In 2011, Comcast closed a deal with GE to purchase a 51% controlling stake in NBCUniversal for $13.8 billion in cash and assets. By only buying half of the company at that time, Comcast protected itself somewhat from deteriorating performance at NBC, which was struggling to emerge from the Great Recession amid a dismal media climate.
Although there was a structure in place to purchase the remaining stake gradually by 2018, Comcast executives concluded that it made more sense to complete the deal in one shot right now, especially given improving performance at NBC — which topped its rivals in last fall’s ratings for the first time in nearly a decade — and better-than-expected revenue from last year’s Summer Olympics, which was broadcast exclusively on NBC networks. Also, by completing the deal now, Comcast executives — as well as financial analysts and media observers — believe that the company received a very favorable price for NBCUniversal.
“Comcast got it at a steal, a phenomenal price,” Matthew Harrigan, an analyst at Wunderlich Securities, told Bloomberg. “NBCU is worth north of $40 billion if you turned around the movie studio and got the broadcast network to work.” Comcast will fund the deal with $11.4 billion in cash, $4 billion of senior unsecured notes to be issued to GE, and $2 billion in debt. The cable giant will also spend $1.4 billion to purchase the iconic GE Building at 30 Rockefeller Plaza — home of several NBC broadcasts, including Saturday Night Live — and CNBC’s headquarters in Englewood Cliffs, New Jersey.
Because ownership of the GE Building includes naming rights, it’s theoretically possible that Philadelphia-based Comcast could replace the famous glowing red GE logo with a Comcast logo. Needless to say, such a move would be intensely symbolic, because it would alter an iconic feature of the New York City skyline, and visually reinforce Comcast’s increasingly influential presence in midtown Manhattan, the center of the media world. But Roberts told CNBC that a decision on the GE Building logo is “not something we’re focused on talking about today.”
Comcast’s 2011 purchase of a controlling stake in NBCUniversal was opposed by some media reform advocates who were concerned that combining a major content creation company with a vast content distribution network would give Comcast too much power, and allow it to withhold NBC content from its competitors. But after a lengthy government review process, in which Comcast made a series of concessions as part of a consent decree – including a hands-off approach toward the news division and a pledge to make NBC content available to rival broadcast systems — federal regulators approved the deal.
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Comcast does not expect that any further regulatory approvals are needed, according to a source close to the company, because federal regulators evaluated the original transaction with the expectation that Comcast could eventually buy all of NBCUniversal, which it is now doing. ”The only way that the government would look further at this is if Comcast violated its consent decree,” Richard Brosnick, an antitrust expert with law firm Butzel Long, told Reuters.
Nevertheless, the deal continues to rankle some critics. In her new book Captive Audience: The Telecom Industry and Monopoly in the New Guilded Age, Susan Crawford, a tech policy expert and professor at Cardozo Law School, argues that the merger created a huge conflict of interest. “Even as the Internet was becoming the world’s general-purpose network, the merger would put Comcast in a prime position to be the unchallenged provider of everything — all data, all information, all entertainment — flowing over the wires in its market areas,” Crawford writes.
This week, Comcast said that fourth-quarter net income rose 18% to $1.52 billion, on revenue of $15.9 billion. For the full year, the company reported sales of $62.5 billion, a 12% increase over 2011. Although Comcast lost 336,000 cable video subscribers in 2012, it still has 22 million cable video customers nationwide. And the company’s broadband Internet user base is exploding. Last year, Comcast added 1.2 million high-speed Internet customers, as users flee DSL service in favor of faster cable broadband, and 613,000 voice customers. In total, Comcast now has over 50 million combined video, high-speed Internet, and voice customers in the United States.
Sam Gustin @samgustin
Sam Gustin is a reporter at TIME focused on business, technology, and public policy. A native of New York City, he graduated from Reed College and Columbia University's Graduate School of Journalism.
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85th Oscars: The winners
listupdated 1:04 AM EST, Mon February 25, 2013
(CNN) -- Ben Affleck may not have earned recognition from the Academy in the directing category, but his movie "Argo" walked away on Sunday with the best picture Oscar.
"Life of Pi" was another big winner during the 85th Oscars ceremony as it claimed four awards, including the best director statue for Ang Lee.
Here's a list of the rest of the night's winners:
Best picture：
"Beasts of the Southern Wild"
"Silver Linings Playbook"
"Zero Dark Thirty"
"Lincoln"
"Les Misérables"
"Life of Pi"
"Amour"
"Django Unchained"
"Argo" -- WINNER
Actress：
Naomi Watts, "The Impossible"
Jessica Chastain, "Zero Dark Thirty"
Jennifer Lawrence, "Silver Linings Playbook" -- WINNER
Emmanuelle Riva, "Amour"
Quvenzhané Wallis, "Beasts of the Southern Wild"
Supporting actor：
Christoph Waltz, "Django Unchained" -- WINNER
Philip Seymour Hoffman, "The Master"
Robert De Niro, "Silver Linings Playbook"
Alan Arkin, "Argo"
Tommy Lee Jones, "Lincoln"
Supporting actress：
Sally Field, "Lincoln"
Anne Hathaway, "Les Misérables" -- WINNER
Jacki Weaver, "Silver Linings Playbook"
Helen Hunt, "The Sessions"
Amy Adams, "The Master"
Director：
David O. Russell, "Silver Linings Playbook"
Ang Lee, "Life of Pi" -- WINNER
Steven Spielberg, "Lincoln"
Michael Haneke, "Amour"
Benh Zeitlin, "Beasts of the Southern Wild"
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Animated feature：
"Frankenweenie"
"The Pirates! Band of Misfits"
"Wreck-It Ralph"
"Brave" -- WINNER
"ParaNorman"
Foreign language film：
"Amour," Austria -- WINNER
"No," Chile
"War Witch," Canada
"A Royal Affair," Denmark
"Kon-Tiki," Norway
Adapted screenplay：
"Beasts of the Southern Wild," Lucy Alibar and Benh Zeitlin
"Argo," Chris Terrio -- WINNER
"Lincoln," Tony Kushner
"Silver Linings Playbook," David O. Russell
"Life of Pi," David Magee
Original screenplay：
"Flight," John Gatins
"Zero Dark Thirty," Mark Boal
"Django Unchained," Quentin Tarantino -- WINNER
"Amour," Michael Haneke
"Moonrise Kingdom," Wes Anderson and Roman Coppola
Original song：
"Before My Time" from "Chasing Ice," music and lyrics by J. Ralph
"Everybody Needs A Best Friend" from "Ted," music by Walter Murphy and lyric by Seth MacFarlane
"Pi's Lullaby" from "Life of Pi," music by Mychael Danna and lyric by Bombay Jayashri
"Skyfall" from "Skyfall," music and lyric by Adele Adkins and Paul Epworth -- WINNER
"Suddenly" from "Les Misérables," music by Claude-Michel Schonberg, lyric by Herbert Kretzmer and Alain Boublil
Original score：
Dario Marianelli, "Anna Karenina"
Alexandre Desplat, "Argo"
Mychael Danna, "Life of Pi" -- WINNER
John Williams, "Lincoln"
Thomas Newman, "Skyfall"
Visual effects：
"The Hobbit: An Unexpected Journey"
"Life of Pi" -- WINNER
"Marvel's The Avengers"
"Prometheus"
"Snow White and the Huntsman"
Makeup and hairstyling：
"Hitchcock"
"The Hobbit: An Unexpected Journey"
"Les Misérables" -- WINNER
Cinematography：
Seamus McGarvey, "Anna Karenina"
Robert Richardson, "Django Unchained"
Claudio Miranda, "Life of Pi" -- WINNER
Janusz Kaminski, "Lincoln"
Roger Deakins, "Skyfall"
Costume design：
Jacqueline Durran, "Anna Karenina" -- WINNER
Paco Delgado, "Les Misérables"
Joanna Johnston, "Lincoln"
Eiko Ishioka, "Mirror Mirror"
Colleen Atwood, "Snow White and the Huntsman"
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Animated short：
"Adam and Dog"
"Fresh Guacamole"
"Head over Heels"
"Maggie Simpson in "The Longest Daycare"
"Paperman" -- WINNER
Live action short：
"Asad"
"Buzkashi Boys"
"Curfew" -- WINNER
"Death of a Shadow (Dood van een Schaduw)"
"Henry"
Film editing：
William Goldenberg, "Argo" -- WINNER
Tim Squyres, "Life of Pi"
Michael Kahn, "Lincoln"
Jay Cassidy and Crispin Struthers, "Silver Linings Playbook"
Dylan Tichenor and William Goldenberg, "Zero Dark Thirty"
Oscars 2013: 'Argo' best picture in night of redemption for Ben Affleck
By Susan King and Rene Lynch
February 24, 2013, 10:07 p.m.
Being snubbed might have been the best thing to happen to Ben Affleck.
His film “Argo” took the best picture Oscar on Sunday night at the 85th Academy Awards — more than a little solace, perhaps, for being snubbed in the directing category.
Other marquee winners were Daniel Day-Lewis for lead actor for “Lincoln,” Jennifer Lawrence for lead actress for “Silver Linings Playbook,” and Ang Lee for director for “Life of Pi,” which won four Oscars, the most for any film.
Anne Hathaway won supporting actress for “Les Miserables,” and Christoph Waltz received supporting actor for “Django Unchained.” The slave revenge Western also won original screenplay for Quentin Tarantino.
But it was a night of redemption for the affable Affleck. Ever since the producer-director-star of “Argo” was a surprising omission in the director category when the Oscar nominations were announced in January, he and his film has been on a roll.
The drama about a plot to rescue Americans in Tehran during the Iranian revolution has won nearly every major honor this awards season, including the Golden Globe, the Screen Actors Guild Award, the Producers Guild Award and the Directors Guild Award.
“I never thought I would be back here,” Affleck said as he held the trophy aloft. He’d won an Oscar 15 years ago with Matt Damon for original screenplay category for “Good Will Hunting,” but since then he has seen several career lows, including the ill-fated “Gigli,” which he made with then-girlfriend Jennifer Lopez.
His star began to rise again as he turned to directing. “It doesn’t matter how you get knocked down in life, ’cause that’s gonna happen. All that matters is you gotta get up.”
“Argo” won three Oscars, including adapted screenplay for Chris Terrio and film editing for William Goldenberg. It’s only the fourth time that a film has won best picture without its director being nominated.
The win also made Oscar history: It was presented by First Lady Michelle Obama via satellite from the White House.
Though it was Day-Lewis by a landslide for “Lincoln,” Steven Spielberg's epic about the nation’s 16th president was largely overlooked.
It went into the evening with a dozen nominations — the most of any film. But it won only two, including production design.
Day-Lewis’ win also made history: He is the first to win three lead actor Oscars. He previously won for 1989’s “My Left Foot” and 2007’s “There Will Be Blood.”
Lawrence’s win capped a golden girl run. “This is nuts!” the 22-year-old said after tripping on her way up the stairs to the stage at the Dolby Theatre. As if to help her on her way, many in the audience took to their feet to cheer her on.
The win for her performance as a neurotic widow in the romantic comedy “Silver Linings Playbook” wrapped up an awards season during which she won nearly every award out there — the Golden Globe, the Screen Actors Guild Award, and more.
But the biggest winner of the night was “Life of Pi,” which has defied expectations at every turn.
While it took a leap of faith to bring the bestselling book to the big screen, it has earned nearly $600 million worldwide — more than any of the other best film nominees.
“Thank you, movie god,” the Taiwanese filmmaker said as he collected his trophy and bowed before the standing, cheering audience. “Thank you for taking the leap with me,” he said to the executives at Fox who backed the costly CGI-driven film.
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The film also won score for Mychael Danna, cinematography for Claudio Miranda and for its stunning visual effects.
“Pi” marks Lee’s second Academy Award win as director. He took home the same honor seven years ago for “Brokeback Mountain.” In both cases, however, the films for which he won did not go on to win best picture.
Besides Hathaway’s supporting turn in “Les Miserables,” the musical also won Oscars for makeup and hairstyle and for sound mixing.
One of the most memorable moments came as Hathaway cradled her Oscar for playing the tragic prostitute Fantine.
“It came true!” she said softly.
Austria’s “Amour” was honored for foreign language film. The harrowing drama is about an elderly married couple struggling to cope when the wife suffers a stroke.
The ceremony was marked by a number of standing ovations.
Singer Shirley Bassey, who made her Oscar debut Sunday night, received one for her performance of her classic 1965 hit “Goldfinger” during the ceremony’s celebration of 50 years of James Bond. The age-defying 76-year-old Welsh singer was appropriately decked out in a strapless, curve-hugging gold gown with matching full-length gloves.
The audience also leaped to its feet for Oscar winner Jennifer Hudson, who performed her number “And I’m Telling You I’m Not Going” from “Dreamgirls,” as well as for the cast of “Les Miserables,” whose members performed several songs from the musical.
Making her first performance in 37 years at the Oscars, Barbra Streisand sang the Oscar-winning "The Way We Were" in remembrance of its composer, Marvin Hamlisch, who died last year.
In other honors, the ceremony was marked by a rare tie — for sound editing. Oscars went to “Zero Dark Thirty” and “Skyfall.”
The Bond film also won an Academy Award for the title tune, written by Paul Epworth and pop superstar Adele.
Disney’s “Paperman” won animated short, and Disney / Pixar’s “Brave” won animated feature film. Jacqueline Durran won costume design for the period romance “Anna Karenina.”
Live-action short went to “Curfew,” directed by Shawn Christensen. “Inocente,” directed by Sean Fine and Andrea Nix Fine, won documentary short subject. Director Malik Bendjelloul’s “Searching for Sugar Man,” about the quest to find out what happened to a 1970s singer named Rodriguez, won best documentary.
Early into the ceremony, the Internet was ablaze with early reviews for Oscars host Seth MacFarlane.
MacFarlane — and his raunchy sense of humor — was an edgy choice for the Oscars. And some of those fears came true. There was a song about boobs, jokes about Jews in Hollywood, cracks about Lincoln’s assassination and Latino accents, and talk of post-Oscars orgies – lines that had the audience groaning at times.
Let’s just say he’s a longshot for an Emmy for his hosting duties.
However, he did the impossible Sunday night as he kicked off the awards: He made Tommy Lee Jones smile.
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Influential U.S. film critic Roger Ebert dies at 70
Thu Apr 4, 2013 4:14pm EDT By Jill Serjeant
LOS ANGELES (Reuters) - Pulitzer-Prize winning film critic Roger Ebert died on Thursday, the Chicago Sun-Times said, two days after he said his cancer of 10 years ago had returned.
"It is with a heavy heart we report that legendary film critic Roger Ebert (@ebertchicago) has passed away," the newspaper where Ebert worked for decades said on Twitter.
"There is a hole that can't be filled. One of the greats has left us. Roger Ebert has passed away at the age of 70," the Chicago Sun-Times added.
Ebert gained national prominence with fellow Chicago film critic Gene Siskel on the television show "At the Movies with Gene Siskel and Roger Ebert," coining the phrase "Two Thumbs Up." After Siskel's death in 1999, Ebert teamed with critic Richard Roeper, but later quit for health reasons.
Ebert, one of the most widely read movie critics in the United States, lost his ability to speak and eat after surgeries for thyroid and salivary gland cancer in 2002 and 2003.
On Tuesday, he posted a blog entry saying he was taking a "leave of presence" from his more than 40-year career and scaling back his work after doctors diagnosed his cancer had returned.
It was discovered by doctors after he fractured his hip in December.
The 'painful fracture' that made it difficult for me to walk has recently been revealed to be a cancer," Ebert said in the blog posting, giving no further details about the type of cancer or diagnosis.
"I am not going away," he added. "My intent is to continue to write selected reviews ... What's more, I'll be able at last to do what I've always fantasized about doing: reviewing only the movies I want to review."
Ebert's reviews were syndicated to more than 200 newspapers and he had been reviewing films for the Chicago Sun-Times since 1967. He won the Pulitzer Prize for criticism in 1975.
Forbes magazine dubbed Ebert the most powerful pundit in America in 2007.
(Additional reporting by Eric Kelsey; Editing by Peter Cooney)
Remembrance: Roger Ebert, film's hero to the end
For film critic Roger Ebert, the show always had to go on — and what a courageous, graceful performance it was.
April 4, 2013, 4:20 p.m. By Kenneth Turan, Los Angeles Times Film Critic
It seems like only yesterday — in fact, it was only yesterday — that I read that Roger Ebert was taking what he called, with typical verbal skill, "a leave of presence" to fight the cancer that had re-invaded his body. Today he is dead, and that collapsed time frame somehow seems only fitting.
For in the more than 10 years since he was diagnosed with cancer, Roger refused to give up as much as an inch to the disease that had ravaged his body but left his mind if anything more nimble and ready to rumble. That overused word, "courageous," fit him so well that I could only shake my head in wonder at what he was able to do.
No matter what physical depredations he faced, including the loss of a section of his jaw, the ability to chew food and even speak, Roger could not be kept away from pursuing film, the great love of his life. Last year, despite his continuing problems, he reviewed 306 films, the most of his career. Even days before he died, he was making plans for future film events because that was the only way he knew how to live.
I first got to know Roger when I started going regularly, as he did, to the film festivals at Sundance and Cannes. Though festival-going is more grueling than glamorous, the best part of it is catching up with fellow regulars, people who over time became like members of an extended family. Roger and I frequently found ourselves together because we shared some of the same proclivities, like wanting to sit in the far corner of the very last row at the enormous Eccles Theater in Park City.
More than that, Roger always puckishly claimed I had changed his life for the better when I introduced him to the Timex Indiglo watch, which lights up in the dark and lets you figure out how much time is left in particularly worrisome films. Roger promptly called it "the Critic's Friend" and often pulled his out when he saw me to prove that he was still keeping the faith.
On a more public level, of course, Roger was the best known film critic in America, the first film critic to win a Pulitzer Prize. I had been aware of his preeminence as one half of the Siskel and Ebert television team long before I ever thought I'd get to know him personally.
Once I did get to know him, walking back from screenings to the Hotel Splendid, the unofficial headquarters of American critics at Cannes, I was struck more than once by how invariably gracious he was to the waves of people that television had introduced him to. It could not always have been easy.
Shortly after Gene Siskel's death, for example, Roger told me that a fan had come up to him, stopped short, gave him a hard look and asked "Are you the one who died?" Roger took it all in stride.
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The more I got to know Roger, the more I thought that his TV work, though it brought him a measure of fame and fiscal independence, did a real disservice to his deep critical gifts.
The show's popularizing of the thumbs-up, thumbs-down mode of determining a film's fate was not a model of sophisticated analysis. Yet Roger himself was a dedicated scholar of film who could talk for hours about the camerawork in "Citizen Kane" or the newest wrinkles in emerging Romanian cinema.
His love for film was so great, his passion for introducing audiences to works so strong, that he wouldn't allow even losing his voice to slow him down. He wrote notes on pads for informal conversations and used a computerized voice system for more elaborate addresses. The show always had to go on.
Roger was the earliest proponent of the Internet I knew of — and not just among critics. Through his reviews, blog posts and tweets, Roger brought the appreciation of film, and film criticism, into the future and to the widest possible audience. But the story I remember most about him was one he told me about the past.
Interviewing Roger onstage a few years back when he came to Los Angeles to promote one of his books, I asked him to talk about his early life. His father, he said, had been an electrician and handyman at the University of Chicago. He could fix anything and everything, but he steadfastly refused to teach Roger any of his skills. I asked him why.
"He'd come home at night after spending the day in the offices of these professors, and he'd say to me, almost in awe, 'Roger, they just sit there and think.' That's the life he wanted for me, he didn't want me fixing things like he did.'"
Roger's dad got what he wanted, and we all have been the richer for it.
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For First Time, NHK Seeks Non-Japanese Lead for Morning Drama.Search Japan Real Time1 .Article Comments (2) Japan Real Time HOME PAGE ».smaller Larger .
December 30, 2013, 9:03 AM WSJ Japan by Hiroyuki Kachi
Nikka’s founder Masataka Taketsuru and his wife Rita.
For more than five decades, the daily morning drama series of national broadcaster NHK has been a fixture of Japanese television and a staple in popular conversation. But for the first time, NHK is looking for a non-Japanese person to play one of the lead roles.
“Massan,” which will air from September next year through March 2015, is based on the lives Masataka Taketsuru, the father of Japanese whiskey, and his Scottish wife, Jessie Roberta Cowan.
The couple met in Scotland in 1918, where Taketsuru had gone to learn the art of whiskey distilling with the intention to bringing it back to Japan. Cowan eventually changed her name to Rita Taketsuru and fully integrated into Japanese society.
The company Taketsuru built became the Nikka Whisky Distilling Co., now famous for its award-winning Taketsuru Pure Malt whiskey named after the founder, and a successful exporter of whiskey to such countries as Britain and France. The program’s title is taken from Cowan’s nickname for her husband.
Coming to Japan in 1921, the couple found it mired in economic hard times. But overcoming setbacks and failures, Taketsuru stuck with his dream, moving to the northern island of Hokkaido to build his distilling business.
NHK said that through the eyes of the heroine, the program “vividly portrays the fundamental strengths of Japanese people who have managed to get through tough times.”
The broadcaster promises the program will deliver “a lot of laughter and tears as it weaves together the story of an odd couple — a Japanese man who is a socially clumsy dreamer and his British wife who is brimming with elegance and speaks the dialect of Osaka.”
NHK is currently reviewing applications for the female lead, and plans to notify candidates for interviews in January and make a final decision in February or March.
Among the requirements for the role are an age between 25 and 40, reasonably Western-looking in appearance, with the ability to sing.
Some of NHK’s morning drama series have been extremely popular. The one that wrapped up this past September, “Amachan,” was about a young woman sea-urchin diver who went on to become an pop singer. The story took place in a northeastern coastal city, both before and after the earthquake and tsunami of March 2011. The series had an economic spinoff for the region from the tourists who went to the city of Kuji, where the series was made.
Perhaps the most successful NHK morning drama was “Oshin,” about a woman who rises from rags to riches in Yamagata prefecture of northern Japan. First aired in Japan in the 1980s, Oshin was translated into many languages and broadcast in more than 60 countries.
“Massan,” will air six days per week from Sept. 29 to March 28, 2015.
2015 Golden Globes: Complete Winners List
Jan 12, 2015, 10:53 AM ET
By LESLEY MESSER and MICHAEL ROTHMAN ABCNews
MOTION PICTURES
Best Drama
WINNER: "Boyhood"
"Foxcatcher"
"The Imitation Game"
"Selma"
"The Theory of Everything"
Best Comedy
"Birdman"
WINNER: "The Grand Budapest Hotel"
"Into the Woods"
"Pride"
"St. Vincent"
Best Director
Wes Anderson, "The Grand Budapest Hotel"
Ava Duvernay, "Selma"
David Fincher, "Gone Girl"
Alejandro González Iñárritu, "Birdman"
WINNER: Richard Linklater, "Boyhood"
Best Actress in a Drama
Jennifer Aniston, "Cake"
Felicity Jones, "The Theory of Everything"
WINNER: Julianne Moore, "Still Alice"
Rosamund Pike, "Gone Girl"
Reese Witherspoon, "Wild"
Best Actor in a Drama
Steve Carell, "Foxcatcher"
Benedict Cumberbatch, "The Imitation Game"
Jake Gyllenhaal, "Nightcrawler"
David Oyelowo, "Selma"
WINNER: Eddie Redmayne, "The Theory of Everything"
Best Actor in a Musical or Comedy
Ralph Fiennes, "The Grand Budapest Hotel"
WINNER: Michael Keaton, "Birdman"
Bill Murray, "St. Vincent"
Joaquin Phoenix, "Inherent Vice"
Christoph Waltz, "Big Eyes"
Best Actress in a Musical or Comedy
WINNER: Amy Adams, "Big Eyes"
Emily Blunt, "Into the Woods"
Helen Mirren, "The Hundred-Foot Journey"
Julianne Moore, "Map to the Stars"
Quvenzhané Wallis, "Annie"
Best Supporting Actress
WINNER: Patricia Arquette, "Boyhood"
Jessica Chastain, "A Most Violent Year"
Keira Knightley, "The Imitation Game"
Emma Stone, "Birdman"
Meryl Streep, "Into the Woods"
Best Supporting Actor
Robert Duvall, "The Judge"
Ethan Hawke, "Boyhood"
Edward Norton, "Birdman"
Mark Ruffalo, "Foxcatcher"
WINNER: J.K. Simmons, "Whiplash"
Best Screenplay
Wes Anderson, "The Grand Budapest Hotel"
Gillian Flynn, "Gone Girl"
WINNER: Alejandro González Iñárritu, Nicolás Giacobone, Alexander Dinelaris, and Armando Bo, "Birdman"
Richard Linklater, "Boyhood"
Graham Moore, "The Imitation Game"
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"Force Majeure Turist," Sweden
"Gett: The Trial of Viviane Ansalem Gett," Israel
"Ida," Poland/Denmark
WINNER: "Leviathan," Russia
"Tangerines Mandariinid," Estonia
Best Animated Feature
"Big Hero 6"
"The Book of Life"
"The Boxtrolls"
WINNER: "How to Train Your Dragon 2"
"The Lego Movie"
Best Original Song
"Big Eyes" from "Big Eyes" music and lyrics by Lana Del Rey
WINNER: "Glory" from "Selma," Music and lyrics by John Legend and Common
"Mercy Is" from "Noah," Music and lyrics by Patti Smith and Lenny Kaye
"Opportunity" from "Annie," Music and lyrics by Greg Kurstin, Sia Furler, Will Gluck
"Yellow Flicker Beat" from "The Hunger Games Mockingjay Part 1," Music and lyrics by Lorde
Best Score
"The Imitation Game"
WINNER: "The Theory of Everything"
"Gone Girl"
"Birdman"
"Interstellar"
TELEVISION
Best TV Comedy or Musical
"Girls"
"Jane the Virgin"
"Orange Is the New Black"
"Silicon Valley"
WINNER: "Transparent"
Best TV Drama
WINNER: "The Affair"
"Downton Abbey"
"Game of Thrones"
"The Good Wife"
"House of Cards"
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Claire Danes, "Homeland"
Viola Davis, "How to Get Away with Murder"
Julianna Margulies, "The Good Wife"
WINNER: Ruth Wilson, "The Affair"
Robin Wright, "House of Cards"
Best Actor in a TV Drama
Clive Owen, "The Knick"
Liev Schreiber, "Ray Donovan"
WINNER: Kevin Spacey, "House of Cards"
James Spader, "The Blacklist"
Dominic West, "The Affair"
Best Actress in a TV Comedy
Lena Dunham, "Girls"
Edie Falco, "Nurse Jackie"
Julia Louis-Dreyfus, "Veep"
INNER: Gina Rodriguez, "Jane the Virgin"
Taylor Schilling, "Orange Is the New Black"
Best Actor in a TV Comedy
Louis CK, "Louie"
Don Cheadle, "House of Lies"
Ricky Gervais, "Derek"
William H. Macy, "Shameless"
WINNER: Jeffrey Tambor, "Transparent"
Best Miniseries or TV Movie
WINNER: "Fargo"
"The Missing"
"The Normal Heart"
"Olive Kitteridge"
"True Detective"
Best Actress in a Miniseries or TV Movie
WINNER: Maggie Gyllenhaal, "The Honorable Woman"
Jessica Lange, American Horror Story: Freak Show"
Frances McDormand, "Olive Kitteridge"
Frances O'Connor, "The Missing"
Allison Tolman, "Fargo"
Best Actor in a Miniseries or TV Movie
Martin Freeman, "Fargo"
Woody Harrelson, "True Detective"
Matthew McConaughey, "True Detective"
Mark Ruffalo, "The Normal Heart"
WINNER: Billy Bob Thornton, "Fargo"
Best Supporting Actress in a TV Show, Miniseries or TV Movie
Uzo Aduba, "Orange Is the New Black"
Kathy Bates, "American Horror Story: Freak Show"
WINNER: Joanne Froggatt, "Downton Abbey"
Allison Janney, "Mom"
Michelle Monaghan, "True Detective"
Best Supporting Actor in a TV Show, Miniseries or TV Movie
WINNER: Matt Bomer, "The Normal Heart"
Alan Cumming, "The Good Wife"
Colin Hanks, "Fargo"
Bill Murray, "Olive Kitteridge"
Jon Voight, "Ray Donovan"
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Comic Riffs
‘Star Wars: The Force Awakens’ becomes the fastest film ever to $1-billion mark
By Michael Cavna December 27 at 1:00 PM The Washington Post
'Star Wars' pulls in $1 billion at record speed
The latest 'Star Wars' installment crossed the $1 billion mark in ticket sales faster than any other movie in history. (Reuters)
“STAR WARS: The Force Awakens” continues to blow past box-office records like the Millennium Falcon on a Kessel Run.
The latest mark to fall: The seventh main Star Wars film has just crossed the $1-billion mark in worldwide gross faster than any movie in history.
“The Force Awakens” grossed $153.5-million domestically over the holiday weekend ― the largest Christmas holiday tally ever, and the biggest second-weekend take ever, according to studio estimates Sunday. (Final numbers are due Monday.) * The film dipped only 38-percent in its second weekend.
In North American theaters, “Force Awakens” set another record as part of its lightspeed clip: a Christmas Day take of $49.3-million.
[Reader: ‘Flowing Locks Ren is [the] Darth Emo that I just can’t stop giggling at.’]
Roughly half of the new film’s global take has come from domestic box office: a whopping $544.6-million. Combine that with a $546-million take overseas, and “The Force Awakens” has already grossed $1.09-billion worldwide.
And boosted by Star Wars, Disney has just surpassed $2-billion for the year in total domestic gross ― the first time the company has ever done so.
Disney bought Lucasfilm in 2012 for $4-billion. The “Force Awakens” toys alone, according to some estimates, could reap $3-billion.
FUN WITH NUMBERS
* Domestically, “Force Awakens” is already the second biggest film of the year, trailing only “Jurassic World” ($652-million).
* Disney has three of the year’s top-four releases in domestic gross. Besides Star Wars, the Mouse House released Marvel’s “Avengers: Age of Ultron” ($459-million) and Pixar’s “Inside Out” ($356.5-million).
* Domestically, after just 10 days, “The Force Awakens” is already the fifth-biggest film ever (not adjusted for inflation ― as it looks to topple the champion “Avatar” ($760.5-million). Worldwide, “Force Awakens” is already the 15th-biggest film ever.
20 modern classic movies everyone needs to watch in their lifetime
Jan. 1, 2016, 10:20 AM 203,018 1 Jason Guerrasio
There's never a bad time to dive back into the archives and watch some good movies.
And if you have some time off around the start of the new year, this might be a good time to binge some modern-day classics.
With that in mind, I've come up with 20 essential titles from the past 15 years that you should reexamine or, if you've never seen them, delve into.
1. “Donnie Darko” (2001)
Jake Gyllenhaal was just starting to get on everyone's radar when he scored one of his first lead roles, playing a troubled teen who is tormented by visions of the future and a disturbing-looking bunny. "Donnie Darko" has become a cult classic, as it captured the angst of the youth who at the time the movie was in theaters were coping with the confusion of a post-9/11 world.
2. "Bowling For Columbine" (2002)
Michael Moore's fourth feature film, which won an Oscar for best documentary, might be his best. The controversial director uses the events of the Columbine High School massacre to address the US' addiction to guns. Sadly, 14 years later the issues explored in this movie are still relevant.
3. "City of God" (2002)
This incredibly stylish look at the slums of Rio de Janeiro charts the lives of two boys as they grow up among guns and drugs. The cast is made up mostly of nonprofessional actors, which gives an authenticity to the movie. But what's most surprising about this extremely violent film is how much comedy is layered into it.
4. "Eternal Sunshine of the Spotless Mind" (2004)
What do you get when you combine director Michel Gondry and screenwriter Charlie Kaufman? One of the most original love stories of the past 15 years. In one of Jim Carrey's best performances, he plays Joel, who after breaking up with his girlfriend (Kate Winslet) goes to a special doctor who specializes in erasing someone from your memory. What then unfolds, thanks to the visuals of Gondry and words of Kaufman, is near perfect.
5. "Super Size Me" (2004)
Morgan Spurlock used his outgoing personality and a hot-button topic to create a film that has defined his career. Examining the US' issue with obesity, Spurlock turned his camera to McDonald's and in the process changed the way we look at fast food (in the movie he eats only from the McDonald's menu for one month). This movie is a big part of why you see more healthy choices and no more "super size" option at McDonald's.
6. "No Country For Old Men" (2007)
The Coen brothers create a classic modern-day Western thanks to the adaptation of this Cormac McCarthy novel. Starring Josh Brolin as a man who stumbles upon a large suitcase of cash and Javier Bardem as a psychotic hit man, the movie gets better every time you see it.
7. "Ratatouille" (2007)
"Ratatouille" tells a compelling story through animation that isn't just for kids. Set in the posh Paris cooking world, "Ratatouille" follows a rat who fancies himself a chef. The movie could have been a disaster, but instead it showed that stories with lots of layers could be told well through cartoons and computer graphics.
8. "There Will Be Blood" (2007)
Paul Thomas Anderson delivers a film that is epic in so many ways, including its story, its music, and its photography. Daniel Day-Lewis delivers a performance that withstands the test of time as a maniacal oil baron.
9. "Zodiac" (2007)
David Fincher, who is known for his attraction to dark material, was perfect for bringing the story of the Zodiac Killer to the big screen. Jake Gyllenhaal plays a cartoonist for a newspaper who becomes obsessed with the case and takes over the detective work when the cops dry up on leads. Perhaps the best trick Fincher pulls off is building constant suspense so that, by the end, anyone could be the Zodiac.
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10. "Man on Wire" (2008)
Before "The Walk," we got the story about the daring high-wire walk across the Twin Towers from the real people who did it in James Marsh's "Man on Wire." The Oscar-winning documentary is elevated thanks to the man who did the walking, Philippe Petit, as our narrator. Though the reenactments show viewers how incredible the feat was, it's Petit's masterful storytelling that keeps them engaging.
11. "WALL-E" (2008)
Arguably Pixar's greatest work, "WALL-E" explores so many different issues that you can watch it a dozen times and enjoy focusing on each one. From a love story to commentaries on obesity and climate change, the movie is much more than the mere travels of a lovable robot (but that part is great, too).
12. "Inglourious Basterds" (2009)
Quentin Tarantino's long-awaited Nazi-killing movie was worth the wait. Brad Pitt plays the leader of a group of Jewish US soldiers whose mission is to kill as many Nazis as possible in France. But along with great characters like "The Bear Jew" and incredible action sequences, the film is also a love letter to cinema.
13. "Inception" (2010)
Christopher Nolan always likes to mess with us, but "Inception" is one of his biggest mind tricks. Leonardo DiCaprio plays the leader of a group who enters people's dreams to steal information. For his latest job, however, he's hired to plant a memory. This leads to a dizzying chase through the deepest subconscious that you can't turn away from.
14. "Bridesmaids" (2011)
Featuring some of the funniest women in the business, "Bridesmaids" showed that the girls could be as funny and raunchy as the guys. Along with finally giving Kristen Wiig the lead in a movie, it also turned Melissa McCarthy into a movie star and Paul Feig into the go-to director for female comedies.
15. "Drive" (2011)
Director Nicolas Winding Refn takes his love of violence and combines it with Ryan Gosling and the music of Cliff Martinez to create a slick thriller that's in the vein of '80s movies like "Thief" or "To Live and Die In LA."
16. "The Interrupters" (2011)
Before Spike Lee looked at gun violence in Chicago with "Chi-Raq," documentary filmmaker Steve James showed the people who are trying to stop the violence in "The Interrupters." Following a group of former gang members who are trying to talk some sense into the youth, James' camera captures incredible interactions in which words do much more than any gun can.
17. "The Act of Killing" (2012)
This is one of those docs that feels too horrific to be true. Documentary filmmaker Joshua Oppenheimer puts a spotlight on the genocide in Indonesia by befriending the leaders who were responsible for mass killings. He had them reenact their murders by filming them in the movie genre of their choosing.
18. "The Master" (2012)
Some of the best acting you'll ever see are the exchanges between Philip Seymour Hoffman and Joaquin Phoenix in Paul Thomas Anderson's "The Master." The move follows a Navy veteran who befriends the leader of an organization. The mental gymnastic the two play with each other over the course of the film is thrilling to watch.
19. "Upstream Color" (2013)
Made on a shoestring budget and self-distributed, "Upstream Color" is a inspiring tale that shows us that there's more to life than our everyday existence. Seek out this movie.
20. "Boyhood" (2014)
Shot from 2002 to 2013, Richard Linklater's look at a young boy's life from adolescence to young adulthood is a special work that has rarely been attempted. The dedication by everyone involved is commendable, but the story itself is so powerful it rivals some documentaries in how realistic it is.
Oscar winners 2017: this year's full list
All the winners from the 89th Academy Awards on Sunday 26 February 2017
Monday 27 February 2017 10.38 ESTGuardian film
Best supporting actor
WINNER: Mahershala Ali (Moonlight)
Jeff Bridges (Hell or High Water)
Lucas Hedges (Manchester by the Sea)
Dev Patel (Lion)
Michael Shannon (Nocturnal Animals)
Best makeup and hairstyling
A Man Called Ove
Star Trek Beyond
WINNER: Suicide Squad
Best costume design
Allied
WINNER: Fantastic Beasts and Where to Find Them
Florence Foster Jenkins
Jackie
La La Land
Best documentary
Fire at Sea
I Am Not Your Negro
Life, Animated
WINNER: OJ: Made in America
13th
Best sound editing
WINNER: Arrival
Deepwater Horizon
Hacksaw Ridge
La La Land
Sully
Best sound mixing
Arrival
WINNER: Hacksaw Ridge
La La Land
Rogue One: A Star Wars Story
13 Hours
Best supporting actress
WINNER: Viola Davis (Fences)
Naomie Harris (Moonlight)
Nicole Kidman (Lion)
Octavia Spencer (Hidden Figures)
Michelle Williams (Manchester by the Sea)
Best foreign language film
Land of Mine
A Man Called Ove
WINNER: The Salesman
Tanna
Toni Erdmann
Best animated short
Blind Vaysha
Borrowed Time
Pear Cider and Cigarettes
Pearl
WINNER: Piper
Best animated feature
Kubo and the Two Strings
Moana
My Life As a Zucchini
The Red Turtle
WINNER: Zootopia
Best production design
Arrival
Fantastic Beasts and Where to Find Them
Hail, Caesar!
WINNER: La La Land
Passengers
Best visual effects
Deepwater Horizon
Doctor Strange
WINNER: The Jungle Book
Kubo and the Two Strings
Rogue One: A Star Wars Story
Best film editing
Arrival
WINNER: Hacksaw Ridge
Hell or High Water
La La Land
Moonlight
Best documentary short
4.1 Miles
Extremis
Joe’s Violin
Watani: My Homeland
WINNER: The White Helmets
Best live-action short
Ennemis Interieurs
La Femme et le TGV
Silent Nights
WINNER: Sing
Timecode
Best cinematography
Arrival
WINNER: La La Land
Lion
Moonlight
Silence
Best score
Jackie
WINNER: La La Land
Lion
Moonlight
Passengers
Best song
Audition (La La Land)
Can’t Stop the Feeling! (Trolls)
WINNER: City of Stars (La La Land)
The Empty Chair (Jim: The James Foley Story)
How Far I’ll Go (Moana)
Best original screenplay
Hell or High Water
La La Land
The Lobster
WINNER: Manchester by the Sea
20th Century Women
Best adapted screenplay
Arrival
Fences
Hidden Figures
Lion
WINNER: Moonlight
Best director
Denis Villeneuve (Arrival)
Mel Gibson (Hacksaw Ridge)
WINNER: Damien Chazelle (La La Land)
Kenneth Lonergan (Manchester by the Sea)
Barry Jenkins (Moonlight)
Best actor
WINNER: Casey Affleck (Manchester by the Sea)
Andrew Garfield (Hacksaw Ridge)
Ryan Gosling (La La Land)
Viggo Mortensen (Captain Fantastic)
Denzel Washington (Fences)
Best actress
Isabelle Huppert (Elle)
Ruth Negga (Loving)
WINNER: Emma Stone (La La Land)
Natalie Portman (Jackie)
Meryl Streep (Florence Foster Jenkins)
Best picture
Arrival
Fences
Hacksaw Ridge
Hell or High Water
Hidden Figures
WINNER: La La Land
Lion
Manchester by the Sea
WINNER: Moonlight
What It Was Like Onstage During the Oscars 2017 Best Picture Mistake
By CARA BUCKLEY and BROOKS BARNESFEB. 27, 2017
Jordan Horowitz knew something was wrong the moment he saw people in headsets scurrying across the Oscars stage.
Only a minute earlier Faye Dunaway had said the words that Mr. Horowitz had longed to hear ― “La La Land” ― as she announced the best picture winner for the 2017 Academy Awards. Mr. Horowitz, a producer on that film, and colleagues and cast members raced to the stage. Mr. Horowitz spoke first ― “Thank you to the academy,” he began ― but his excitement quickly dissipated, as he recalled the shocking end to the night in an interview with The New York Times after the ceremony.
“I’m holding the envelope and the award, and I had just given my speech, and there are people on the stage with headsets, and I thought, ‘That doesn’t seem right,’” Mr. Horowitz said at the Governors Ball, the official post-Oscars celebration.
“They asked to see my envelope, which I haven’t opened,” he recalled. “Clearly something was wrong. They open my envelope, and it says ‘Emma Stone, “La La Land.”’ So clearly something is not right. The guys in headsets were going around with urgency looking for the other envelope ― it just kind of appeared,” he said. “One of the guys opens it, and it says ‘Moonlight,’ and I took it onstage and went to the microphone and said what I said.”
What Mr. Horowitz said ― “There’s a mistake. ‘Moonlight,’ you guys won best picture” ― was one of the most surprising reversals in Oscar history, with apparent human error combining with live television to powerful, jaw-dropping effect. It was also a painful reminder, on the most celebratory night of the year for the film industry, that no system of voting is perfect, and it warped and dampened the euphoria of film executives and artists who had spent years working on the two movies.
And for the academy, which had been criticized last year for #OscarsSoWhite, there might have been something of a missed moment: Instead of a proper celebration of “Moonlight,” with its all-black cast and touching personal narrative, there was a televised scene of confusion, disbelief and astonishment.
PricewaterhouseCoopers, the accounting firm that oversaw the academy voting and handled the award envelopes, issued a statement on Monday morning that apologized to those involved with the two movies; the award category presenters, Ms. Dunaway and Warren Beatty; and to Oscar viewers “for the error that was made during the award announcement for best picture.”
The statement added, “We appreciate the grace with which the nominees, the academy, ABC and Jimmy Kimmel handled the situation,” a reference to the network broadcasting the show and the host of the Oscars ceremony.
PricewaterhouseCoopers prepares two identical sets of sealed envelopes. The two partners from the firm who oversee the voting process, Martha L. Ruiz and Brian Cullinan, each have a briefcase with a complete set of the envelopes inside and stand on opposite sides of the stage.
The envelope for best actress, the penultimate award of the night, came from the side of the stage where Ms. Ruiz stood.
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After Ms. Stone accepted that honor, Ms. Dunaway and Mr. Beatty came out to present the best picture award from Mr. Cullinan’s side of the stage, where a best actress envelope was still unopened. Mr. Cullinan clearly handed Mr. Beatty the wrong envelope.
After Mr. Cullinan and Ms. Ruiz realized that the wrong winner had been announced, they notified the stage manager, which set in motion a chaotic scene onstage. Those details, provided by two people familiar with the process who were not authorized to speak publicly, helped clarify some of the details of what happened onstage Sunday night.
Yet it still took more than two minutes between Ms. Dunaway announcing “La La Land” as best picture and an announcement from the “La La Land” producers that “Moonlight” was in fact the winner. Three “La La Land” producers had given acceptance speeches before the mistake was announced.
Exactly how the confusion resulting in Mr. Beatty’s being handed the wrong envelope occurred is not fully known. But it could have to do with the design. PricewaterhouseCoopers used a new envelope this year, featuring red paper with gold lettering that specifies the award inside. That may have made the outside of the envelopes more difficult to read than last year’s envelopes, which featured gold paper and red lettering. The academy is responsible for the envelope design.
“I read the card that was in the envelope,” Mr. Beatty told reporters on his way to the Governors Ball. “I thought, ‘This is very strange because it says “best actress” on the card.’ And I felt that maybe there was some sort of misprint.” Pressed further, he said, “That’s all I have to say on the subject.”
PricewaterhouseCoopers declined to comment beyond the statement it put out early Monday morning.
For the filmmakers and actors in “Moonlight,” those final seven minutes of the Oscars ceremony ― from Ms. Dunaway’s announcement of “La La Land” to the discovery that “Moonlight” had won to the speeches by its producers, by Mr. Beatty and by Mr. Kimmel ― were no less stunning.
“The last 20 minutes of my life have been insane,” Barry Jenkins, the director of “Moonlight,” told reporters backstage after the ceremony. “I don’t think my life could be changed any more dramatically than the last 20 or 30 minutes.”
André Holland, an actor in “Moonlight” who was attending the Oscars, said in an interview that he was sitting in the back of the hall with others from the film when he heard Mr. Horowitz, the “La La Land” producer, say from the stage: “There’s a mistake. ‘Moonlight,’ you guys won best picture.”
“We all looked at each other and were like, ‘Is this a joke?’” said Mr. Holland, who plays the character Kevin in the final third of the film. “We waited and kept watching ― we didn’t want to celebrate until we knew if it was a joke and whether this was really happening. It was surreal.”
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Less than two minutes later, Mr. Holland was onstage with his “Moonlight” family.
“I still couldn’t believe we were up there,” Mr. Holland said, speaking by telephone to The Times a half-hour after the ceremony. “It was a ton of people onstage, and I don’t think anyone could believe it.”
Afterward, Mahershala Ali, who won best supporting actor for “Moonlight,” said backstage that he had been thrown by the turn of events.
“I just didn’t want to go up there and take anything from somebody, you know?” he said.
Mr. Jenkins told “Entertainment Tonight” that he “could see it in Jordan’s face, that he was speaking the truth,” referring to Mr. Horowitz.
“I wanted to feel compassion for him,” Mr. Jenkins said. “I’m pretty sure the first thing I do when I get up onstage is give him a hug because it couldn’t have been easy. But these things happen, you know. They happen.”
Later, he posted on Twitter about what Mr. Horowitz had gone through:
Mr. Horowitz, who gave up the Oscar in his hand with almost preternatural calm, said that he was “sad” in that moment but also savored the fact that “La La Land” won six Oscars during the night.
“It was a surreal kind of out-of-body experience,” he said. Referring to awards season events with the “Moonlight” filmmakers and others, he added, “We’ve been on the circuit with them for six months. If that kind of thing has to happen, I’m glad to give it to them.”
As Mr. Horowitz spoke, colleagues and others came up to him, hugging him and saying how gracious he was. Then Adele Romanski, a “Moonlight” producer, came up to him, and they gave each other a huge hug. “I got to give a speech and then give you an award,” Mr. Horowitz said.
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I thought that was a part of the act when watching this Oscars on TV in my apt. It turned out to be a history-making mistake in the show. LOL
****
A Transcript of the Best-Picture Mixup: It Was ‘La La Land,’ Until It Was ‘Moonlight’
By GIOVANNI RUSSONELLO and DANIEL VICTORFEB. 27, 2017 The New York Times
For a brief few minutes, “La La Land” lovers relished the victory, while those rooting for “Moonlight” to win best picture turned the TV off or tweeted their anguish. Then, in an awkward series of events sure to be permanently etched into Hollywood lore, it turned out to be fake news.
Presenting the best-picture award at the end of a long Oscars evening, Warren Beatty opened the envelope and after some hesitation, his fellow presenter Faye Dunaway announced that “La La Land” was the winner. Moments later, even as “La La Land” speeches began, a producer of that film made it clear that, in fact, “Moonlight” was the winner.
The words “WHAT IS HAPPENING?” trended on Twitter.
It was stunning for such a mix-up to happen on one of the most high-profile stages possible. Rumors long held that Marisa Tomei was given her best supporting actress award in 1993 by mistake, but those rumors have been thoroughly debunked.
Steve Harvey famously flubbed the winner of the 2015 Miss Universe pageant, but that gained prominence through media coverage in the days afterward. This time, the world was watching as it unfolded.
Here is a transcript of the scene. Grab your popcorn.
Warren Beatty: And the academy award [hesitates] for best picture… [hesitates again]
Faye Dunaway: You’re impossible. C’mon.
Mr. Beatty hands her the envelope.
Dunaway: “La La Land.”
The crowd erupts in applause, and the “La La Land” cast approaches the stage.
Jordan Horowitz, a “La La Land” producer: Thank you, thank you all. Thank you to the academy. Thank you to Lionsgate. Thank you to our incredible cast and crew. We’re all up here right now. Thank you to Jamie Feldman and Gary Gilbert. Thank you to my parents for supporting my choice to pursue a career in the arts, even though it was a little bit crazy. Arthur Horowitz, you are my fantasy baby. And to my kind, generous, talented, beautiful, blue-eyed wife and creative partner, Julia Hart, you have inspired me to become the man I am right now and more importantly, the man I’m still becoming. There’s a lot of love in this room, and let’s use it to create and champion bold and diverse work ― work that inspires us towards joy, towards hope and towards empathy.
Marc Platt, a “La La Land” producer: Here’s to the fools who made me dream: my uncle Gary Platt; my mentor, Sam Cohn; my parents; my children; my wife Julie, on whose shoulders I’ve stood for 40 years because she insisted I reach for the stars. And to the Hollywood community that I’m so proud to be a part of. And to the Hollywood and the hearts and minds of people everywhere, repression is the enemy of civilization. So keep dreaming, because the dreams we dream today will provide the love, the compassion and the humanity that will narrate the stories of our lives tomorrow. Fred?
At this point, people onstage have clearly begun to pass around the disorienting news.
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Fred Berger, a “La La Land” producer: To the love of my life, Ali Loewy, I love you. I love you so much, to my family, Mama, Papa, Jeff [unintelligible]. Matt Plouffe, you kicked this off ― and Damien Chazelle, we’re standing on your shoulders. We lost, by the way, but, you know.
Horowitz: What? You guys, I’m sorry, no. There’s a mistake. “Moonlight,” you guys won best picture.
Members of the “Moonlight” team rise from their seats and begin to approach the stage.
Jimmy Kimmel: Guys, this is very unfortunate, what happened. Personally, I blame Steve Harvey for this. I would like to see you get an Oscar, anyway. Why can’t we just give out a whole bunch of them?
Horowitz: I’m going to be really proud to hand this to my friends from “Moonlight.”
Kimmel: That’s nice of you. That’s ―
The “Moonlight” cast members ascend to the stage and exchange embraces and, possibly, condolences with the cast members of “La La Land.”
Warren Beatty: Hello. Hello. I want ―
Kimmel: Warren, what did you do!?
Beatty: I want to tell you what happened. I opened the envelope and it said, “Emma Stone, ‘La La Land.’” That’s why I took such a long look at Faye, and at you. I wasn’t trying to be funny.
Kimmel: Well, you were funny.
Beatty: Thank you very much, thank you very much. This is “Moonlight” ― the best picture.
Barry Jenkins, “Moonlight” director: Very clearly, even in my dreams, this could not be true. But to hell with dreams ― I’m done with it, because this is true. Oh, my goodness. I have to say ― and it is true, it’s not fake ― we’ve been on the road with these guys for so long, and that was so gracious, so generous of them. My love to “La La Land,” my love to everybody. Man.
Adele Romanski, a “Moonlight” producer: Thank you to the aca―? I don’t know what to say. That was really ― I’m still not sure this is real, but thank you to the academy. And it is so humbling to be standing up here with, hopefully, still the “La La” crew? No, O.K., they’re gone, but it’s very humbling to be up here. And I hope even more than that, that it’s inspiring to people ― little black boys and brown girls and other folks watching at home who feel marginalized and who take some inspiration from seeing this beautiful group of artists, helmed by this amazing talent, my friend Barry Jenkins, standing up here on this stage accepting this top honor. Thank you.
Jenkins: You know, there was a time when I thought this movie was impossible, because I couldn’t bring it to fruition. I couldn’t bring myself to tell another story. And so everybody behind me on this stage said, No, that is not acceptable. So I just want to thank everybody up here behind me. Everybody out there in that room. Because we didn’t do this. You guys chose us. Thank you for the choice. I appreciate it. Much love.
Kimmel: Well, I don’t know what happened. I blame myself for this. Let’s remember, it’s just an awards show. I mean, we hate to see people disappointed, but the good news is we got to see some extra speeches. We had some great movies. I knew I would screw this show up, I really did. Thank you for watching. I’m back to work tomorrow night on my regular show. I promise I’ll never come back. Good night.
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Harvey Weinstein raped me, actress tells LAPD. Investigation launched
Oct 19, 2017 By Richard Winton and Victoria KimContact Reporters - Los Angeles Times
Los Angeles police are investigating new allegations against Harvey Weinstein after an Italian model-actress reported that the producer sexually assaulted her in 2013. (Al Powers / Associated Press)
Richard Winton and Victoria KimContact Reporters
An Italian model-actress met with Los Angeles police detectives for more than two hours Thursday morning, providing a detailed account of new allegations that movie mogul Harvey Weinstein sexually assaulted her at a hotel in 2013.
She is the sixth woman to accuse Weinstein of rape or forcible sex acts. Los Angeles police Capt. Billy Hayes confirmed that the department has launched an investigation into the matter.
It is the first case related to Weinstein to be reported in Southern California. New York police already have two active sex crime probes and London’s Metropolitan Police is investigating allegations made by three women.
The new allegation could be legally troubling for Weinstein because it falls within the 10-year statute of limitations for the crime that existed at the time of the alleged incident, legal experts say.
It could “open the door to a prosecution if the evidence exists,” said defense attorney Dmitry Gorin, a former L.A. County sex crimes prosecutor. Until now, most of the allegations against Weinstein that could lead to criminal charges concerned incidents that are more than a decade old.
Weinstein has “unequivocally denied” allegations of non-consensual sex, according to his representative, Sallie Hofmeister. On the latest allegation, she said: "I can't respond to some anonymous complaint."
The 38-year-old woman, who has asked not to be named because she is fearful of retaliation and concerned about protecting her children’s privacy, first contacted police on Tuesday, through her attorney, David Ring of the law firm Taylor Ring. Two detectives from the Los Angeles Police Department’s Robbery-Homicide Division’s rape special section took her statement on Thursday.
She told the Los Angeles Times that the incident occurred at Mr. C Beverly Hills hotel after she attended the 8th annual Los Angeles, Italia Film, Fashion and Art Fest in February 2013. She had previously met Weinstein once, briefly, in Rome after being introduced by an acquaintance. At that time, he invited her up to his hotel room, but she said she declined. She said they spoke briefly at the film festival, but he didn’t appear to recall meeting her before.
Later, he showed up “without warning” after midnight in the lobby of her hotel, which she said surprised her because she didn’t tell him where she was staying. He asked to come up to her room. She said she told him no and offered to meet him downstairs, but soon, he was knocking on her door.
“He ... bullied his way into my hotel room, saying, ‘I’m not going to [have sex with] you, I just want to talk,’” the woman told The Times. “Once inside, he asked me questions about myself, but soon became very aggressive and demanding and kept asking to see me naked.”
She said Weinstein repeatedly bragged about his power and influence and told her not to fight him. She tried to show him pictures of her children and her mother, who was undergoing chemotherapy at the time, as she cried and begged him to go away, she said.
“He grabbed me by the hair and forced me to do something I did not want to do,” she said. “He then dragged me to the bathroom and forcibly raped me.”
When he left, she said he told her she was very beautiful, and that she could work in Hollywood.
“He acted like nothing happened,” the woman said. “I barely knew this man. It was the most demeaning thing ever done to me by far. It sickens me still. … He made me feel like an object, like nothing, with all his power.”
After the incident, he invited her to parties at his house. She did not attend.
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Throughout the interview with The Times on Thursday, she was calm and collected ― though her voice quivered when she spoke of her three children. It is because of them, she said, that she decided to report Weinstein to the police.
At the time, she said she was too afraid, but did tell a priest, a friend and a nanny what had happened.
“I feel responsible that I didn't talk for years, I feel responsible that I didn't react that night and I didn't call the police, I feel responsible that I wasn't brave enough," she said. “All these years I’ve been thinking why I didn’t call the police immediately. I regret that I opened the [hotel] door.”
About a week before the Weinstein story broke, her high-school-aged daughter told her about how she had been experiencing mistreatment from a boy for seven months. To comfort her, she told her about the incident with Weinstein and urged her to report what was going on.
"If I need to do that, why don't you stand up for yourself?" her daughter said, she recounted. And she said her son told her: “You just need to be strong, Mom.”
Her attorney, Ring, one of L.A.’s top sex-abuse attorneys, said the woman is fully cooperating with the LAPD.
The model-actress, who was 34 at the time, is well-known in Italy, where she appeared on the cover of Italian Vogue and as an actress in Italian films.
The woman was living in Italy with her three children at the time of the alleged attack, but has since moved to Southern California.
The allegations could also bolster a New York police investigation into a report that Weinstein forced an aspiring actress in 2004 to perform oral sex on him, as the L.A. case involves similar acts. Lucia Evans told the New Yorker that Weinstein assaulted her during a meeting at his Miramax office.
Since a New York Times article first revealed allegations of sexual misconduct against Weinstein earlier this month, more than 40 women ― actresses, studio workers and models ― have accused Weinstein of inappropriate behavior, ranging from harassment to rape. Actresses Asia Argento, Rose McGowan, Lysette Anthony and Evans have all publicly stated that they were raped or forced to perform a sex act by Weinstein. An unnamed woman also told the New Yorker that he allegedly raped her. Eight women have received civil settlements over the years from Weinstein or his companies related to his conduct, the New York Times reported.
In other developments Thursday, a group of Weinstein Co. staffers responded to sexual harassment and assault allegations against their company’s disgraced co-founder, saying they did not know he was a “serial sexual predator.”
“We all knew that we were working for a man with an infamous temper. We did not know we were working for a serial sexual predator,” about 30 staffers said in a letter sent to the New Yorker. “We knew that our boss could be manipulative. We did not know that he used his power to systematically assault and silence women.”
The memo also blasted nondisclosure agreements in their contracts that some have blamed for helping to keep allegations under wraps for years.
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日本国憲法と違ってアメリカの憲法は日常生活に生きている。それを証明するかように最高法規が保障する言論や発言の自由がオスカーの授賞式でもみられる。それは映画産業に限ったことではない。さまざまな公式の場でも公然と、政権の批判を含んだ政治的な発言が飛び交う。その発言内容により人間の価値が決まるかのように。
*****
Oscars host Jimmy Kimmel makes anti-GOP jabs after first professing positivity
By Tyler McCarthy | Fox News
The Academy Awards get political: A look at the jabs
From President Trump to Dreamers, the Academy Awards didn't shy away from going political. Here is a roundup of host Jimmy Kimmel's and other presenters' controversial comments.
The unique monster movie "The Shape of Water" took home the award for best picture at the 2018 Academy Awards on Sunday, as host Jimmy Kimmel and some stars brought things to a political place during Hollywood’s biggest award show of the year with jabs at President Trump, Vice President Mike Pence and even Fox News viewers.
Despite calling for a show filled with positivity, both the host and stars like Common, Kumail Nanjiani and Lupita Nyong'o made the movie-centric show political.
Kimmel began with an old-timey announcement in which he listed the stars in attendance, making his first political jab with “Black Panther” actress Lupita Nyong’o.
The Academy Awards tend to go a little long. In order to keep the telecast moving, host Jimmy Kimmel offered a unique prize to the winners, a jetski. Watch the funny moment.
“The stunning Lupita Nyong’o, she was born in Mexico and raised in Kenya,” Kimmel said at the top of the show. “Let the tweetstorm from the president's toilet begin!”
From there, the host launched into a positive monologue that poked fun at the whirlwind year in Hollywood, which saw the #MeToo and Time’s Up movements dominate the headlines and previous award shows. In commenting on the year’s diversity, he highlighted “Get Out” helmer, Jordan Peele.
“Jordan is only the first person in 90 years to be nominated for directing, writing and best picture for his debut film,” he said. “What a debut it was. None other than President Trump called ‘Get Out’ the best first three quarters of a movie this year.”
The final political jab came when discussing the gay romance film “Call Me By Your Name.” The host noted that the film, despite being an Oscar-nominated feature, did not score big at the box office.
“We don’t make films like ‘Call Me By Your Name’ for money,” he quipped. “We make them to upset Mike Pence.”
He lauded the actual Oscar statue, noting its age of 90 and taking a swipe at Fox News viewers in the process: "Oscar is 90 years old tonight, which means he’s probably at home tonight watching Fox News."
(In fact, according to Nielsen Media Research, the median age of Fox News is 65, meanwhile MSNBC is 66 and CNN is 59.)
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Sam Rockwell accepts the award for best performance by an actor in a supporting role for "Three Billboards Outside Ebbing, Missouri" at the Oscars on Sunday, March 4, 2018, at the Dolby Theatre in Los Angeles.
Pic=Sam Rockwell took home the Oscar for best supporting role for his part in “Three Billboards outside Ebbing, Missouri.” (AP)
He also said the Oscar, "Keeps his hands where you can see them, never says a rude word, and most importantly no penis at all. He is literally a statue of limitations."
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The host ended his opening monologue by explaining that winners are allowed to say whatever they want in their acceptance speech, encouraging people to comment on the recent shooting in Parkland, Fla. as well as other activism with regards to the #MeToo movement.
From there, the show launched into its first trophy of the evening, with Sam Rockwell taking home the Oscar for best supporting role for his part in “Three Billboards outside Ebbing, Missouri.”
In later quips, the host commented on the recent departure of Hope Hicks from the White House, joking there was now a lack of hope at the White House.
Later, after the best documentary feature award went to “Icarus,” a film that portrays an unflattering look at doping in sports, particularly with regards to the recent scandal in Russia, Kimmel made another jab at the current political climate.
"I did it all by myself," Janney joked before launching into her speech, in which she thanked a bird.
“Now at least we know Putin didn’t rig this competition, Right?”
Kimmel wasn't the only one getting political throughout the night. Stars Kumail Nanjiani and Nyong'o took the stage to share a message of support to Dreamers ahead of announcing "Shape of Water" as the winner of best production design.
“Like everyone in this room and everyone watching at home, we are dreamers. We grew up dreaming of one day being in the movies. Dreams are the foundation of Hollywood and dreams are the foundation of America,” Nyong’o said.
“To all the dreamers out there,” Nanjiani continued. “We stand with you."
The next major award of the evening went to Allison Janney, who took home the Oscar for best actress in a supporting role for her work on "I, Tonya."
"I did it all by myself," she joked before launching into her real speech, which included a thanks to her bird co-star from the hit ice skating biopic.
In the biggest stunt of the evening, Kimmel wanted to thank moviegoers for their contri
Kimmel and Gadot entered first before inviting the others in, armed with candy, a hot dog cannon and sandwiches.
“This is so much better than the Oscars,” Gadot said, before Kimmel noted that the theater had a stench of marijuana.
“It’s true,” she said. “Not that I would know.”
From there, Kimmel asked a random audience member to introduce Tiffany Haddish and Maya Rudolph to introduce the next category.
Dave Chappelle took the stage soon after to introduce a musical performance from Common and Andra Day to perform “Stand Up for Something” as an ode to American activism with politically charged lyrics about topics like the NRA, the Parkland shooting, immigration, feminism and Puerto Rico.
Pic=Common and Andra Day performed a song accompanied by activists at the 2018 Oscars. (Reuters)
As they sang, famed activists Alice Brown Otter (Standing Rock Youth Council), Bana Alabed (author and Syrian refugee), Bryan Stevenson (Equal Justice Initiative), Cecile Richards (Planned Parenthood Action Fund), Dolores Huerta (Dolores Huerta Foundation, United Farm Workers of America), Janet Mock (#GirlsLikeUs), José Andrés (ThinkFoodGroup), Nicole Hockley (Sandy Hook Promise), Patrisse Cullors (Black Lives Matter) and Tarana Burke (Me Too) took the stage behind them, with one holding up a Puerto Rican flag at the end of the performance.
Sam Rockwell accepts the award for best performance by an actor in a supporting role for "Three Billboards Outside Ebbing, Missouri" at the Oscars on Sunday, March 4, 2018, at the Dolby Theatre in Los Angeles.
Pic=Sam Rockwell took home the Oscar for best supporting role for his part in “Three Billboards outside Ebbing, Missouri.” (AP)
He also said the Oscar, "Keeps his hands where you can see them, never says a rude word, and most importantly no penis at all. He is literally a statue of limitations."
The host ended his opening monologue by explaining that winners are allowed to say whatever they want in their acceptance speech, encouraging people to comment on the recent shooting in Parkland, Fla. as well as other activism with regards to the #MeToo movement.
From there, the show launched into its first trophy of the evening, with Sam Rockwell taking home the Oscar for best supporting role for his part in “Three Billboards outside Ebbing, Missouri.”
In later quips, the host commented on the recent departure of Hope Hicks from the White House, joking there was now a lack of hope at the White House.
Later, after the best documentary feature award went to “Icarus,” a film that portrays an unflattering look at doping in sports, particularly with regards to the recent scandal in Russia, Kimmel made another jab at the current political climate.
"I did it all by myself," Janney joked before launching into her speech, in which she thanked a bird.
“Now at least we know Putin didn’t rig this competition, Right?”
Kimmel wasn't the only one getting political throughout the night. Stars Kumail Nanjiani and Nyong'o took the stage to share a message of support to Dreamers ahead of announcing "Shape of Water" as the winner of best production design.
“Like everyone in this room and everyone watching at home, we are dreamers. We grew up dreaming of one day being in the movies. Dreams are the foundation of Hollywood and dreams are the foundation of America,” Nyong’o said.
“To all the dreamers out there,” Nanjiani continued. “We stand with you."
The next major award of the evening went to Allison Janney, who took home the Oscar for best actress in a supporting role for her work on "I, Tonya."
"I did it all by myself," she joked before launching into her real speech, which included a thanks to her bird co-star from the hit ice skating biopic.
In the biggest stunt of the evening, Kimmel wanted to thank moviegoers for their contribution to the industry. He enlisted the help of celebrity volunteers from the crowd to surprise a group of unsuspecting people at a nearby theater who thought they were seeing “A Wrinkle in Time.”
The starpower for the stunt included Ansel Elgort, Mark Hamill, Guillermo del Torro, Gal Gadot, Lupita Nyong’o, Emily Blunt, Armie Hammer, Lin Manuel Miranda and Margot Robbie
Kimmel and Gadot entered first before inviting the others in, armed with candy, a hot dog cannon and sandwiches.
“This is so much better than the Oscars,” Gadot said, before Kimmel noted that the theater had a stench of marijuana.
“It’s true,” she said. “Not that I would know.”
From there, Kimmel asked a random audience member to introduce Tiffany Haddish and Maya Rudolph to introduce the next category.
Dave Chappelle took the stage soon after to introduce a musical performance from Common and Andra Day to perform “Stand Up for Something” as an ode to American activism with politically charged lyrics about topics like the NRA, the Parkland shooting, immigration, feminism and Puerto Rico.
Pic=Common and Andra Day performed a song accompanied by activists at the 2018 Oscars. (Reuters)
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As they sang, famed activists Alice Brown Otter (Standing Rock Youth Council), Bana Alabed (author and Syrian refugee), Bryan Stevenson (Equal Justice Initiative), Cecile Richards (Planned Parenthood Action Fund), Dolores Huerta (Dolores Huerta Foundation, United Farm Workers of America), Janet Mock (#GirlsLikeUs), José Andrés (ThinkFoodGroup), Nicole Hockley (Sandy Hook Promise), Patrisse Cullors (Black Lives Matter) and Tarana Burke (Me Too) took the stage behind them, with one holding up a Puerto Rican flag at the end of the performance.
After that, a pre-taped segment in which actors, directors and many more spoke about the diversity of the year and the rise of diversity and the “#MeToo” and Time’s Up movements. The segment was a complete about-face from last year, in which the awards were criticized for a total lack of diversity.
“Some of my favorite movies are movies by straight white dudes about straight white dudes,“ Nanjiani said in the video. ”Now straight white dudes can watch movies starring me and you relate to them. It’s not that hard, I’ve done it my whole life.”
"I remember going to see 'Wonder Woman,' sitting in the theater and hearing women cry at this big action extravaganza. And something clicked," Berry Jenkins said. "And I’ll say it, this is what white men feel all the time, and all these women are having this experience for the first time. I imagine it will be the same thing when people go see 'Black Panther.'”
From there, "Call Me By Your Name" was awarded best adapted screenplay right before Jordan Peele took home a historic trophy for best screenplay with "Get Out."
Soon after, though, the first female nominated for best cinematography, Rachel Morrison, lost out to Roger A. Deakins for "Blade Runner 2049."
From there, “Shape of Water” took home the award for best musical score and the animated film “Coco” won best song for “Remember Me” before the special musical tribute to the artists we've lost this year.
Eddie Vedder took the stage to sing Tom Petty's "Room at the Top" as images of departed actors, directors and others in showbusiness flashed on screen. John Heard, Martin Landau, Glenne Headly, Roger Moore, Sam Shepard and Jerry Lewis were given special mention.
From there, it was time for the biggest awards of the night, starting with best director.
“These four men, and Greta Gerwig,” Emma Stone joked while announcing the nominees, noting the only female-nominee in the category.
Guillermo del Torro ultimately took home the trophy, though.
He thanked everyone for giving him and everyone in showbusiness an opportunity to "erase the lines in the sand."
"We should continue doing that when the world tells us to make them deeper."
Pic=Guillermo del Torro took home the award for best director and best picture for "The Shape of Water." (Reuters)
The coveted award for best actor in a leading role came next, with Jane Fonda and Helen Mirren taking the stage to discuss the “#MeToo” movement. They announced Gary Oldman for his portrayal of Winston Churchill in “The Darkest Hour.”
“Put the kettle on, I’m bringing Oscar home,” he said to his 99 year old mother watching at home.
From there, Jennifer Lawrence and Jodie Foster took the stage to announce Frances McDormand as the winner of best actress for “Three Billboards Outside Ebbing, Missouri.”
While accepting her award, the star asked every female that was nominated in any category in 2018 to stand before making a plea to Hollywood to finance their stories and their projects. Her parting words for the academy were "inclusion rider."
When it was all said and done, Guillermo del Torro took the stage to thank the youth for showing how films should be done while he accepted the award for best picture for his film "The Shape of Water."
"This is a door, kick it open and come in," he said.
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