Ricky Gervais at the Golden Globes

She's a great writer, Bridget Phetasy, at Quillette, "Ricky Gervais, Man of the People":

I wrote about the @rickygervais monologue, #HollywoodHypocrites and warm nuts. Enjoy.https://t.co/EpSlkKQUC5

— Bridget Phetasy (@BridgetPhetasy) January 6, 2020

In a room filled with self-absorbed narcissists, one brave, slightly less self-absorbed narcissist had the balls to speak truth to power—and his name is Ricky Gervais.

If courage had a face, it would be a slightly overweight, pasty British multi-millionaire drinking a pint. Taking the stage to host his fifth and final (allegedly) Golden Globe Awards, Ricky spoke for us, the oppressed, six-figure earning, working middle-class, little guy.

I may not have ever flown on a private jet to a private island with a temple, but I got an upgrade to First Class once, and those warm nuts have a way of seducing you into believing anyone cares about your shitty takes. In fact it was on that flight I was inspired to become an opinion writer. I appreciate your hypocrisy, Hollywood, it makes me feel better about my own...

Read it all.

And the video from the broadcast is at the link.

Can a Family of Four Enjoy a Major Sporting Event in Orange County/Los Angeles for $100 for Tickets, Food, and Parking?

My favorite games are Saturday nights at Anaheim Stadium, where Angels games are followed by fireworks. We sit up on the top deck usually, and tickets are about $50 bucks for the whole family, sometimes less. (Once in a while we'll get field level, but my wife likes sitting up top, as she's not craning her neck every which way for foul balls and what not.) I get hot dogs, peanuts, and beer --- then I hand my wallet over to the family for the rest of the night, lol.

In any case, a great piece, at the Los Angeles Times, "Good luck getting a family of four into a professional sport for $100 — not in good seats, but any seats":

The Games Are Too Damn Expensive: As ticket prices for pro sports rise, teams risk losing the next generation of fans. In an era when kids might prefer video games anyway, families are increasingly priced out of live sports. https://t.co/IGTOWUGXDQ

— Bill Shaikin (@BillShaikin) December 26, 2019

A lifetime of sports fandom often starts with that first vision of the towering stadium before you, that first peek at the vibrant green grass of a ballpark, that first chance to see star players up close on the court and even closer on a gigantic video screen, that first moment to stand and scream for your team.

“We do remember that first ballgame our parents, our friend, our Scout troop might have taken us to,” said Andy Dolich, who has run marketing operations for teams in all five major North American sports. “It’s one of those indelible memories for tens of millions of people.”

That experience has become all but unaffordable for the typical family in the Los Angeles area.

As teams focus on maximizing revenue from the current generation of fans, they risk losing a future generation of fans, particularly at a time when kids limited to experiencing games on a screen might well prefer Fortnite to ESPN.

The arms race to turn athletic venues into opulent cash machines — with gourmet dining, finely appointed luxury suites, VIP seats within sweating distance of the action, and video boards suited for Hollywood premieres — has all but left the common fan behind. Good luck getting a family of four into a game for $100 — not in good seats, mind you, but in any seats.

Dolich is a former chief operating officer of the San Francisco 49ers and Golden State Warriors and a former president of business operations for the Memphis Grizzlies. He now runs a sports consultant firm, and he is worried for an industry in which kids are increasingly priced out.

“You’re not yelling. You’re not screaming. You’re just not going,” Dolich said. “That, I think, is the most pernicious part of it.”

The median income for a family of four in Los Angeles County is $78,673, according to the USC Price Center for Social Innovation. After accounting for the costs of housing, child care, health care, food, transportation and taxes, that family would be left with $3,413 in discretionary income for the year, $284 per month.

Elly Schoen, data and project manager at the Price Center, said it would be “reasonable” to consider $100 as a price point for a family day at a sporting event.

“You’re thinking about going out to one or two games a year,” Schoen said, “and you’re thinking about spending about half your monthly discretionary income on that kind of family outing.”

The Times asked the 11 major professional teams that call Los Angeles and Orange County home whether a family of four could attend a weekend game for $100 — tickets, parking, and something to eat and drink. When prices exceeded that amount, The Times asked teams what the most affordable option for a family might be.

The Angels are the only team that guarantees any family can get to a weekend game for that amount. The team offers a $44 family pack that includes four field-level tickets, four hot dogs, and four soft drinks. Parking at Angel Stadium is $10.

The Sparks offer a $100 family pack that includes tickets, food and autograph vouchers, with parking for an additional $10. The Galaxy offer a family deal for $128, including a $10 concession credit and souvenirs but not food or parking.

The Ducks have a weekend family pack at $120, not including parking. The Kings have a family pack at $220, which includes family activities before Saturday games and a skating session at the team’s training facility.

LAFC offers 200 first-come, first-served tickets at $22 each, with discounted food and drinks in that section.

The Clippers sell $10 tickets at Staples Center on game day — first come, first served, with 50 to 200 tickets available for each game. They also provide the 120,000 participants in their Jr. Clippers youth basketball program with a free ticket to one game each season; parents pay for their game tickets.

The Lakers suggested the option of their minor league affiliate, the South Bay Lakers. The team plays at the Lakers’ team headquarters in El Segundo, where parking is free, and a $125 family pack includes $40 in food and beverage credit.

The Chargers and Rams both noted that training camp is free, often with interactive activities designed for families. The lowest single-game price this season is $35 for the Rams and $70 for the Chargers, although the Chargers anticipate a lower price when they move into the larger Sofi Stadium next season.

The Dodgers declined requests to participate in the survey. According to the initial 2020 single-game prices posted on the team website last month, the Dodgers are selling tickets for as low as $10 to the two midweek Freeway Series exhibition games. The Dodgers are selling $21 tickets for only one weekend game next season; the minimum price for all others is $30...

Keep reading.

Mr. Robinson's Neighborhood Gentrification (VIDEO)

I don't watch SNL anymore, but you gotta get a kick out of Eddie Murphy.

At LAT, "Eddie Murphy returns to ‘Saturday Night Live’ with Buckwheat, Mr. Robinson and Gumby in tow."

Kenneth Turan Reviews 'Richard Jewell'

An economical review, but positive, at LAT, "Review: Clint Eastwood’s ‘Richard Jewell’ illuminates a real-life nightmare."

Review: Clint Eastwood's ‘Richard Jewell’ illuminates a real-life nightmare https://t.co/poZVU4PZPF

— LAT Entertainment (@latimesent) December 13, 2019

Jill Arrington Featured at the Los Angeles Times

This is a major, major investigation, and fascinating.

I remember Ms. Jill announcing her departure from CBS 2 Los Angeles a couple of years ago, and she was disgruntled.

At LAT, "One year after Moonves’ exit, CBS TV stations also face harassment and misogyny claims":

One year after Moonves' exit, CBS TV stations also face harassment and misogyny claims https://t.co/cxetfh5ktn

— LAT Entertainment (@latimesent) December 8, 2019

Jill Arrington was a star in TV sports. Then, four years ago, the former NFL sideline reporter traded national exposure for what she thought would be a more stable job at CBS’ television stations in Los Angeles.

Arrington loved chronicling the Rams and other pro teams, and eventually took on additional duties as the weekend sports anchor for KCBS-TV Channel 2 and KCAL-TV Channel 9. But one thing about her job galled her: She was earning nearly $60,000 less a year than the male anchor she replaced.

When her contract came up for renewal, Arrington told the station’s top managers that it was unacceptable to pay a woman so much less than a man.

“Oooh, isn’t she tough,” Arrington recalls the former general manager of CBS’ L.A. stations, Steve Mauldin, saying during a March 2018 meeting. She said Mauldin turned to his lieutenant and said: “This one talks more than my wife.”

The meeting ended with no assurance of a raise. But as Arrington started to leave, she said her boss told her: “Put on a tennis dress and meet me at the golf club. We’ll put you on tape, and you can make some extra money.”

Arrington had experienced come-ons in her years covering sports, but nothing like this. She confided in a colleague, who recalled that Arrington was “frantic and scared” after the exchange. In an interview last week, Mauldin denied making the remarks. “That didn’t happen,” he said. “That’s the most absurd thing. I would not talk to women that way.”

Six months after that meeting, a bombshell detonated at the highest level of the company: CBS’ larger-than-life chief executive, Leslie Moonves, was ousted over claims he harassed and assaulted multiple women decades ago.

After a high-profile probe into Moonves’ conduct and the company’s workplace culture, independent law firms hired by CBS concluded that “harassment and retaliation are not pervasive at CBS.” But a Times investigation has uncovered claims of discrimination, retaliation and other forms of mistreatment in an overlooked but significant corner of the company: the chain of CBS-owned television stations.

More than two dozen current and former employees of KCBS and KCAL described a toxic environment where, they said, employees encountered age discrimination, misogyny, and sexual harassment — and retaliation if they complained.

Discrimination complaints have also surfaced at CBS-owned stations in Chicago, Dallas and Miami. The U.S. Equal Employment Opportunity Commission filed a lawsuit against CBS after investigating allegations that station managers in Dallas denied a full-time position to a 42-year-old traffic reporter and instead hired a 24-year-old former NFL cheerleader who didn’t meet the job’s requirements. CBS denied that it engaged in discrimination.

In late November, shortly before a scheduled trial, CBS reached a tentative agreement to resolve an age discrimination and retaliation lawsuit brought by award-winning Miami-based journalist Michele Gillen, who sued CBS last year. The company admitted no liability in the agreement. In her court filings, Gillen called CBS a “good ole boys club” that “protects men despite bad behavior.”

*****

During the last seven years, multiple women at the Los Angeles stations complained that they were subject to harassment by their bosses or colleagues.

Early in 2018, prominent KCAL anchor Leyna Nguyen complained to KCBS management about inappropriate comments and unwanted touching by a male colleague, according to several people familiar with the matter. CBS spent months investigating the allegations but concluded there was insufficient evidence of wrongdoing, according to a person familiar with the situation who was not authorized to comment publicly and requested anonymity.

CBS reached a settlement with Nguyen in July 2018 — just days before the allegations about Moonves became big news. Nguyen, a 20-year employee who left KCBS following the incident, declined to comment on the matter. CBS also struck a separation agreement with the person who was accused of the misconduct, and he also left. CBS did not admit liability in the matter. The employee denied wrongdoing and did not respond to a request for comment placed through his attorney.

The station’s then-head of makeup, Gwendolyn Gatti, backed Nguyen’s allegations. Gatti said the same employee harassed her, too, and that he “propositioned her for sex, asked about her sex life,” “slapped her on the buttocks,” and used the N-word when referring to her, according to a lawsuit in a separate case. CBS settled the matter with Gatti on July 27, 2018, according to court records. In a court filing, a CBS attorney labeled Gatti’s sexual harassment allegations “frivolous.” CBS denied any liability, according to a partially redacted copy of Gatti’s settlement agreement.

A former KCBS employee told The Times that he recalled a separate episode several years ago when Gatti was near tears and shaking with anger after a different colleague, a cameraman, forcefully slapped her on the buttocks. A second person confirmed that CBS investigated the slapping incident and the cameraman was disciplined.

Gatti was fired in September 2018, two months after her settlement. The 64-year-old makeup artist sued CBS in Los Angeles Superior Court in February, alleging wrongful termination, discrimination and retaliation. CBS, in court documents, said Gatti was fired “after she brought illegal drugs onto CBS property, in violation of company policy.”

In her lawsuit, Gatti said she realized her wallet was missing on Sept. 18, 2018, and called CBS’ security office to see if it had been turned it in. Later that day, she said she was called to the security office and presented with what she said were two empty plastic bags that a security guard claimed were found in her wallet. Gatti denied the bags were hers and “stated that she does not use any illegal drugs,” according to the lawsuit. She was fired the next day.

Nguyen and Gatti complained to management about sexual harassment in March 2018, according to court records. This was the same month that Arrington, the weekend sports anchor, began inquiring about her contract renewal. A single mom, she had been at the station more than two years, her duties had increased, and she wanted a raise.

The Times independently confirmed that CBS was paying Arrington about $60,000 a year less than her male predecessor. Arrington said her goal simply was to extend her contract, which expired in April 2018, and get a bump in pay to an anchor’s salary because she was putting in long hours serving as both a reporter and an anchor — appearing in as many as seven telecasts on a weekend shift.

Arrington was far from the highest-paid employee at the station, according to a person familiar with KCBS’ finances. Her salary put her among the middle of the pack. She was told to discuss the situation with Mauldin, which led to the awkward exchange.

Arrington’s colleague, Elsa Ramon, a former KCBS and KCAL anchor, confirmed that Arrington shared details about the incident with her shortly after it occurred in early 2018.

“She was uncomfortable,” Ramon said. “Mauldin made a suggestion that she engage in some activity,” adding that she viewed it as a quid pro quo situation.

A second CBS executive who attended the meeting said he didn’t recall Mauldin making inappropriate comments. Arrington claims that executive left the meeting just before she did. The second executive and Mauldin said they felt that Arrington was out of line in asking for a substantial raise over her $135,000 annual salary at a time when the station was struggling to control costs. (Arrington said she made no specific salary demands, and merely asked to be paid what other anchors in L.A. were making.)

“I thought she was making a good salary,” Mauldin said. “She thought she was worth more.”

Arrington initially was reluctant to talk to The Times.

Before joining KCBS, the 47-year-old Georgia native worked at Fox Sports, ESPN and CBS Sports, where she was seen by millions of viewers on the sidelines of NFL games and hosting shows about college football and NASCAR. Playboy readers in a 2000 online poll voted her America’s “sexiest sportscaster.” She declined the $1-million offer to pose for the magazine.

She arrived at KCBS and KCAL in 2015 after being recruited by Bill Dallman, a popular station news director who was also a Fox Sports alum. Arrington said she accepted the CBS stations job even though it meant lower pay and less exposure than a position at a national network. She was then in her 40s and working in on-air roles, a corner of the industry that can be unforgiving to women as they age.

Arrington nonetheless said she “felt it could be a whole new career for me, and a place where I could work for the next 10 years.”

Dallman, who now is news director for an ABC affiliate in Seattle, told The Times: “Jill and I both worked diligently to improve the quality of the on-air product and the culture in the building.”

Arrington enjoyed her experience early on, particularly co-anchoring KCAL’s weekend “Sports Central” with Gary Miller, an ESPN veteran. Miller, who now works at a Cincinnati station owned by Sinclair, said in an interview that Arrington was capable and a team player. Another KCBS reporter said: “She was one of the best we’ve ever had.”

Miller said Arrington confided in him that she was uncomfortable with Mauldin’s comments. Miller said he encouraged Arrington to complain to the human relations department, but she felt her best option was to avoid Mauldin. “He would start talking about her appearance or ask about her private life,” Miller said. “It was so inappropriate.” Mauldin denied the claims, saying “there was never a time when I put her in an uncomfortable position.”

Miller was let go in January 2017 due to budget cuts, and Arrington’s workload increased.

There were other tensions, too, according to seven current and former station employees interviewed by The Times. Jim Hill, a former NFL player and a fixture in L.A. broadcasting, was the station’s main sports personality and its sports director. He seemed uninterested in sharing the limelight, these people said.

“Jim wanted to handle the big stuff,” Mauldin said, adding that Hill was one of his favorites. “He wanted to do the big interviews, and I think Jill had a problem with that. ... I don’t think people down there [in sports] were comfortable being around her because of where her head was at.”

Arrington’s feature stories rarely appeared in Hill’s shows, she and others familiar with the situation said. Even a powerful report on an NFL lineman battling depression didn’t make the cut. Instead, the station ran preseason baseball clips.

“She wasn’t allowed to do stories that she wanted to do,” Miller said.

Hill did not respond to a request for comment.

Arrington said she tried to persevere: “I was just hoping the quality of my work would speak for itself.”

In early August 2018, the high-profile investigation into CBS’ culture began. Arrington’s attorney, Bobby Hacker, said he reached out to lawyers conducting the review because of concerns about Arrington’s treatment. But Arrington didn’t get a chance to talk to the investigators.

She was blindsided a week later on Aug. 22, 2018. It was her first day back at work after spending the weekend covering a Rams-Oakland Raiders preseason game. She was summoned to a conference room, where Tara Finestone, the news director who had replaced Dallman in January 2018, told her it was her last day.

Arrington demanded an explanation. She recalls Finestone saying: “We’re not firing you. We are happy with the quality of your work.” Instead, Arrington was told her position was no longer being staffed.

“I thanked her for her contributions and we talked about budgetary reasons,” Finestone told The Times. “Hers was the position that we decided to eliminate.”

More than a year later, Arrington still hasn’t landed a new job and she fears for her future.

“My takeaway from my experience at KCBS is that they were more concerned with protecting political alignments rather than the quality of their on-air broadcasts,” she said.

Colleagues and others also were confused by her abrupt departure. “My dealings with Jill were always first rate,” said Steve Brener, Dodgers spokesman. “She was professional and easy to work with. Then one day, she wasn’t here any more.”

Other station staffers say management decisions can be capricious and punitive. In 2013, Emmy Award-winning KCBS reporter Joy Benedict, who had just become the union shop steward at the station, posted a photo on Facebook of herself playfully posing on a giant chess board while on vacation in Miami with the caption, “Who wants to play with me???” Executives in New York became upset when a TV industry blog reposted the picture. They ordered KCBS managers to fire Benedict over the picture, according to three people with knowledge of the incident. KCBS executives felt that was too harsh of a punishment but they nonetheless assigned Benedict to primarily work less desirable weekend shifts. CBS representatives pointed out that she has since been given additional on-air opportunities at KCBS and CBS News.

Nancy London, who worked at CBS for 34 years, found herself on the outs after years of favorable performance reviews.

Nearly a decade ago, London, who worked at KCBS in technical services, received a new assignment and a new boss. He “harassed and ridiculed” her, she claimed in a lawsuit, alleging age, race and sex discrimination. London is African American. When she complained to HR, she said the situation grew worse. In July 2011, she was confronted by her boss and three other men who “railed upon” her in a group setting, London alleged in court filings. She fainted, requiring medical attention, according to the lawsuit.

A week later, London was fired.

London sued CBS in 2012, alleging wrongful termination. CBS dismissed London’s account as baseless. CBS settled the case in 2013 and did not admit liability. London declined to comment.

Several older CBS workers in L.A. also have alleged that they have been subject to age discrimination. The company also has come under criticism for its use of so-called per diem reporters, some of whom have worked for CBS for decades. These employees refer to themselves as freelancers, but some have been there so long that they jokingly call themselves “perma-lancers.”

Los Angeles relies heavily on per diem talent, according to executives and agents. The system causes resentment because it results in two classes of staff members working side by side. Using more per diem, part-time workers allows the stations to save money on personnel costs.

“People want to work in L.A., so there is a bigger pool of talent,” said one veteran CBS executive. “It comes down to market conditions.”

In the last 18 months, the station hired several new part-time reporters in their 20s. Younger reporters tend to get marquee weekday slots, which has caused resentment among some veterans, according to interviews and a review of KCBS staffing schedules.

In the just-completed November sweeps, KCBS and KCAL tied for sixth place in Los Angeles in viewership to late local newscasts. Market leaders are Walt Disney Co.’s KABC-TV Channel 7 and Univision’s KMEX-TV Channel 34.

“They are trying to cut, cut, cut and it’s taking a toll,” said Ramon, the former anchor who left the station in spring 2018. Ramon, 48, left rather than return to the weekend shift after spending two years filling in on prominent weekday newscasts because she cherished that time with her kids. She said she did not experience sexual harassment, but she didn’t see any opportunity for advancement, particularly because the station was investing in younger workers. “I felt that I was just spinning my wheels,” she said.

Numerous people said the atmosphere at KCBS and KCAL deteriorated after Dallman left.

Six employees told the Times that what they perceived as a hostile atmosphere at the station contributed to their decision to leave it in recent years.

Earlier this year, KCBS employees brought their concerns about stagnant wages and reliance on long-term freelancers to their union, SAG-AFTRA. Nearly two dozen reporters and anchors signed a petition in May. A union representative declined to comment on pending negotiations.

Mauldin denied that women were treated poorly or underpaid and said that the highest-paid talent was 30-year anchor Pat Harvey, a woman.

“We didn’t pay women less than men because they were women,” he said. “We respect everyone. But when you cut back in business, it’s difficult on people.”

CBS has faced workplace complaints in other divisions. Scott Pelley, 62, the respected former anchor of the “CBS Evening News,” told CNN that he lost his job as chief anchor “because I wouldn’t stop complaining ... about the hostile work environment.” CBS also ousted two big names — morning news anchor Charlie Rose and former “60 Minutes” executive producer Jeff Fager — over allegations of inappropriate conduct.

CBS’ board a year ago acknowledged shortcomings. “Historical policies [and] practices ... have not reflected a high institutional priority on preventing harassment and retaliation,” the board said of the investigators’ findings.

At KCBS and KCAL, a new general manager, Jay Howell, arrived in July, after spending the previous year running CBS stations in Pittsburgh.

Some staff members said they doubt reforms will filter down to the local stations.

James Bond Nostalgia

On Twitter:

Celebrate #JamesBondDay with the first poster for #NoTimeToDie #Bond25 pic.twitter.com/EoU4PXhxwX

— James Bond (@007) October 5, 2019

Happy James Bond Day. The World Premiere of the first 007 film DR. NO was on this day in 1962. How will you be celebrating? #JamesBondDay pic.twitter.com/6aPr4vGC5X

— James Bond (@007) October 5, 2019

On October 5th, 1962, Sean Connery was introduced to the world as Ian Fleming’s James Bond. Tonight, be sure to watch the movie that started it all, and celebrate with a martini, shaken, not stirred of course... #JamesBondDay @007 pic.twitter.com/e6AUVdPz0i

— Jack Carr (@JackCarrUSA) October 5, 2019

El Camino Preview Trailer (VIDEO)

Previously, "El Camino."

It's gonna be great!

Hello old friend.#Pinkman2019 pic.twitter.com/CyKW8c4lox

— Aaron Paul (@aaronpaul_8) September 23, 2019

The Golden Age of Television?

I didn't watch the Emmys --- I quit watching awards shows eons ago, and I frankly, it was mostly the Academy Awards for me in any case.

And apparently not that many tuned in.

That said, I agree with this Lorraine Ali piece below, at LAT. I just love the new era of TV. Streaming is the best. I'm on Netflix, but with all the new programming out across so many channels, I fear I'm missing out. Now that's something to be excited about, amid all the other stupid doomsday predictions everywhere of late.

#Emmys viewership falls under 7M for 1st time to all-time low – @DeadlineDominic reports https://t.co/VFeNXj19Rd pic.twitter.com/gsyRqclH6u

— Deadline Hollywood (@DEADLINE) September 23, 2019

I miss the days when just about EVERYONE was watching the Emmys LIVE and chatting about it ...seemed so fun and happy and exciting...kinda crickets on here☹️

— Kirstie Alley (@kirstiealley) September 23, 2019

See, "‘Fleabag.’ ‘Succession.’ ‘Pose.’ How the Emmys finally harnessed the power of ‘peak TV’":

The #Emmys telecast was proof of how far television has come creatively, socially and as an industry.

And if we’re to read anything else into the show, it’s that there’s plenty more change to come, writes @LorraineAli https://t.co/IeUxtF84Pw

— LAT Entertainment (@latimesent) September 23, 2019

Peak TV. Prestige programming. The platinum age of television.

Whatever we chose to call the tsunami of innovative series that have made watching too much television a respectable pastime, the Television Academy finally managed to wrap its arms around the multiplatform beast on Sunday during the 71st Emmy Awards ceremony in Los Angeles.

From “Game of Thrones” to “Fleabag,” “Chernobyl” to “Ozark,” “Killing Eve” to “Pose,” the winners list produced during the three-hour Fox telecast was a testament to the diversity — in budget, subject matter, character and platform — that’s changed the very definition of television.

Case in point: Phoebe Waller-Bridge’s comedy “Fleabag,” about a woman’s dysfunctional relationship with her family, men and, yes, relationships. “This is getting ridiculous,” she said, somewhat stunned as she accepted the show’s fourth and biggest award of the night for comedy series.

In a huge upset, the cutting-edge artist also won the lead comedy actress Emmy over former favorite Julia Louis-Dreyfus of HBO’s powerhouse “Veep” and last year’s victor, the beloved Rachel Brosnahan of Amazon’s “The Marvelous Mrs. Maisel.” Waller-Bridge also took home the prize for writing for a comedy series over strong competitors such as HBO’s “Barry.”

As television hurtles forward into what looks like another new phase of its endless new phases — get ready for streaming platforms Disney+, Apple TV+ and more to upend the game — it’s important to stop and savor the moment we’re in now. Sunday’s Emmys were the culmination of a creative renaissance that’s still so fast-moving we haven’t had the time to give it a name that sticks. But it’s made it so “Fleabag” and “Game of Thrones” occupy the same space, at least when it comes to industry respect and (respective) social media fervor.

Even Hollywood veteran Michael Douglas, who lost the comedy actor honor for his work in Netflix’s “The Kominsky Method” to “Barry’s” Bill Hader, appeared impressed by the sheer breadth of the material represented onstage Sunday.

When introducing the drama series award he described the nominees — “Better Call Saul,” “Bodyguard,” “Game of Thrones,” “Killing Eve,” “Ozark,” “Pose,” “Succession” and “This Is Us” — as “each being so different from the television we grew up on.”

It was not surprising that the night’s top honor went to “Game of Thrones.” What was unexpected? The last big water-cooler series didn’t sweep every drama category possible for its final, earth-scorching season.

Still, the ceremony was less about dancing on the graves of blockbusters such as “Game of Thrones” or “Veep,” which was also expected to win big in the comedy categories but came away empty-handed. It was more about celebrating the wide-open landscape that allowed for “Killing Eve” and “Pose” to even happen, and then for their leads — Jodie Comer and Billy Porter — to win the academy’s top drama honors.

The night belonged to high-budget productions as well as fringe efforts, familiar faces doing new things — including Jason Bateman, who won for his direction in “Ozark”— and new arrivals that have bent comedy and drama norms into pop art.

The ceremony itself was as loose and far-flung as the industry it was honoring. It was the first time the show went host-less since way back in 2003 when the big four networks still won all the top awards, and it would be another year before HBO’s “The Sopranos” took home cable’s first drama series Emmy.

The show was held together by a pastiche of personalities and TV ephemera that included Homer Simpson, masked singers and a tuxedo-clad Bryan Cranston introducing a year in television that looked markedly different than it did when “Breaking Bad” arrived over a decade ago.

“Television has never been bigger,” he said. “Television has never mattered more. And television has never been this damn good.”

Emotions ran high when Jharrel Jerome accepted the award for lead actor in a limited series for his performance in Ava DuVernay’s “When They See Us.” The series followed the saga of black teens dubbed the Central Park Five by the media, who were wrongly accused and imprisoned for the brutal rape of a Central Park jogger.

Jerome, who played one of the accused, Korey Wise, in the series, dedicated the award to “the men that we know as the Exonerated Five.”

And all five men — Wise, Kevin Richardson, Antron McCray, Raymond Santana Jr. and Yusef Salaam — were in the audience, on their feet, hands in the air as if they’d been freed once again.

“Game of Thrones” star Peter Dinklage might have put it best when he accepted the Emmy for supporting actor in a drama. “Thank you. I have no idea what I’m about to say, but here we go. I count myself so fortunate to be a member of a community that is all about tolerance and diversity, because in no other place could I be standing on a stage like this,” he said, choking up...

Neil Postman, Amusing Ourselves to Death

Neil Postman, Amusing Ourselves to Death: Public Discourse in the Age of Show Business.

NFL Season Opener Fumbles

I'll tune in Monday night for the Rams, but mostly because the Angels are out of contention and I'll be bored.

Besides, I'm rooting for the Rams this year. Hopefully they'll eschew the anthem protests, sheesh.

At Deadline Hollywood, "Eagles Bring Out “Philly Special” to Win But NFL Kickoff Ratings Down From 2017":

#FridayFeeling or #FridayMotivation ? #NFLKickoff ratings down to multi-year low as #ATLvsPHI starts late on harsh TV landscape ... even with that winning version of the "Philly Special" https://t.co/fS0NU4PVh8

— Dominic Patten (@DeadlineDominic) September 7, 2018

With only Eagles defensive end Michael Bennett taking to the bench in protest during the national anthem, when things finally did kick off on NBC just after 9 PM ET, it certainly didn’t seem to be the most inspiring game. At one point, tell-it-like-it-is Philly fans were booing the current Super Bowl champs on live TV for their lame efforts on the field.

Then, as it looked like Atlanta would be grinding out a win, the action really started right near the end as the Eagles dusted off a variation of their Super Bowl move the Philly Special. With some quick moves, QB Nick Foles snagged a 15-yard pass from teammate Nelson Agholor on a reverse to seal an 18-12 victory for the Eagles and some respect from the more than just the fans at Lincoln Financial Field.

Sadly, that glory did not translate into the ratings

With a 13.4/5 in the metered markets, the post-midnight ending game is down 8% from last year’s kickoff of September 7, 2017. In one of the lowest season openers ratingswise and facing portions of a cable news-covered rally by a very NFL critical President Donald Trump, last night’s game is not only down from last year, but 2016, 2015 and 2014 – all of which saw successive declines.

To add more injury to that, the 2017 8:42 PM ET-starting season opener between the victorious Kansas City Chiefs and New England Patriots ended up with a weak 7.7/29 rating among adults 18-49 and 21.8 million viewers. That was a double digit decline from 2016 and the worst total audience an opening game had since 2009.

ven in a TV landscape where ratings and viewership are noticeably dipping, unless you are This Is Us or Game Of Thrones, those results have to worry the NFL and the broadcasters, especially the still Rupert Murdoch-owned Fox with its pricey Thursday Night Football debuting this year

We’ll update with more NFL kickoff numbers and other ratings like Big Brother, which was on too last night, as we get them later today...

More.

Ariana Grande 'Groped' at Aretha Franklin Memorial

It does look like this "bishop" grabbed a little tittie there.

At the BBC:

Aretha Franklin bishop sorry after 'groping' Ariana Grande https://t.co/QA3FyDYand

— deray (@deray) September 1, 2018

Also, at the Sun U.K., "OOOH ARI! Ariana Grande goes topless in nothing but body paint for cover of new single God Is A Woman: The pop star shed her clothes for a sexy new shoot to promote her new music."

Asia Argento and 17-Year-Old Boy in Bed in Sexual Encounter

She claimed Anthony Bourdain paid off the kid to make problems go away. There was no sexual relationship, according to her statement:

I just received this statement from @AsiaArgento in response to the NYT story published late Sunday evening. pic.twitter.com/jAOo7TAULX

— Yashar Ali 🐘 (@yashar) August 21, 2018

But TMZ's got the photos to prove that sex did happen. This Asia woman is hypocrite scum. Now I really feel bad for Anthony Bourdain. She broke his heart and then he killed himself. I don't think she was worth it, damn.

Asia Argento and 17-Year-Old Boy in Bed in Sexual Encounter https://t.co/y6EeKOdPT7

— TMZ (@TMZ) August 22, 2018

'Roseanne' Cancelled After Stupid Tweets

Really stupid:

Roseanne Barr was dropped by ICM Partners, the talent agency that represented her https://t.co/t1RZOb8b7B pic.twitter.com/fLigtoCFrx

— Los Angeles Times (@latimes) May 29, 2018

Disney Chairman and CEO Bob Iger tweeted in support of canceling "Roseanne" https://t.co/t1RZOb8b7B pic.twitter.com/YivntBtAA7

— Los Angeles Times (@latimes) May 29, 2018

'Roseanne' cancellation a huge blow to ABC, but network praised for swift action https://t.co/ZHuTBTCD1X pic.twitter.com/42mAZoWbV7

— LA Unvrz (@LAunvrz) May 30, 2018

It's all political, as I was saying last night on Twitter:

See what happens when tweets and phone calls aren’t suppressed like votes??? KEEP. THAT. SAME. ENERGY. #Roseanne https://t.co/l0BHEZVyck pic.twitter.com/pJjojXHD5k

— Brittany Packnett (@MsPackyetti) May 29, 2018

ABC has done the right thing. They’ve stood up against racism. It is our country’s original sin. But this is 2018 and it has no place in the hearts of decent people. Unfortunately our president has stoked these evil fires. If he doesn’t applaud ABC, he will continue to stoke evil

— Rob Reiner (@robreiner) May 29, 2018

Roseanne’s problem turned out to be that she far too authentically represented the actual worldview of a significant chunk of the Trump base.

— Chris Hayes (@chrislhayes) May 30, 2018

#Roseanne effed up. She had to know what would happen by making a stupid crack like that. This is the chance the left was waiting for, and to them, its the beginning of a purge. Trump’s the ultimate target, BAMN. 🤷‍♂️ https://t.co/3H0NzqrD0z

— Donald Douglas (@AmPowerBlog) May 30, 2018

Shania Twain Apologizes After Saying She'd Have Voted for President Trump

She thought he was an honest guy, and that was more important that his politically incorrect comments, etc.

But oops!

The fanatical SJWs weren't having any of it!

At Twitchy, "‘Another scalp’: Shania Twain APOLOGIZES after lefty outrage mob attack."

Click through at the link. She posted a four-tweet apology.

'Another scalp': Shania Twain APOLOGIZES after lefty outrage mob attack https://t.co/oEQtACRH7k

— Twitchy Team (@TwitchyTeam) April 23, 2018

Daniel Day-Lewis Opens-Up About Retirement

I watched "The Last of the Mohicans" over the weekend, and then "Lincoln" was on the other night, so I got to thinking about Daniel Day-Lewis: Why'd he retire? So then I'm out with my wife yesterday at the Spectrum shopping center in Irvine, and she stepped into a hair salon for a consultation about getting a perm. While waiting, I started reading this article about Day-Lewis at W Magazine. Not sure if I'll see his latest --- and last --- movie, "Phantom Thread," which seems a bit too artsy, even for me.

In any case, at W, "Exclusive: Daniel Day-Lewis Opens Up About Giving Up Acting After Phantom Thread":

Watch Daniel Day-Lewis in an exclusive @Phantom_Thread video clip, here: https://t.co/oXHzhpylNw

— W magazine (@wmag) January 18, 2018

Day-Lewis has not seen Phantom Thread. He has viewed many of his other films, but has no plans to see this one. Earlier this summer, he announced through a written statement that he would not continue acting. He only discussed this decision with Rebecca—and has not spoken publicly about his retirement until now. In the past, he always took extended breaks between films—blue periods and times of decompression that prompted Jim Sheridan, the director of My Left Foot and two other Day-Lewis films, to remark that “Daniel hates acting.” But after a break, he would be seduced anew by a fascinating character, a compelling story, an exciting director. “What has taken over in the past is an illusion of inevitability,” Day-Lewis said. “I’ll think, Is there no way to avoid this? In the case of Phantom Thread, when we started I had no curiosity about the fashion world. I didn’t want to be drawn into it. Even now, fashion itself doesn’t really interest me. In the beginning, we didn’t know what profession the protagonist would have. We chose fashion and then realized, What the hell have we let ourselves into? And then the fashion world got its hooks into me.”

The fashion world, in turn, was obsessed with the film, which was cloaked in secrecy. At first, Phantom Thread was rumored to be about the couturier Charles James, a great innovator whose work was recently celebrated at the Metropolitan Museum of Art’s Costume Institute, who ended life destitute and virtually unknown, living in the Chelsea Hotel. Anderson and Day-Lewis were not interested in telling that story. ­Phantom Thread is one of the most beguiling portrayals of fashion in the history of film, but in the end, it’s not a film about fashion.

Day-Lewis was uncharacteristically inarticulate when speaking about the exact reasons why he found Reynolds Woodcock so overwhelming. Perhaps, I suggested, it was a combination of being back in his homeland and playing an exacting artist like his father. He politely brushed my theories aside. “There are spells in these films that you can’t account for,” he said. “Paul and I spoke a lot about curses—the idea of a curse on a family, what that might be like. A kind of malady. And it’s not that I felt there was a curse attached to this film, other than the responsibility of a creative life, which is both a curse and a blessing. You can never separate them until the day you die. It’s the thing that feeds you and eats away at you; gives you life and is killing you at the same time.”

Day-Lewis paused. I wondered why a man who is widely acknowledged as the greatest actor of his generation, who has won three ­Academy Awards for best actor and is magical onscreen, would want to walk away from his profession. “I haven’t figured it out,” he said. “But it’s settled on me, and it’s just there. Not wanting to see the film is connected to the decision I’ve made to stop working as an actor. But it’s not why the sadness came to stay. That happened during the telling of the story, and I don’t really know why.” He paused again. “One of my sons is interested in musical composition, so I showed him the film Tous Les Matins du Monde, about the French composer Sainte-Colombe. My son was deeply struck by the sobriety that it took to create that work, Sainte-Colombe’s refusal to accept less than what was extraordinary from himself or anyone else. I dread to use the overused word ‘artist,’ but there’s something of the responsibility of the artist that hung over me. I need to believe in the value of what I’m doing. The work can seem vital. Irresistible, even. And if an audience believes it, that should be good enough for me. But, lately, it isn’t.”

Day-Lewis has often wanted to quit after emerging from a character. This time, by making a public announcement of his retirement, he sought to make the decision binding. “I knew it was uncharacteristic to put out a statement,” he continued. “But I did want to draw a line. I didn’t want to get sucked back into another project. All my life, I’ve mouthed off about how I should stop acting, and I don’t know why it was different this time, but the impulse to quit took root in me, and that became a compulsion. It was something I had to do.”

Interestingly, Day-Lewis speaks about the need to retire in the same manner he speaks about the need to take on a character: with a kind of intensity that takes over his entire being. And, as with acting, he is still uncertain of his feelings. “Do I feel better?” he asked, anticipating my question. “Not yet. I have great sadness. And that’s the right way to feel. How strange would it be if this was just a gleeful step into a brand-new life. I’ve been interested in acting since I was 12 years old, and back then, everything other than the theater—that box of light—was cast in shadow. When I began, it was a question of salvation. Now, I want to explore the world in a different way.”

Although there have been rumors that Day-Lewis is going to become a fashion designer, he laughed when I suggested that career. “Who knows?” he said mischievously. “I won’t know which way to go for a while. But I’m not going to stay idle. I don’t fear the stony silence.” He has always had a variety of passions: He once wrote a comedy script with Rebecca; he paints well; he makes furniture; and he is a fan of MotoGP, the competitive motorcycle tournament. But he also has a deep love of film, and it is hard to imagine that he will not continue to contribute to movies in some way.

“They will not let you go quietly,” I said to him. And Day-Lewis smiled. “Hmmm,” he said. “They will have to.”

Keep reading.

'Darkest Hour'

Well, I kept my promise and bumped out for a bit to take in "The Darkest Hour." I'm delightfully pleased. It's far from the greatest or near greatest war (or war-ish) film, but next to Daniel Day Lewis in "Lincoln," it's the best biographical portrait of a democratic leader ever.

I read a half dozen reviews right now, and you can check Google yourself if you wish. Here's the New York Times' rather harsh take, "Review: ‘Darkest Hour,’ or the Great Man Theory of History (and Acting)," and Kenneth Turan's, at the Los Angeles Times, "Gary Oldman's bulldog performance as Winston Churchill lifts Joe Wright's overwrought directing in 'Darkest Hour'."

I definitely recommend it. Indeed, a day of great movie-watching would be to watch this one right after "Dunkirk." I love the populist moral clarity here, which is what A.O. Scott at NYT attacks. Indeed, I mostly go to the flicks for exactly this heroic patriotic fare.

Now Only 5 Free Articles Per Month at NYTimes.com

Bah!

They think I'm paying for their content? They're freakin' crazy, lol.

(Well, actually, I do pick up a hard copy New York Times once in a while, and I enjoy it. I just don't like paying for stuff online.)

At Bloomberg, "N.Y. Times Scales Back Free Articles to Get More Subscribers":

The New York Times, seeking to amass more paid subscriptions in an era of non-stop, must-read headlines, is halving the number of articles available for free each month.

Starting Friday, most non-subscribers will only be able to read five articles rather than 10 before they’re asked to start paying. It’s the first change to the paywall in five years. A basic Times subscription, with unlimited access to the website and all news apps, is $15 every four weeks.

Scoops on the Trump administration’s scandals and sexual-harassment allegations in Hollywood have already contributed to a surge in Times subscriptions, which jumped 60 percent in September from a year earlier to 2.5 million. With demand for journalism “at an all-time high,” the Times decided this was the right moment to experiment with giving away less online content for free, said Meredith Kopit Levien, New York Times Co.’s executive vice president and chief operating officer.

“It’s a very hot news cycle,” Levien said. “We think it’s as good conditions as any to demonstrate to people that high-quality journalism is something to be paid for.”

As Facebook and Google capture a growing share of the online advertising market, publishers from the New York Times to Conde Nast are trying to shift their digital businesses from selling ads to persuading readers to pay for their journalism.

Trump Impact

Fueled in part by demand for news about President Donald Trump, the Times’ subscription business has thrived in the past year. The Times added 154,000 digital-only subscriptions last quarter, a 14 percent increase in new customers from a year earlier, though many signed up through promotional deals and may leave when regular rates kick in.

The subscriber boost has led to a surge in Times Co. shares, which are up 41 percent this year. The stock slipped 1.7 percent to $18.48 as of 9:55 a.m. in New York trading.

But enticing casual readers to open their wallets raises a tricky question: Just how many free articles do you let them sample before requiring them to sign up?

The decision comes with trade-offs. By reducing the number of free articles, the Times will likely see a drop in traffic at the website, which could hurt ad revenue.

Levien said that tightening the Times’ paywall would have a “modest impact” on its digital advertising business, which increased 11 percent last quarter from a year earlier. The increase failed to offset the continued decline in print ad sales, which fell 20 percent...

More.

Lorde Slammed as a 'Bigot in Washington Post Pro-Israel Advertisement

It's Rabbi Shmuley Boteach, who's been posting all the news coverage of his ad attacking Lorde, on Twitter.

Actually, I love this, heh.

At the Guardian U.K, via Memeorandum, "Lorde called a bigot in Washington Post ad over cancelled Israel concert."

Now on the Guardian, where we've published ads before. @Lorde - fallout from her cancelled Tel Aviv concert... https://t.co/rZjmMnoVvF

— Rabbi Shmuley (@RabbiShmuley) January 1, 2018

Wide coverage for our full page ad calling out Lorde for cancelling her Tel Aviv show while keeping two in... https://t.co/3JeHNuJopP

— Rabbi Shmuley (@RabbiShmuley) January 1, 2018

Pick Up Our full page ad against #Lorde & #BDS Today in #WashingtonPost. Last Change to donate! https://t.co/FEzcTDyYg8 pic.twitter.com/90NJLIcqEG

— Rabbi Shmuley (@RabbiShmuley) December 31, 2017

Ben Shapiro on Hollywood's Propaganda Program (VIDEO)

Ben Shapiro's got a new book, at Amazon, Primetime Propaganda: The True Hollywood Story of How the Left Took Over Your TV.

As you know, I quit watching cable news, and I wasn't much for television sit-coms and talk show as it is. I like movies, but then, I can sort through the leftist clap-trap.

Sadly, most Americans don't really appreciate how powerfully they're being programmed toward leftist issues. And the ones that do, a lot of them Trump voters, are demonized as racist, misogynist, homophobic, transphobic, or what have you.

The culture war is real.

At Prager University:

Despite 'Star Wars' Surge, Movie-Going Audiences May Keep Fading

Well, I'm especially not going to see anything affiliated with Harvey Weinstein, and of course I won't see movies featuring any number of leftist stars, like Meryl Streep, George Clooney, or Matt Damon, to name a few.

I did enjoy "Hostiles," so it's not movies per se that are bogus. It's the far left politics for me. For everybody else? Well, who needs the multiplex anymore? Not too many, apparently.

At LAT, "Even with 'Star Wars' surge, moviegoing could hit 22-year low. Blame bad sequels, rising ticket prices and streaming":

Wow! They failed to recognize that Hollywood hatred toward @POTUS & his supporters had anything to do with the drop in sales. 🙄

Even with 'Star Wars' surge, moviegoing could hit 22-year low. Blame bad sequels, rising ticket prices and... https://t.co/lhSjZqiqSp

— Leslie Banks (@LeslieBanksUSA) December 24, 2017

American Conservatives are turning away from the false idols of the @NFL & #Hollywood. #NFL

"Even with '#StarWars' surge, moviegoing could hit 22-year low. Blame bad sequels, rising ticket prices and streaming"https://t.co/7fNBXcJksc pic.twitter.com/ipSyFDQiAB

— occupycorruptDC (@occupycorruptDC) December 24, 2017

Hollywood is celebrating the end of 2017 with astronomical sales from "Star Wars: The Last Jedi," which is on track to soon exceed $1 billion in global ticket sales and eventually become the biggest movie of the year. But that won't be enough to write a happy storyline for the industry.

Although 2017 movie ticket sales in the U.S. and Canada are expected to dip just below last year's record of $11.38 billion, the number of tickets sold is projected to drop 4% to 1.26 billion — the lowest level since 1995, according to preliminary estimates from studio executives.

The falloff in ticket sales can mostly be explained by a handful of movies that flopped, especially during the dreary summer season that posted the worst results in more than two decades. Even such massive hits as "Wonder Woman," "Thor: Ragnarok" and "It" couldn't make up for a lackluster summer lineup populated by rickety franchises ("Alien: Covenant") and poorly reviewed retreads ("The Mummy").

However, the long-term decline in attendance reflects systemic challenges facing the industry. Audiences are spending less time going to the movies and are consuming more entertainment on small screens and through streaming services such as Netflix and Amazon that are spending billions of dollars on original video content.

At the same time, while higher ticket prices have helped to offset attendance declines, they have made consumers pickier about what movies they're willing to go see. And those increasingly discerning consumers turn to social media and Rotten Tomatoes to decide what's worth their time and money.

"You cannot pull a fast one on the audience," said Greg Foster, chief executive of Imax Entertainment. "The tools that are available for consumers to decide how and where to spend entertainment dollars are so vast. Consumers know what works and what doesn't long before the product becomes available."

Challenges at the box office are helping to fuel a wave of media consolidation. Walt Disney Co. this month announced a blockbuster deal to buy entertainment assets from Rupert Murdoch's 21st Century Fox for $52.4 billion.

Murdoch's surprise decision to sell the bulk of his media empire was at least partly motivated by concerns about the future of the movie business in a world dominated by streaming, analysts said.

Cinema chains also are bulking up to better compete. Regal Entertainment Group, the nation's second-largest theater owner, last month agreed to sell itself to British theater company Cineworld for $3.6 billion.

For studios, the box office has become a land of princes and paupers, with a handful of movies and a couple studios increasingly dominating the business. As of Dec. 17, Walt Disney Co. and Warner Bros. accounted for 40% of domestic market share. In 2012, the top two studios (Sony and Warner Bros.) only took up 30% of the industry total.

Of the 165 wide-release movies this year, the top 20 claimed 51% of ticket sales in 2017, representing an increase of two percentage points from last year, according to estimates from distributors. Five years ago, the 20 biggest movies accounted for about 40% of annual grosses.

"It's a really binary business between the haves and the have-nots," said Jeff Goldstein, head of domestic distribution for Warner Bros.

Nowhere was that trend clearer than last weekend, when the animated Fox movie "Ferdinand" opened against Disney's "The Last Jedi."

The $111-million kids' film about a fighting-averse bull opened with a pitiful $13 million, due to a lack of audience interest in the story and competition from Pixar's hit computer-animated movie "Coco." By contrast, the new "Star Wars" opened with $220 million — nearly 17 times "Ferdinand's" debut.