Leonardo DiCaprio will appear in court over claims that the depiction of a supporting character in Martin Scorsese’s fact-based comedy has resulted in libel
Leonardo DiCaprio has been ordered by a judge to give testimony in a lawsuit surrounding 2013 comedy The Wolf of Wall Street.
Andrew Greene, a former associate of the film’s subject Jordan Belfort, has claimed that a supporting character, presented as a “criminal” and “degenerate”, is loosely based on him. He’s now suing producers, including Paramount Pictures, for $15m (£10.5m).
A judge has already rejected claims of defamation, but has allowed Greene to amend his initial objection to malicious libel.
Greene’s lawyers have been trying to depose DiCaprio but he has been “too busy”, and the defendants have stated that the testimonies of director Martin Scorsese and screenwriter Terence Winter should suffice. But his involvement as a producer has led to judge Steven Locke requiring him to testify “at a reasonable time and place agreed to by the parties”.
Greene, a childhood friend and ex-colleague of Belfort, believes that Nicky “Rugrat” Koskoff is modelled after him. The character is played by PJ Byrne; Greene claims the portrayal repeatedly mocked his hairpiece, as well as depicting the character as a drug user.
“The motion picture’s scenes concerning Mr Greene were false, defamatory, and fundamentally injurious to Mr Greene’s professional reputation, both as an attorney and as an investment banker/venture capitalist, as well as his personal reputation,” the suit says.
The Wolf of Wall Street tells the true story of stockbroker Jordan Belfort and the excesses that ultimately led to his downfall and arrest.
Graham Norton and Mel Giedroyc will present Saturday night contest seeking stars for stage show
The BBC has turned to Gary Barlow in its hunt for the next Saturday night hit as he attempts to find a new Take That to take part in a Mamma Mia-style stage musical.
Let It Shine will be presented by Graham Norton and The Great British Bake Off’s Mel Giedroyc.
With distinct echoes of BBC1’s Andrew Lloyd Webber shows such as I’d Do Anything – also fronted by Norton – the new show will put together a group to join new stage show The Band, featuring the music of Take That.
The musical has been created in association with Barlow and his Take That bandmates Mark Owen and Howard Donald.
The BBC will hope it will help fill the hole left by another of its Saturday night talent shows, The Voice, which it lost to ITV.
BBC1 has struggled to come up with new Saturday entertainment formats, with flops including celebrity gymnastics show Tumble and big-budget adventure gameshow Prized Apart.
Culture secretary John Whittingdale has criticised BBC1 for not being distinctive enough. It remains to be seen if the Barlow show will pass this test.
It is at least not a bought-in format, like The Voice, which prompted much criticism of the BBC by MPs, and will be made in-house by BBC Studios.
It may also attract some of the criticism levelled at Lloyd Webber’s Saturday night shows for BBC1, which also included Any Dream Will Do and Over The Rainbow.
Critics said the BBC was serving Lloyd Webber’s commercial interests by devoting a sizeable chunk of its Saturday night schedule to a programme about one of his shows.
Actor and theatre director Kevin Spacey was among the most prominent critics, saying the Lloyd Webber shows unfairly distorted the West End theatre market.
“I felt that was essentially a 13-week promotion for a musical – where’s our 13-week programme?” Spacey said in an interview in 2008 in which he said they were “crossing the line” and “unfair”.
Unlike the Lloyd Webber shows, the Take That musical will start out as a touring production. The BBC has no commercial stake in the stage show.
Contestants do not have to be lookalikes to have a hope of winning because the show is a story which features Take That songs, rather than the story of Take That.
The show may also pose a few interesting diversity questions for the BBC, including whether women can take part (the band is expected to be all-male).
Barlow said: “Back in 1989, we were just a group of normal guys from Manchester who came together to become Take That.
“The secret to our success was that each of us brought something different to the group and that the five of us had real chemistry.”
He added: “Now with Let It Shine we’re looking for people from all walks of life to form another unique group who can recreate that magic.
“If you think you’ve got what it takes, we want to see it.”
Over eight weeks of competition, Barlow and three mentors will be looking for talented individuals to form a new group exuding Take That’s showmanship and stage presence.
Co-presenter Norton said he was looking forward to helming the forthcoming series.
“The combination of the BBC, everyone’s favourite band and Saturday nights made this an offer I simply couldn’t refuse,” he said.
Norton added: “If I wasn’t a part of Let It Shine I know I would be watching it at home – this way I just get the best seat in the house.”
Giedroyc, who will soon be back on screen co-hosting The Great British Bake Off with Sue Perkins, said Let It Shine will be “utterly spectacular”.
“This show brings together so many of the things I love – singing, dancing, Gary Barlow and Graham Norton. What’s not to love?”
Giedroyc continued: “I can’t wait to meet the singers and see the performances which I know will be utterly spectacular.
“If you know someone who’s got the moves, whether they already sing in the shower or on the stage, we want to see them.”
Charlotte Moore, BBC controller of TV Channels and iPlayer, said: “BBC1’s new Saturday night show will bring families together to celebrate Britain’s love of musical theatre, combining singing, performance and dance in a hotly contested search to find a new group.
“Masterminded by Gary Barlow, our hosts will guide viewers through eight weeks of unmissable competition, all to win a dream place in a new stage show.”
Gaga is rumored to be nearing a deal to lead Bradley Cooper’s directorial debut, in which he would also star
It appears that Lady Gaga has lined up her next major acting gig.
The singer, who recently won a Golden Globe for her work on American Horror Story: Hotel, is said to be nearing a deal to take on the lead role initially offered to Beyoncé in a remake of A Star is Born. According to Deadline, Gaga screen-tested successfully, and is director Bradley Cooper’s first choice for the project.
The film would see Gaga take on a part played by Janet Gaynor, Judy Garland and Barbra Streisand over the years: an aspiring young actor on the cusp of fame. Cooper would also star in the film as the troubled, alcoholic movie star who helps her achieve her dreams.
Cooper’s remake, which marks his directorial debut, was to have initially been filmed by his American Sniper director, Clint Eastwood, with Beyoncé in the lead. Eastwood left the project in 2011 to make Jersey Boys. Beyoncé allegedly followed suit in March, after Cooper and Warner Bros balked at her asking fee. Deadline reports that the film will be made for around $30m, a relatively low budget by today’s studio standards.
Prior to starring in American Horror Story, Gaga had small appearances in Sin City: A Dame to Kill For, Machete Kills and Muppets Most Wanted. It was announced at the Cannes film festival in May that she was to play Cilla Black in a biography of singer Dionne Warwick, but Gaga subsequently denied her involvement.
She is next slated to return to American Horror Story for its sixth season.
A 50-piece orchestral performance, a DJ set and giant sculptures in honour of each of them among the plans
Full details of Glastonbury’s plans to commemorate David Bowie, Prince and Lemmy have been revealed, including sculptures in honour of each of them, a 50-piece orchestral performance and a DJ set.
The festival’s co-organiser, Emily Eavis, had previously hinted that the event would honour the three stars, who died in the last six months, giving the 177,000 crowd a chance to both mourn and celebrate.
Eavis has commissioned the counter-culture sculptor Joe Rush, who has created artworks for the Glastonbury site for years, to build a giant Ziggy Stardust lightening bolt across the top of the Pyramid stage, where bands including Coldplay and Adele will perform. It will be flanked by a giant set of silver wings and emblazoned, in the middle, with an open grey eye.
“It felt important to capture Bowie’s very particular eye, which was such a part of his look”, said Rush. “But I also really liked the idea of Bowie looking out and watching over the whole festival. And if we are going to have an eye in the pyramid, it should be Bowie’s eye.”
To commemorate Motörhead’s frontman Lemmy, who finally performed at Glastonbury last year before his death in December, Rush has built a vast structure for the Other stage. The sculpture will be a peace sign formed of spanners, adorned with an aluminium ace of spades, a v-twin engine and a vast set of shiny black ram’s horns.
In a fitting nod to Prince’s flamboyance, Rush has built a statue almost four metres tall for the Park area of the festival. It will take the form of a giant glittery hand carrying a purple crown with a white dove flying from the top.
He said: “People do need to have these places to come to, especially for an artist who has really affected or shaped their life, and pay tribute. Particularly at Glastonbury, where you have so many music fans gathered in one place, it feels important to give these artists the recognition of the fact that they are our heroes.”
There will also be musical tributes to Bowie and Prince over the weekend, the most ambitious of which will take place at midnight on Saturday, when a 50-piece orchestra dressed entirely in white will perform Philip Glass’s fourth symphony, which is based on Bowie’s album Heroes.
It is the first time a classical act has headlined a stage and the performance will be accompanied by a laser light show created by Chris Levine.
Charles Hazelwood, who will conduct the orchestra, said he had wanted to create a tribute to Bowie that was not mawkish but instead in the “spirit of the man himself”, while not simply putting on a tribute band playing old Bowie covers.
“Bowie was a massive fan of Glass’s and said on many occasions that he was one of his most important influences, so this seemed perfect,” he said. “If you look back to that amazing set that Bowie did in 2000, the standalone moment was when he sang Heroes. So there’s something so beautifully pertinent about bringing back not just the song, but the album re-imagined through Glass.”
He said Glass was very excited about the performance. “This is after all the other stages have fallen silent, so there will be a sense of a vigil, of a happening of a pilgrimage, of people flocking here to just absorb this moment, and I think it will be a really magical midnight experience,” Hazelgrove said.
The Hot Chip frontman Alexis Taylor, will pay tribute to Prince by playing a DJ set dedicated to the singer at the Block 9 stage on Friday night.
“I like the idea of it being somewhere that amongst everything that goes on at Glastonbury, this can be a moment where people come together to celebrate that legacy of music,” Taylor said.
“I found it quite hard initially when he died to listen to Prince because when you feel sad in that way, you expect to listen to sad sorrowful music, but there isn’t so much of that in Prince. But I think this set is a decent enough time after the event to be in a more party frame of mind.”
Taylor, a lifelong Prince fan, said his set would include some of his biggest tracks, such as Controversy, Raspberry Beret, Sign of the Times and Little Red Corvette, as well as obscurities such as an early demo of Irresistible Bitch and a track called Cloreen Bacon Skin.
“With Prince’s catalogue being so full of life and spark and energy, it feel like a nice way to celebrate him. It’s very joyous music, very passionate music,” he said.
The Oscar-winner Nicole Kidman is in talks to play the Irish actor’s wife in supernatural revenge film The Killing of a Sacred Deer
Nicole Kidman is in talks to join Colin Farrell in the new psychological thriller from Yorgos Lanthimos.
The Greek film-maker, who made his English language debut with dystopian dating satire The Lobster, has also co-written the project, titled The Killing of a Sacred Deer.
According to the Hollywood Reporter, Kidman is set to star as the wife of Farrell’s character, a surgeon who is compelled to make a sacrifice after a teenager he has brought into his family starts exhibiting sinister behaviour. There is also reported to be a supernatural element to the film.
The Lobster became an arthouse hit in the US last month and has already made over $5m (£3.5m) after receiving positive reviews at last year’s Cannes film festival. Lanthimos is also set to make The Favourite, a period drama starring Olivia Colman, Emma Stone and Rachel Weisz, which will focus on Queen Anne during the end of the 17th century.
Kidman was recently seen opposite Chiwetel Ejiofor and Julia Roberts in thriller remake Secret in Their Eyes and with Colin Firth and Jude Law in literary biopic Genius. Later this year, she has roles with Dev Patel in Lion and Elle Fanning in How to Talk to Girls at Parties as well as dark HBO comedy Big Little Lies with Reese Witherspoon and the second season of Jane Campion’s Top of the Lake.
This week has also seen news that she is set to reprise her role of scientist Rosalind Franklin in the big-screen adaptation of the acclaimed play Photograph 51.
Guitarist testified he hadn’t heard the song Taurus until a few years ago
Lawyer says chords that begins Stairway were lifted from the Spirit tune
The Led Zeppelin guitarist Jimmy Page testified on Wednesday that until a few years ago he had never heard a song that the megastar band is accused of ripping off for Stairway to Heaven.
“Something like that would stick in my mind. It was totally alien to me,” Page said of the instrumental song, Taurus, by the band Spirit.
A lawyer for the estate of Spirit’s late guitarist, Randy California, contends that the famous descending-chord guitar riff that begins 1971’s Stairway was lifted from the Spirit tune, which was released a few years earlier.
An eight-member jury is hearing the copyright infringement case in federal court. Jurors must decide whether the two sequences are substantially similar.
Earlier in the day, former Spirit member Mark Andes testified that riffs from both songs, played by an acoustic guitarist on a video aired in court, were the same.
Musical experts not involved in the case have said the sequence is common and has appeared in other pieces from decades and even centuries ago.
Page, clad in a dark gray suit, a vest and tie and wearing his white hair in a ponytail, acknowledged that he had three Spirit albums in his collection of some 10,000 record albums and CDs.
But Page said he only discovered he had Spirit’s first album, which contained Taurus, a few years ago after his son-in-law told him that comparisons with Stairway were cropping up online.
Page acknowledged that Led Zeppelin used a riff from another Spirit song in a medley during their first tour in Scandinavia but Page said he had heard it on the radio – and never heard Taurus.
In his testimony, Andes said Spirit played Taurus in 1968 at a Denver show where Zeppelin was the opening act, and that in 1970 he and Zeppelin singer Robert Plant drank beer and played the billiards-like game snooker after a Spirit show in Birmingham, England.
“Yeah, we hung out. We had a blast,” Andes said.
US district judge R Gary Klausner ruled in April that evidence presented in hearings made a credible case that Led Zeppelin may have heard Taurus performed before their song was created.
Plant and bandmate John Paul Jones are expected to testify at the trial, though Jones has been dismissed as a defendant in the case.
Led Zeppelin has settled several similar copyright disputes over songs such as Whole Lotta Love and Dazed and Confused, but the judge has barred a lawyer for the late Spirit guitarist from introducing evidence from those cases.
Stairway to Heaven has generated hundreds of millions of dollars over the years.
Jackie Chan says fantasy adventure’s £156m gross during its first week will cause an influx of Chinese-language blockbusters
Jackie Chan thinks the success in China of video game adaptation Warcraft: The Beginning could lead to an increase in homegrown blockbusters.
The $160m (£113m) film, which grossed a mere $24.4m in the US its opening weekend, surprised analysts with $156m at the Chinese box office from its first five days in cinemas.
Speaking this weekend at the Shanghai film festival, Chan said the result will worry Hollywood execs. “Warcraft made 600m yuan [£64m] in two days. This has scared the Americans. If we can make a film that earns 10bn [£1bn], then people from all over the world who study film will learn Chinese, instead of us learning English.”
The annual gross of China’s box office is expected to surpass North America, according to the Hollywood Reporter. The popularity of blockbusters in China and financing from companies there have influenced both where some blockbusters are filmed and who stars in them. Transformers: Age of Extinction, for example, was partly funded by the China Movie Channel, which led to Li Bingbing joining the cast and part of the film being set in Hong Kong. Iron Man 3, meanwhile, added footage for Chinese audiences that included the Chinese actor Fan Bingbing.
A sequel to Pacific Rim, which underperformed in the US, was greenlit after it became a hit in China. Pacific Rim and Warcraft were produced by Legendary Pictures, which the Chinese company Dalian Wanda Group bought in January for a reported $3.5bn.
Nine Inch Nails musician and Apple Music executive joins music industry’s debate over Google’s video service: ‘I find YouTube’s business to be very disingenuous’
Nine Inch Nails’ Trent Reznor is the latest artist to join the music industry’s war of words with YouTube, attacking Google’s video service over the role it plays for musicians.
“I find YouTube’s business to be very disingenuous. It is built on the backs of free, stolen content and that’s how they got that big,” said Reznor in an interview with Billboard.
Reznor was not speaking purely as an artist, however. He is also chief creative officer at Apple Music, the streaming service launched by Apple in 2015, which is one of the key rivals to YouTube in the digital music world.
“I think any free-tiered service is not fair. It’s making their numbers and getting them a big IPO and it is built on the back of my work and that of my peers. That’s how I feel about it. Strongly,” said Reznor, widening his criticism to other rivals like Spotify in the process.
YouTube has faced a barrage of criticism from musicians and music-industry bodies in 2016, as part of a campaign in the US and Europe to rework copyright legislation that grants the service “safe harbour” status when users upload copyrighted material without the permission of the rights owners.
Rightsholders have also argued that YouTube’s vast catalogue of free music could impede the growth of paid music-streaming subscription services like Apple Music and Spotify’s premium tier – important context to Reznor’s comments, given his role.
In its most recent public statement, following an open letter to Alphabet boss Larry Page from rock band Sixx:AM, YouTube indicated that the criticism is having an impact on the company’s plans.
“The voices of the artists are being heard, and we’re working through details with the labels and independent music organisations who directly manage the deals with us,” a spokesperson said.
“Having said that, YouTube has paid out over $3bn (£2.1bn) to the music industry, despite being a platform that caters to largely light music listeners who spend an average of one hour per month consuming music – far less than an average Spotify or Apple Music user. Any comparisons of revenue from these platforms are apples and oranges.”
The Ulsterman also played with Joe Cocker’s Grease Band, as well as Marianne Faithfull and Donovan
Henry McCullough, who played guitar in Paul McCartney’s band Wings, has died. He was 72.
His live music agent Nigel Martyn said McCullough died on Tuesday after a long illness. He said the guitarist never fully recovered from a severe heart attack suffered four years ago.
McCullough played with the Grease Band with Joe Cocker at Woodstock, and worked at various times with Marianne Faithfull and Donovan, and he also appeared on the original cast recording of Jesus Christ Superstar.
The Northern Irelander was recruited to join the second version of Wings in 1971, and his guitar solo on My Love on the album Red Rose Speedway marked a career peak. He improvised it in a single take.
With music, sometimes you come across something and it’s a gift from God and it’s channeled through you,” he said in a 2011 interview with the website Pennyblackmusic. “I swear, I never heard those notes before that way.”
McCullough, who also played on the single of Live and Let Die, walked out of Wings in July 1973 after clashing with McCartney.
The rift was patched up in later years. “Just because there’s a little hiccup along the way, it doesn’t take away from what you’ve built up,” he said in a 2011 interview with the website Musiclegends.
McCartney paid tribute to his former bandmate. “He was a pleasure to work with, a super talented musician with a lovely sense of humour,” the former Beatle said in a statement. He said McCullough’s solo on My Love was a “classic that he made up on the spot” in front of a live orchestra.
McCullough also worked with George Harrison’s Dark Horse label, which produced his solo album Mind Your Own Business in 1975.
During his time with Wings, McCullough was one of the people whose voices are heard answering questions at the end of Pink Floyd’s song Money from the album The Dark Side of the Moon. His contribution: “I don’t know, I was really drunk at the time.”
McCullough grew up in Portstewart on the north coast of Northern Ireland, and one of his earliest musical memories was of the power of the singing at his mother’s church. “The choir would be singing all these harmonies and it would scare me half to death,” he said.
His reaction to the church was summed up in Failed Christian, one of the few songs he composed. In the song he said: “I’m going to meet my maker / A firm believer / Of spirit in music / There’s a prayer in a song.”
McCullough remained active on the music scene until the heart attack in November 2012.
“Always open for offers, you know,” he told Musiclegends. “It’s the only way I know to make any money, to be honest with you.”
He produced arguably Elvis’s best album, helped write some of soul music’s enduring classics, and won a Grammy for his country work
Lincoln “Chips” Moman – the producer, musician and songwriter who helped Elvis Presley engineer a musical comeback in the late 1960s and then moved to Nashville to record Willie Nelson, Merle Haggard and other top country performers, as well as co-writing some of the best loved soul songs of all time – died on Monday in LaGrange, Georgia. He was 79.
Donny Turner, a family friend who spoke with his wife, Jane, said Moman died at a hospice facility after a lengthy struggle with lung disease.
A fixture for decades in the Southern music scene, Moman hitchhiked from Georgia to Memphis as a teenager and worked at the fledgling Stax Records in the 1950s. He produced some of first hits for the famous label, including Last Night by the Mar-Keys, Gee Whiz by Carla Thomas and You Don’t Miss Your Water by William Bell.
He started his own studio, American Sound Studio, and formed the Memphis Boys studio band, which helped define the funky, down-to-earth Memphis sound of the 1960s. He helped produce hits from the Gentrys, BJ Thomas and Neil Diamond. With Dan Penn, he co-wrote the soul classics Dark End of the Street, a hit for James Carr and Do Right Woman, Do Right Man, a hit for Aretha Franklin.
One of his most notable collaborations was with Presley. For much of the 60s, Elvis had turned out soundtrack albums as pallid as the movies they were derived from. But by the end of the decade, Presley was anxious to challenge himself and chose the American Sound Studio for his intended comeback, with Moman producing.
The result was a prolific and productive session, with Presley re-establishing his mastery of soul, gospel, country and blues and showing he could keep up with the latest sounds. The album From Elvis in Memphis, released in 1969, received some of the best reviews of his career and was followed a year later by Back in Memphis. Hit singles included Kentucky Rain, In the Ghetto and what became the signature song of the latter part of Presley’s career, the chart-topping Suspicious Minds.
Moman left Memphis in 1972 and tried to start again in Atlanta, but when that didn’t work out, he moved to Nashville. There, he continued his streak of musical success by writing and recording for country artists.
He earned a Grammy in 1976 for co-writing the country song (Hey Won’t You Play) Another Somebody Done Somebody Wrong Song, a hit for BJ Thomas, and also wrote Luckenbach, Texas, recorded first by Waylon Jennings.
He produced Mamas, Don’t Let Your Babies Grow up to Be Cowboys for Jennings and Willie Nelson, Pancho and Lefty for Nelson and Merle Haggard, and persuaded Nelson to record a cover of You Were Always on My Mind, which became one of Nelson’s biggest hits and earned him a Grammy for country vocal performance of the year.
In 1985 Moman produced the first and most successful studio recordings of the country supergroup the Highwaymen, featuring Kris Kristofferson, Johnny Cash, Jennings and Nelson.
He went back to Memphis in 1985 briefly, lured by the city’s mayor with financial incentives in the hope of revitalising the city’s music scene. There he produced the Class of ’55 recording sessions featuring Jerry Lee Lewis, Cash, Carl Perkins and Roy Orbison.
He is survived by his wife, his daughter Monique and son Casey.
With no blockbusters to rival Jurassic World, failing sequels blamed for poor start to summer season in North America
Blockbuster season has got off to a shaky start with US profits down 14% between 1 May and 14 June compared to the same period last year, according to the Hollywood Reporter.
The downturn was predicted by industry analysts in late 2015, after hits like Jurassic World, Fast & Furious 7 and Minions helped drive a summer season that lead to the year being a record-breaker at the global box office.
Twelve months ago, Jurassic World was on its way to a $524.9m global take in its opening weekend, the highest on record until Star Wars: The Force Awakens posted a bigger tally in December. In comparison the global box office this weekend, lead by the video game adaptation Warcraft, is down 44%.
The summer season was kicked off this year by the release of Captain America: Civil War on 6 May. Bringing 2016’s tally forward a week increases the difference between this year and last to a 22% loss.
“No matter how you slice or dice the calendar, there is no question that the summer of 2016 thus far has been a bit of a bummer, with the underperformers outnumbering the overperformers, and a general malaise that has struck the early part of this most important movie-going season,” comScore box-office analyst Paul Dergarabedian told the Hollywood Reporter.
He went on to blame failing sequels for the slump, a theory that was put forward by commentators from the main trade papers last week. Big budget seconds that failed to make the same impact as the original include Alice Through the Looking Glass and The Huntsman: Winter’s War. But, more recently The Conjuring 2 and Now You See Me 2 posted opening weekend takes equal to their source material, suggesting the industry’s bout of “sequelitus” was not as severe as some had feared.
Morrissey posts lengthy critique of the US presidential race, questioning CNN’s coverage and praising Bernie Sanders
Morrissey has addressed the US presidential race after the Orlando terror attack, blaming US gun laws on the incident and citing Donald Trump’s reaction to the massacre as “anti-gay”.
The open letter, which was published on Morrissey’s fansite True to You, details the political reaction to the massacre at an Orlando nightclub in which 49 people were murdered, referencing in particular, Trump’s lack of support for the gay community. He wrote:
Donald Thump, probably America’s next president, reacts to the Orlando massacre by explaining how, if the people within the club were themselves armed with guns, then there would have been fewer casualties. This, of course, is his way of avoiding any words of support to the Orlando gay community (it is their own fault for going into a nightclub without hand grenades). Donald Thump would therefore probably claim that the massacred children of Sandy Hook would still be alive today if only they’d had the common sense to carry sawn-off shotguns to school. The Thump response to Orlando is therefore anti-gay and pro gun possession … It’s all going so well for America!
Morrissey questioned CNN’s coverage of the Orlando gunman, Omar Mateen – which he calls a “flashing flood of publicity”. Responding to coverage of “selfie” images of Mateen that have circulated online, Morrissey wrote:
It is therefore acceptable for him to lovingly admire his own maleness, but it is not OK for other men to like other men? Does Islamic scripture say it is fitting for a man to sit alone taking adoring photographs of himself?”
The former Smiths frontman also praised the “independent success” of Democratic contender Bernie Sanders, whom he contrasts to Hillary Clinton. He describes her as “the face and voice of pooled money”. Morrissey predicted that the presumptive Democratic candidate would “repay the established elite with whatever they want if she is elected” and compared Trump to the former Alabama governor George Wallace for “hating just about anyone who doesn’t happen to be Donald Thump”.
Describing Sanders as “sane and intelligent” he added:
The idea of a man who is popular because he calls for world peace and for rescue of the environment cannot provide outraged headlines for CNN, who have devoted their online news page to Donald Thump long before Thump was even a logical contender. Thump doing absolutely nothing has been more newsworthy to CNN than Sanders’ state-to-state victories.”
Kanye West and fashion designer’s late mother ascends to heaven in first official trailer, which debuted at a Sony press conference in Los Angeles
Those who paid witness to the Kanye West’s extravagant New York album and fashion launch in February would have been struck by a surreal intermission: when the rapper unveiled a preview of his own console game. Its trailer, which pays homage to his late mother, has now appeared.
The Only One video, after his song of the same name, debuted at Sony’s E3 2016 press event in Los Angeles on Monday. It features an animation of the Chicago rapper’s late mother Donda West, who rides on the back of a winged white horse that is galloping through the clouds towards heaven.
Those playing the game will assume the role of “Kanye’s mom, Donda, [who is] flying through the gates of heaven,” according to the film and animation studio Encyclopedia Pictura.
West’s game was directed by Isaiah Saxon and Sean Hellfritsch of Encyclopedia Pictura, who have made videos for artists such as Panda Bear, Grizzly Bear and Björk. It has been in production since 2015.
Further details regarding the game and its release have not been announced. West joins a long line of musicians who have dabbled in the world of gaming, from Wu-Tang Clan’s multiplayer fighting game Shaolin Style in 1999 to Michael Jackson’s Moonwalker game for Sega in the early 90s.
Sponsors left in a dilemma over tennis star’s ban and allegations against Johnny Depp
It has been a tricky week for brands that rely on celebrities to endorse their wares. An image of Johnny Depp rolling his shirt sleeves up while advertising a perfume named Sauvage has suddenly become a headache for Dior, while Nike, Evian and racket manufacturer Head are all pondering the solidity of their relationship with tennis star Maria Sharapova. Further afield in Hong Kong, protests were held outside Lancôme stores over the company’s cancellation of a concert by Canto-pop star Denise Ho Wan-sze, a known supporter of the pro-democracy movement .
While Nike said it stood behind Sharapova, facing a two-year ban after admitting using a now banned performance-enhancing drug, Dior has so far refused to comment on allegations of domestic violence levelled by Depp’s estranged wife Amber Heard, despite calls from anti-domestic violence groups.
Earlier this month the British charity Women’s Aid said that, should the allegations against Depp prove true, Dior should sever its relationship with the brand. “A responsible fashion house would stop working with a perpetrator of domestic abuse,” the charity said. “The ‘hero culture’ that can surround famous men should not distort our reactions to abusive actions.”
It’s not the first time Dior has run into difficulties. In 2008, then brand ambassador Sharon Stone said that an earthquake in China was the result of “bad karma” over the occupation of Tibet. Dior immediately withdrew Chinese advertising featuring the actress.
Harvard brand professor John Quelch says brands have to go through a complex series of calculations when deciding how to react to trouble with celebrity endorsers. A brand such as Nike may be less sensitive to a consumer backlash because, clearly, Sharapova needs athletic wear to win tournaments, so the company’s credibility remains intact. “If you have market power like Nike, you can set terms that are much tougher because athletes value the endorsementof Nike – it means as much to them as it does to the company. They feed off each other.”
But for brands that are increasingly seen as offering leadership around social issues, the dilemma around celebrities can still be acute. Quelch says Dior would almost certainly have written in a clause for moral turpitude in a contract with any Hollywood star. While a brand can’t write in penalties for box-office flops, they can write a moral turpitude clause that is as broad and sweeping in its lack of definition as possible. “So whatever unforeseen misbehaviour arises, the moral turpitude clause can be activated,” he says. By contrast, a powerful celebrity would seek to limit the moral turpitude clause to specified acts. “That might or might not include hitting your wife.”
But brands do not welcome celebrity endorsers who are likely to express their views on non-commercial issues. In Hong Kong, Lancôme’s parent company L’Oréal was believed to have come under pressure from Chinese authorities to cancel Denise Ho Wan-sze’s engagement over her pro-democracy stance.
But the move proved to be a black eye for the firm as Ho urged fans to stand up against “the white terror that is spreading among our societies”. In a statement, Lancôme said Ho was not a spokesperson of the company and that it was “sorry for the confusion”, citing “possible safety reasons” in cancelling the concert.
The social media and public backlash that followed L’Oréal’s decision highlights difficulties that sponsors are now encountering with celebrity endorsers, says Lucie Greene, worldwide director of the Innovation Group at J Walter Thompson.
“Celebrities are sharing more opinions and pictures on social media to promote their own personal brands. It’s becoming more difficult for brands to control celebrities that are tied into a brand relationship. They’ve got their own independent ways to broadcast their ideas and thoughts.”
Whereas brands could once tightly control the messaging, says Greene, they now have to deal with several streams of commentary. “It’s become far more important for celebrities to have a social media presence and the messages get picked up and spread more quickly.”
Exacerbating that trend, Greene adds, is the politicisation of social media users, including celebrities such as Lena Dunham, the American actor and creator of TV hit show Girls, who use their public platforms to draw attention to issues. In some instances, the importance for celebrities to maintain credibility with their audience is more important than their allegiance to sponsors.
The critically lambasted video game adaptation makes just $24.4m while the Enfield-set sequel becomes the biggest horror opening since the 2013 original
Video game adaptation Warcraft: The Beginning has delivered a lacklustre result in its opening US weekend, making just $24.4m.
The $160m budget fantasy adventure had suffered from negative reviews, with a 27% rating on Rotten Tomatoes and bad buzz after a much-maligned marketing campaign. But the film has been a hit in China, making $156m in its first five days and its global total now stands at $286m. Industry experts claim it will need to make $450m to break even.
It was envisioned as the start of a new franchise but its future is now in doubt and will depend on international numbers. Similarly, an underwhelming US total for Guillermo del Toro’s Pacific Rim was offset by large numbers overseas and a sequel is now in pre-production as a result, set to star John Boyega.
The weekend was won by haunted house sequel The Conjuring 2, which made $40.4m, the biggest opening for a horror film since the original opened with $41.9m in 2013. It was also the best ever debut for a horror film in June.
The original ended up with $318m from a $20m budget and while the follow-up, which takes Patrick Wilson and Vera Farmiga’s paranormal investigators to Enfield, was made for $40m, it will still turn a healthy profit. Internationally its total is already $90.4m.
Another sequel to a 2013 sleeper hit, Now You See Me 2, opened decently with $23m compared to the original’s $29.4m. The heist thriller, which brings back cast members Jesse Eisenberg, Morgan Freeman and Mark Ruffalo, cost a hefty $90m so will need a strong overseas showing to make a profit.
Last week’s top film Teenage Mutant Ninja Turtles 2 dropped 60% in its second weekend.