge and the tonal Cleveland Indians logo on the dial will make this watch a necessity for any fan.
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Bristol Named Winner of Gen Art’s Fresh Faces in Fashion Competition

Los Angeles-based men’s wear line Bristol has been named the winner of Gen Art’s 2017 Fresh Faces in Fashion one-year incubator program. The line, cofounded and designed by Luke Tadashi, will receive mentorship with a Gen Art designer alum who is yet to be named, inclusion in its Harvey Nichols retail program, gratis wholesale, marketing and public relations support along with financial investment and long-term strategic advice.

A look from Bristol. 

Gen Art’s Fresh annual Faces in Fashion event, held in Los Angeles last August, showcased four designers in addition to Bristol. The finalists were men’s wear line Elliott Evan, the women’s collection 34N 118W, jewelry line Legier and shoe brand Rafa.
The two-year-old Bristol wholesales in 10 retailers worldwide including American Rag, Revolve, Wish ATL, Maidens Shop Japan and Fred Segal. At last year’s New York event, Daniel Silverstain was awarded the prize. The event alternates between Los Angeles and New York.

A look from Bristol. 

Gen Art was one of the early innovators of the consumer-friendly fashion event, offering paying members and press access to its runway shows and presentations, and tickets on sale for film festival screenings. The Los Angeles Fresh Faces event was also open to the public via $ 50 general

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Biggest Loser Winner Ali Vincent Says She Has Struggled Emotionally Since Gaining Back the Weight

Ali Vincent made history as the first female to win weight loss competition show The Biggest Loser in 2008 after losing 112 lbs. — but in April, Vincent, 41, revealed that she had regained almost all of the weight she had lost.

“I swore I would never be there again, be here again,” she posted on Facebook at the time. “I couldn’t imagine a day again that I would weigh over 200 lbs. I feel ashamed. I feel embarrassed. I feel overwhelmed. I feel like failure.”

Vincent recently revealed that she was the victim of a sexual assault while getting a massage, and believes much of her weight gain came from dealing with the emotional fallout.

“I’ve realized, over the last year, as I’ve gained this weight, it was so much of my life slowed down, that a lot of stuff came up that I just hadn’t dealt with,” she said.

Vincent announced that she was joining Weight Watchers to get her weight back on track, but says she is still struggling with the emotional aspects of her weight gain now.

The Biggest Loser gave me the opportunity to believe in myself and I don’t know that I ever really did,” Vincent says on Monday’s episode of T.D. Jakes. “Everybody wanted me to and I wanted to for them, and I had results to prove it. But do I really deserve to have everything that I dream of? Do I deserve to have this happiness?”

Vincent admits that it’s her past struggles that have been holding her back from being her best self.

“I know that there’s stuff that I have to deal with, and I know that it goes back way far, but then I also know that I’m 41 years old — when am I going to own my own stuff?” she says. “When can I just let go?”

To see more of Vincent’s emotional interview with T.D. Jakes, check your local listings to tune into the full episode on Monday. Also available on OWN at 6 p.m. EST/PST.


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Miss Germany Claimed No One Voted for ‘Miss Universe’ Winner Miss Philippines

The saga continues.

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Winner, Winner, Winner at the CFDA/Vogue Fashion Fund Dinner

At the risk of stating the obvious — and being indelicate in doing so — the12th annual CFDA/Vogue Fashion Fund dinner was all about the money. The event, held Monday night at Spring Studios in New York, was the culmination of the four-month fashion boot camp during which the 10 finalists all but pledge their first born to Vogue and the CFDA in exchange for the chance at $ 400,000 and a year of mentorship ($ 150,000 for the runners-up).
But, surprise! When Amanda Seyfried took to the stage with Riccardo Tisci, who was the evening’s inspirational designer of the year, to unveil the winner, she revealed a change of plans: There would be three winners instead of one, and each would receive $ 300,000 and a year of mentorship. No runners-up this year, just winners and “finalists.” In the former camp was shoe designer Aurora James of Brother Vellies; Rio Uribe of Gypsy Sport, and Jonathan Simkhai. In the latter — Baja East, Baldwin, Cadet, CG, Chromat, David Hart and Thaddeus O’Neil.
The decision to up the money and the number of winners was reached that morning, according to Steven Kolb, president and chief executive officer of the CFDA. “What happens in this process

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Addressing Veteran Suicide Head-on: Q&A With Oscar Winner Ellen Goosenberg Kent

One number: 22. That’s all it took to transform Ellen Goosenberg Kent from a filmmaker to a woman on a mission. “When I heard that 22 veterans are killing themselves every day, I thought: This is outrageous. That’s almost one every hour. I had to do something,” she said. Goosenberg Kent was already a strong voice on veterans’ issues. In 2007 she partnered with the late James Gandolfini to create Alive Day Memories, a heartwrenching documentary in which soldiers from the Iraq War reflected on the days they almost died in combat.

But suicide, that was a silent epidemic, one that needed to be addressed head-on. “I kept thinking: How can I make that number real for people? When I learned about the Veterans Crisis Line,” a suicide hotline created by the Department of Veterans Affairs in 2007, “I realized that this was an opportunity, a chance to capture a glimmer of hope in a sea of suffering.”

The director convinced the V.A. to grant her access to the crisis line’s Canandaigua, NY., facility, where she spent the next three months filming trained responders as they answered calls from suicidal veterans, some of them armed and ready to act. Goosenberg Kent spliced her footage into a 40-minute film that crackles with a disquieting, nervous energy. The movie has more drama than any action picture released this year and a greater grasp of the soldier experience than most of the war films of the last decade.

Crisis Hotline: Veterans Press 1 premiered on HBO last November. In February it won the Oscar for Best Documentary (Short Subject). And today, Independence Day, as millions nationwide honor our vets, Americans have the chance to watch the film with family, through HBO Go, Google Play and Amazon Instant Video.

Goosenberg Kent spoke with me about her film, the importance of the suicide hotline, and what each of us can do to help our veterans.

Kors: I have to challenge you about that statistic: 22 veteran suicides a day. It comes from the V.A., and you cite it in the beginning of the film. But how can we possibly know a number like that?

Goosenberg Kent: It’s an estimate. We spent a lot of time trying to vet it. But it’s very difficult to reliably gather suicide statistics. My sense is that the real figure may be much larger, that veterans’ suicides are widely underreported. But even if it is just 22 — one is too many. So 22 is insane.

Kors: And yet your film spends no time casting blame, not on the administration, not on the V.A. It’s focused on the crisis hotline responders, who display such intelligence and empathy as they to talk these veterans down from the brink.

Goosenberg Kent: That’s right. There’s a lot of blame to go around when it comes to these suicides. And exploring who is to blame is important. But I realized, we had an opportunity here, a chance for a fresh perspective by focusing on the good guys, the responders who are using compassion, training and focus to save lives. As a filmmaker, I wanted to do more than present the problem. I wanted to offer a lifeline of hope. That’s what the Veterans Crisis Line is.

Kors: It’s Ground Zero for the epidemic.

Goosenberg Kent: Absolutely. At the call center, it’s wave after wave of veterans, alone, in the dark, crying out for help. You spend a little time there, and you really get the scope of the problem.

Kors: How did you get access to the facility?

Goosenberg Kent: Well, the V.A. had let the New York Times in for a piece they produced in 2010. But what we wanted was a whole different level of access. Basically, we wanted to embed, to be there for three or four months and just watch the place work, to hear the soldiers in crisis and watch the responders as they assist them.

Kors: That’s one of the amazing ironies of the film: it captures the voice of veterans better than so many other movies, and yet the only voices in the movie are the responders’, not the callers’.

Goosenberg Kent: Because the V.A. doesn’t tape the calls.

Kors: It doesn’t?

Goosenberg Kent: No, it doesn’t. That surprised us too. We thought it would be like 911, which records all of its calls. But veterans’ conversations with the responders are just between them. To get access to the call center, we had to commit to not taping those calls either. Which meant that, with one side of the conversation, we didn’t know what we had. We didn’t know if there was enough to make a film.

Then we came back from our first few days of shooting and watched the footage. There was a call from a 20-year-old veteran whose best friend died in his arms. Maureen, [one of the crisis hotline responders], talked to him in a way that was incredibly moving. He thought this life was over, and she was able to seize on his ambivalence, keep him from acting on his impulse. She bought him some time to reconsider living, to realize that he wasn’t responsible for his friend’s death. On another call, Luis, who was an Army sergeant before becoming a responder, he talked about going through combat in such a powerful way. The caller was crying so loudly, you could hear it over the phone. Luis was emphatic. He told him: “If you ever feel like this again, you pick up the phone.” I thought we were going to be hearing phone therapy, but wow, this was different.

Dana Perry, who produced the film, her son committed suicide. When we first got to call center and started watching the responders, she got so silent. I asked her what’s going on, and she said, “It never occurred to me to call a hotline. Maybe if he had a hotline on the day he killed himself, maybe he wouldn’t have done it.” I realized, this is a message we had to get out to military families: There’s a place you can call, a place where you can be heard.

Kors: Were you worried that your film would look like a 40-minute commercial for the V.A.?

Goosenberg Kent: I was. But the failures of the V.A. have been amply reported. I was more concerned that there was this hotline out there, a bright light with top-notch people ready to help, and many military families didn’t even know it existed.

Kors: It is amazing how many veterans I talk to who are in crisis but don’t know about the hotline or have never thought to call.

Goosenberg Kent: Exactly. The longer we filmed at the call center, the more urgency I felt to tell soldiers what a resource they had there. I remember one call, an Army sniper who said, “I saw a child get blown away.” He wasn’t able to tell that story to his buddies or his wife. But to the responder, he could. It was an amazing moment. It was the beginning of something.

Kors: In the film, none of the calls end in suicide. Did you film any calls that ended unsuccessfully?

Goosenberg Kent: No, we didn’t capture anything like that. I know that occasionally it does happens. But not as often as you might think. When it does, usually the responder will find out much later: “You took a call a few weeks ago from a Marine in crisis. He didn’t make it.” But that didn’t happen while we were there.

Kors: Recently the Crisis Line has drawn fire from vets who say they called, needing immediate assistance, and instead were put on hold. I know Senator Bill Nelson has been looking into this. Was this a problem that you saw during your time at the call center?

Goosenberg Kent: No, I didn’t see anything like that. Believe me, if I saw responders putting veterans on hold, I would not have ignored that. But that’s not how the call center is set up. Responders don’t have a queue, with blinking lights for callers they have to get to. The center has 255 responders. And when each of them is talking with a veteran, the calls are rolled over to backup centers, which are also staffed with trained responders. I met several of them.

Kors: Did you ever meet a veteran who called the Crisis Line?

Goosenberg Kent: I did. The New America Foundation was screening our film, and a veteran at the screening told me she called the Crisis Line. She had been sexually assaulted while serving and was struggling with that. She said the Crisis Line saved her. To hear that from a veteran, in person, it was wonderful. She said that after the call, she got herself to a better place and got involved with [the Iraq and Afghanistan Veterans of America].

Kors: It is tough, though, for veterans to get to a place where they’re ready to call and ask for help.

Goosenberg Kent: I think it is. That’s part of the culture that I was hoping to chip away at, this idea that only the weak pick up the phone and ask for help. I remembering reading a series of articles about soldiers being bullied for seeking help, including soldiers at Fort Carson who were actively discouraged from seeking help. That was heartbreaking to me, and when I made this film, those articles very much in my mind. I wanted veterans to see that asking for help is actually a sign of strength. It’s an act of courage, one that doesn’t make you any less of a hero. In fact, it’s the beginning of getting your life back together.

Kors: Nonetheless, I bet a lot of civilians will see the movie and say, “It’s sad to hear that so many vets are in crisis. And it’s good that these responders are helping some of them. But either way, there’s not really anything I can do about it.”

Goosenberg Kent: No. That’s not true at all. In fact, that’s exactly the opposite of what I hope people will take from the film.

Kors: What do you want them to take from the film?

Goosenberg Kent: That they can be part of the solution. Even people with no training in psychology or counseling. You can ask a veteran how he’s doing. Let him know that you’re available to listen.

The worse feeling in the world is a sense of isolation. That’s what I learned from my time at the Crisis Line. You don’t have to have gone to war to understand pain or trauma, or empathy or understanding. The responders provide an example of how to open the lines of communications, how to be part of a conversation that all of us can engage in.

Follow Joshua Kors on Facebook at www.facebook.com/joshua.kors.

Follow Joshua Kors on Twitter at www.twitter.com/joshuakors.

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Carrie Underwood (Country Singer and 2005 American Idol Winner)

Carrie Underwood (Country Singer and 2005 American Idol Winner)


This book is part of Hyperink’s best little books series. This best little book is 4,000+ words of fast, entertaining information on a highly demanded topic. Based on reader feedback (including yours!), we may expand this book in the future. If we do so, we’ll send a free copy to all previous buyers. ABOUT THE BOOKFrom Oklahoma small town girl to platinum recording artist, Carrie Underwood has transformed before America’s eyes like a character in a modern fairy tale. Though Carrie began singing at the precocious age of three in her church choir, by the time she was twenty-one, a career in singing was far from her mind. Instead, the college senior was looking forward to graduation and pursuing a career in broadcast journalism. One fateful day in 2004, though, Carrie looked up the audition locations for the fourth season of American idol. With no professional singing experience, Carrie was certain she would not be chosen to go to Hollywood. Much to her surprise, however, judges Paula Abdul, Simon Cowell, and Randy Jackson loved the country sound of the small town girl. In 2005, Carrie breezed through the competition to become the fourth American Idol. The fairytale wasn’t quite over yet. Since her American Idol victory, Underwood has become one of the biggest names in country music, making three platinum albums. Underwood has won multiple Billboard Awards, Country Music Awards, American Music Awards, and five Grammy Awards. She has crisscrossed North America several times, performing in front of sold-out crowds to millions of fans. EXCERPT FROM THE BOOKBy the time Carrie was in college, she had made the decision to choose a practical career path. Singing was a dream that Carrie relegated to childhood. At Northeastern State University, Carrie concentrated on a degree in journalism. Underwood worked part-time at a pizzeria and interned with Oklahoma State Representative Bobby Frame. Underwood wasn’t all work and no play. In fact, Carrie joined the Sigma Sigma Sigma sorority,

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Beverly Hills Polo Club Big Winner Mens High Top Shoes

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Fit: Fits True To Size.Stay in Style with The Beverly Hills Polo Club Men’s Big Winner High Top Sneakers. These shoes feature a full lace up closure with metal Beverly Hills Logo tag on the laces, faux leather upper, cushioned interior and tongue for added support around the ankle, large Beverly Hills Polo and script logo on the side, rubber outsole with logo at the heel, and a cushioned footbed for added comfort. Established in 1982, the iconic brand quickly became a success in the USA, and grew to become a global brand. The luxury and history of Beverly Hills is the inspiration that embodies the lifestyle of a club member and the energy of the sport itself. Style: Big Winner

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Blake Lively Cooks with Top Chef Winner, Showcases Chic Kitchen Style

Blake Lively’s kitchen style is just as chic as we imagined. Mix one part Top Chef winner (Season 3’s Hung Huynh), one part artisan items from her website, Preserve, and one part well-dressed baby bump and voila! “Nothing better (or tastier) than an evening spent with friends who share your passion. What you don’t see is […]
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Cabaret: Everybody Loves A Winner Once

I read Michael Riedel’s column in last Friday’s New York Post with the kind of dumbfounded look I have on my face when I see really bad theater that somehow made it to Broadway. I thought: “Could anyone possibly think Cabaret should be eligible for a Tony Award for Best Revival? Could anyone think Michelle Williams would be ineligible?”

As I have written many times, the Tony Awards Administration Committee does what it wants. The rules it is tasked with interpreting are often unclear. In fact, I looked and could not find in the rules language that would explicitly deny Cabaret eligibility. However it seems ridiculous to me that it would be considered. This is a carbon copy production. Roundabout even announced it as such. As per the Roundabout website: “One of Broadway’s greatest productions returns! Alan Cumming (“The Good Wife,” Roundabout’s The Threepenny Opera) reprises his Tony®-winning performance in Sam Mendes (Skyfall, American Beauty) and Rob Marshall’s (Nine and Chicago, the films) Tony-winning production of Cabaret.” That’s right, this production already has its Tony. It should not be able to receive another one.

There is sadly precedent for it being eligible. Some of which is from long ago, some of which from not so long ago. The 1976 and 1981 revivals of My Fair Lady come to mind–both nominated for Best Revival (or whatever it was called during those times). The last Les Miserables revival was essentially a remount of the original production, yet it scored a Best Revival nomination anyway. And this issue has actually come up with regards to Cabaret before–the nominated 1987 revival was mostly faithful to the original production (including having the same Master of Ceremonies, which probably sounds familiar by now), but at least it had slight design team differences. Here, according to Roundabout itself, the company is simply bringing back its Tony winner.

What are the Tonys here for if not to honor theatrical creativity? What creativity is there in remounting a production at its original home? A play or musical is not eligible for the Best Play or Musical award if it substantially duplicates a previously presented play or musical. Why is a revival that exactly duplicates a revival capable of being nominated? (The “substantial duplication” language was created to keep producers from claiming barely revised work was “new.” It says that a play or musical can be eligible if it contains “substantially duplicate elements of productions” but only if “the duplicated and the original elements, in their totality, create a new play or musical.” While it was not created for this purpose, I believe its logic holds here. This is not a new revival.)

However, whatever the Administration Committee decides to do with Cabaret as a production, Williams and other new cast members will likely be eligible. “Regardless of whether a production of a play or musical is eligible for a Best Revival category, the elements of the production shall be eligible in those categories in which said elements do not, in the judgment of the Tony Awards Administration Committee, substantially duplicate any prior presentation of the play or musical…” So says the Tony rules. This wording has allowed many actors to be eligible in the past, including Christina Ricci for Time Stands Still and the actors from the return engagement of White Christmas. There has been no change in the language of the rule in recent years. Excluding Williams and her costars (with the exception of Cumming) from the nominations would be an unnecessary slight.

And so it goes every year – there is a fuzzy grey area and the Tony Administration Committee steps in. Last year they broke with tradition and went out on their own a little bit, defying some producers. I hope that continues with regards to Cabaret. A facsimile should not be treated as an award-worthy new entry in the theatrical landscape.
Arts – The Huffington Post
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