Amber Heard was currently promoting Aquaman around the world. As of now, the movie based on the DC comichas officially grossed $300 million at the worldwide box office.
While the film is having major box-office success, there was, however, serious uncertainty over whether Heard would continue to be attached to the movie after the actress was threatened to be blacklisted from Hollywood after accusing her then-husband Johnny Depp of domestic violence.
In an op-ed for The Washington Post, Amber Heard laid bare the implications survivors of violence face and experience after choosing to speak out against their abusers.
Though the actress did not mention Depp by name in her essay, she alluded to the time period of the pair’s marriage, stating,
“Two years ago, I became a public figure representing domestic abuse, and I felt the full force of our culture’s wrath for women who speak out.”
Heard described in her essay how friends and advisers warned her that by speaking out against Depp, she would be ostracised from Hollywood and never work again.
Indeed, in the immediate aftermath of coming forward, Heard’s role in a movie that she was attached to star in, was recast.
The 32-year-old also shared how despite shooting a 2-year long campaign as the face of a global fashion brand, the company dropped her after she publicly made allegations of abuse against Depp.
The effects of the allegations made against her former husband translated deeply into Heard’s personal daily life. She recounted in the essay how she received countless death threats — forcing the actress to change her phone number weekly. She described in the essay,
“For months, I rarely left my apartment, and when I did, I was pursued by camera drones and photographers on foot, on motorcycles and in cars. Tabloid outlets that posted pictures of me spun them in a negative light. I felt as though I was on trial in the court of public opinion.”
In describing her reasoning for writing the op-ed, Heard wrote,
“I want to ensure that women who come forward to talk about violence receive more support. We can work together to demand changes to laws and rules and social norms — and to right the imbalances that have shaped our lives.
She also criticized the changes to Title IX proposed by Education Secretary Betsy DeVos, which would limit the definitions of sexual assault in ways that favor the alleged abuser more than the victim. The actress advocated the need to continue to elect representatives who care about these issues and protect survivors, not the abusers.
In describing her experience, Heard powerfully employed the metaphor of the Titanic in explaining Hollywood as a patriarchal power structure.
Heard underlined how the incentive to defend powerful men is not circumscribed to saving and protecting a singular reputation but rather is constitutive of a larger effort to secure the livelihoods of the people that are attached to him and the money that comes with a star’s persona. Heard noted,
“Imagine a powerful man as a ship, like the Titanic. That ship is a huge enterprise. When it strikes an iceberg, there are a lot of people on board desperate to patch up holes — not because they believe in or even care about the ship, but because their own fates depend on the enterprise.”
Though Heard’s experience is sadly not isolated, as the actress declared in the essay,
“We are in a transformative political moment… Women’s rage and determination to end sexual violence are turning into a political force. We have an opening now to bolster and build institutions protective of women.”
In the wake of the #MeToo movement and in particular, the disturbing allegations of sexual assault by Hollywood mogul, Harvey Weinstein, more people than ever are opening up about their experiences of sexual harassment, abuse, as well as the culture that is invested in protecting abusers rather than survivors.
The emergence of #MeToo and the TIMES UP campaign is definitely something to be optimistic about and as more and more people like Heard come forward about their experience and feel as though they are not alone and receive the support and validation that is so crucially needed, we can certainly hope for more systemic change to occur.
Undoubtedly, Trump’s presidency is unlike anything we have seen before.
Putting aside his unabashed racist and misogynist rhetoric, his latest tweet has the Pentagon scrambling and scratching their heads at the President’s total unawareness and ignorance over the nuances that characterize international conflicts — especially in the Middle East.
Contrary to Trump’s tweet on Wednesday, ISIS has not been defeated and therefore the United States should not withdraw its troops.
We have defeated ISIS in Syria, my only reason for being there during the Trump Presidency.
While ISIS has lost territory in Syria, the Pentagon estimates that ISIS still has 17,100 fighters still active in Syria. The absence of U.S military presence is inviting resurgence from the terrorist group and increase’s Iran’s influence over the region.
Other top officials are concerned that the American-backed Kurdish troops will be targeted by Turkey and the Syrian government, leaving no ally on the ground.
President 45’s latest “diplomatic” tweet contradicts top U.S military experts’ recent assessments on the situation in Syria, who earlier this month insisted that the Syrian conflict is multifaceted, with no resolution seeming feasible in the near-future.
Trump’s sudden decision has prompted outrage from the political left and right.
This decision only underscores that the Administration has no plan for Syria other than allowing Vladimir Putin to dictate U.S. policy. President Trump’s Russia-first policy in the Middle East is harming U.S. national security. https://t.co/3MQgCRTZny
Staunch conservative, Sen. Lindsey Graham (R-SC) said in a statement yesterday,
“An American withdrawal at this time would be a big win for ISIS, Iran, Bashar al Assad of Syria, and Russia. I fear it will lead to devastating consequences for our nation, the region, and throughout the world.”
Plus, given that the White House failed to inform congressional leaders about the decision many senators, in addition to the State Department, have been left blindsided and confused about the President’s rash withdrawal decision.
Trump tweeted in response to the backlash over his decision:
Does the USA want to be the Policeman of the Middle East, getting NOTHING but spending precious lives and trillions of dollars protecting others who, in almost all cases, do not appreciate what we are doing? Do we want to be there forever? Time for others to finally fight…..
This is all not to say that I am a vehement supporter of the U.S.’s tradition of international intervention, for these instances have functioned under the guise of the U.S. as an international peacemaker.
Instead, the U.S.’s presence in the Middle East is governed by economic agendas, given that the region is rich in natural resources.
But Trump has inherited a legacy of the U.S.’s form of imperialism in the Middle East.
Trump’s desire to withdraw from Syria to an extent echoes former President Barack Obama wishes to withdraw troops from Afghanistan during his presidency — both of whom have received backlash over their judgments on the issue.
But what distinguishes Trump’s withdrawal announcement from Obama’s is that Trump’s affinity with Putin and Russia cannot go unnoticed.
In other words, the U.S.’s evacuation from Syria leaves a significant power vacuum in the war-torn country and it is no secret that Syrian dictator Bashar al-Assad is buddy-buddy with Putin.
Essentially, what this all means is that the U.S.’s withdrawal of its 2,000 troops could signal the further destabilization of the region. And of course, let’s not forget who this affects — the people of Syria.
With the Assad regime carrying out a chemical weapon attack on its own people, the civilians have already undergone and witnessed such horror and devastation forcing millions to flee the region, seek asylum and only to be met with the West largely turning their back on them.
The ride-hailing company, Lyft, is giving more rides for people in need.
Lyft has announced its Grocery Access Program; an initiative to help people who occupy low-income households who live far from grocery stores and who do not have transportation to get a lift to the store.
In partnership with Martha’s Table — a D.C.-based nonprofit that provides families with access to healthy food, education, and clothing — the program will start in Washington D.C. next year.
Lyft providing a low cost, standard fee to people living in food desert areas will not stop grocery stores from being built in the long run. Advocates are fighting and will continue fighting to combat these issues but a quick fix is needed right now. Families can't wait.
Families who qualify for the program can use up to 50 rides and pay just $2.50 both ways to and from the nearest supermarket in their neighborhood.
Only full-service grocery stores will be part of the service, as opposed to local convenience stores in an effort to encourage healthy eating by having access to more fresh fruit, vegetables and lean proteins.
The program is designed to help families in food deserts — areas where more than 40% of homes are located over a mile and a half from grocery stores.
Here’s what I don’t get about the naysayers of the Lyft food desert thing—you think no one else recognizes there’s a larger societal issue?
But why can’t you appreciate the smaller step of someone to address the intermediate (and often more immediate) issue?
Using this classification, in the case of D.C., residents living in Wards 7 and 8 are living in a food desert and will qualify for the new program. But these two districts make up a larger national statistic of 23.5 million people living in food deserts across the United States.
This isn’t the first time Lyft has acknowledged transportation is a major barrier people encounter on a day-to-day basis.
The company gave discount rides to get people to the polling station this midterm election recognizing the lack of public transportation as a mode of voter suppression.
https://www.instagram.com/p/BpihqicgHVI/
Earlier this year, Lyft pledged $1.5 million over the next year to extend the free ride program to low-income people and veterans who need transportation for things job interviews and doctors appointments.
Plus, the company had in place a Relief Rides program to provide transportation for people in the cases of a natural disaster and other crisis.
These string of social initiatives continue to elevate Lyft and set the company apart from its ride-sharing rival Uber, and we are here for it.
When Bradley Bell and Pablo Jones-Soler were studying graphics at university, I doubt the two anticipated that in just a few years, they would be directing rap superstars Migos, Niki Minaj, and Cardi B rapping in front of neon colored Lamborghinis on the set of an alternative futuristic world space.
Nor, do I think the two would have foreseen that they would be directing the ceremony for the Porn Hub Awards, helmed by none other than, Kanye West.
Nonetheless, it was through their studies in graphics — designing digitized environments, experimenting with CGI, animation and image-based software — that enabled the pair to gain crucial experience in world-building. These skills, however, were highly translatable to the world of filmmaking.
In speaking to Kulture Hub, Bradley relayed how the duos’ transition into live-action filmmaking was catalyzed after the two pitched and completed a 3D animation film for a fashion company Bradley was interning at during his studies.
Today, the two are better known as the directing duo, Bradley & Pablo. The pair has worked with the likes of Frank Ocean, Dua Lipa, Carly Rae Jepsen, MNEK and Charli XCX, in addition to doing commercials for Nike and Pepsi. Reflecting on the early image-based and graphics work the two were doing, Bradley noted in our interview,
B: “IT’S FUN TO REVISIT WHAT WE WERE DOING AT THE VERY BEGINNING AND DRAW THE LINKS. WE WERE VERY INTO THESE HUGE TECHNICAL ILLUSTRATIONS – REALLY COMPLEX, CROSS-SECTION DRAWINGS… THEY’D HAVE MULTIPLE LEVELS AND LOADS OF LITTLE NARRATIVES WITHIN THIS BIGGER PICTURE. WE BOTH FOUND THAT REALLY INTERESTING TO THINK ABOUT — SPECULATING WHAT’S GOING ON IN THIS CORNER — AND NERDING OUT OVER ALL THE LITTLE DETAILS AND STORIES INSIDE THE WORLD AN ARTIST HAS DREAMED UP.”
Yet, film afforded the pair something different as an art form. Pablo described how film allows more space for emotion and tonality, adding,
P: “I THINK COMPARED TO [STILL] IMAGE-MAKING, FILM ALLOWS YOU TO IMMERSE SOMEONE IN THE WORLD YOU HAVE CREATED BY USING MORE THINGS THAT ARE AVAILABLE TO YOU AND HAVING THEIR ATTENTION FOR A SET AMOUNT OF TIME.”
While many equate science-fiction with flying cars, spaceships, or some form of extraterrestrial invasion, these sci-fi tropes do not directly inform the directing duos’ aesthetic. Rather, they draw from the genre of science fiction, in all its forms and iterations, and specifically look to the types of speculative fiction that take place in the not too distant future.
As the internet and communicative technologies have reworked ideas of time and space, the duo is interested in exploring the ways in which new subjectivities, social identities, and communities are formulated within the context of the changing technological landscape.
Though the duo receives a lot of joy in having narratives take place in a futuristic world, they are not interested in situating viewers in a space vastly different or estranged from what they know.
Instead, the pair likes to play with the notion of parallel realities, having their world spaces feature ideas and themes that we are somewhat familiar with and can relate to, but in a different context, where things turn out slightly different. Bradley noted,
B: “WE ARE VERY INTERESTED IN HOW TECHNOLOGY MIGHT SHAPE TOMORROW AND THAT’S A REALLY FUN STARTING POINT TO THINK ABOUT WHEN YOU ARE IMAGINING WHAT THE WORLD MIGHT LOOK LIKE.”
When I asked the duo about their creative process in crafting music videos, Bradley explained how their approach varies from project to project,
B: “SOMETIMES YOU GET A BRIEF IN AND IT IS VERY SPECIFIC. THEY WILL OUTLINE ROUGHLY WHAT THEY MIGHT LIKE AND WE WILL BOUNCE BACK AND FORTH. THAT WAS THE PROCESS ON THE MIGOS ‘MOTORSPORT’ VIDEO, ACTUALLY. THEY KNEW THEY WANTED TO DO SOMETHING VERY FUTURISTIC AND HAD A FEW REFERENCES WHICH WAS QUITE THE DREAM FOR US BECAUSE WE ARE VERY MUCH INTO THE FUTURE.”
In cases like Migos, they described how building off an idea or theme that the artist has expressed interest in makes for a more collaborative process. When the track is the sole creative impetus for the directors, it is a different challenge, as Pablo explains,
P: “Sometimes pitching in the dark is harder. But when you have a song like ‘Electricity’ that has such a strong identity and you can hear the reference points in the lyrics that are built into that song, then you don’t necessarily need to do too much.”
When I asked the directing duo if they had a favorite artist they have worked with thus far, the two insisted that each project offered something special and different.
Pablo described that each project is a learning process, as Bradley added,
B: “WE’VE NEVER REALLY HAD A BAD EXPERIENCE WITH AN ARTIST. YOU MIGHT LIKE A PROJECT FOR DIFFERENT REASONS. FOR EXAMPLE WITH ‘ELECTRICITY,’ WE FELT LIKE WE GREW A LOT IN A FILMMAKING SENSE – IT’S JUST QUITE DIFFERENT TO WHAT WE HAVE DONE BEFORE — MORE STORY-DRIVEN AND SET WITHIN A SINGLE TIME AND SPACE. SO THAT WAS REALLY NICE AND COMPLETELY DIFFERENT TO THE MIGOS PROJECT THAT WAS SHOT IN A STUDIO, HAD LOTS OF SET-UPS AND VFX. YOU LOVE PROJECTS FOR DIFFERENT REASONS.”
In terms of a dream project and collaboration, working with Nicki Minaj for Migos’ “Motorsport” was definitely a highlight for the duo.
Admittedly, they will keep adding big-names to their portfolio. At the same time, Bradley explained how the pair sees the value in long-term collaborations with artists, in order to develop their respective artistries and continue to build chemistry together.
With their art school background, the British directing duo has increasingly carved out a space for themselves in the market, eager to create elaborate worlds for the biggest pop stars of today. The added,
“People sometimes turn their nose up at pop music and pop videos. But we think it is incredibly exciting and privileged to have the platform that comes with collaborating with these talented artists and working within mainstream frameworks to create something new and exciting.”
On what’s next for the duo, they were currently shooting a video in London for the British Girl Group, Little Mix. Plus, the duo is in the works to direct a short film.
While feature filmmaking isn’t on their immediate radar, the directing duo admitted it is definitely a domain of film they are interested in exploring one day.
In the meantime, Bradley & Pablo will continue to create visually dazzling worlds for viewers to inhabit, as we watch our favorite artists navigate the spaces this young directing duo continues to create.
The Senate passed a criminal justice reform bill on Tuesday.
Passing 87-12, the new legislation marks the biggest bipartisan effort under Trump’s presidency, showing members of the Senate to be overwhelmingly in support of instilling changes to the federal criminal justice system.
87-12: Senate passes First Step criminal justice reform bill. Now heads to House. pic.twitter.com/UXv8kl20S3
The bill, known as the First Step Act, will allow thousands of people to gain early release from prison as well as potentially cut more prison sentences in the future.
It is estimated that the bill will affect about 181,000 people currently serving time — a somewhat modest figure given the fact that the prison population in the U.S. currently sits at 2.1 million people.
Indeed, while only 5 percent of the world’s population lives in the United States, the country is home to 25 percent of the world’s prison population.
CBO says fed prison population will shrink from 180K to 130K over next decade –50,000 fewer people locked up because of #FirstStepAct. Many governors have already promised to pass similar bills in their states next year. I KNOW it's hard 2 believe, but dreams may be coming true.
With this new bill, many could be granted an earlier release through a credit system that awards good behavior or alternatively through participation in rehabilitation programs in prison.
The bill also lessens some mandatory minimum sentences and provides judges with more leeway in refraining from certain sentencing guidelines.
Supporters of the bill expressed how the new legislation is an initial step in amending the failed “war on drugs” that attempted to deter illegal drug use via introducing the infamous “three-strike law” and establishing long-term prison sentences for drug convictions.
How criminal justice reform came to be a bipartisan issue
With the incarceration system overwhelmingly overpopulated, the system has become an excessive financial burden and an acute misuse of taxpayer money since the public widely favors criminal justice reform.
The bill has been in the works over the course of the year. An early iteration of the bill was passed in the House in May but focused on ‘back end’ reforms orientated around improving prison conditions and easing inmates’ re-entry into society.
I'm glad the First Step Act passed. But there is much more needed to achieve comprehensive criminal justice reform. We must:
-End cash bail -End private prisons -End mandatory minimums -Reinstate the federal parole system
Our primary goal must be rehabilitation, not punishment.
Surprisingly, Trump’s son-in-law, Jared Kushner, has been at the vanguard of the initiative for criminal justice reform. Kushner reached out to Rep. Hakeem Jeffries, (who represents New York’s 8th congressional district in Brooklyn and Queens) in an effort to gain support from Democrats.
Though initially resistant, Jeffries became the major Democratic proponent of the First Step Act but drew criticism from rebuke from some of the most prominent members of the Democratic Party, including Sens. Dick Durbin of Illinois, Kamala Harris of California and Cory Booker of New Jersey. Additionally, the American Civil Liberties Union, the NAACP, and other progressive groups opposed the bill.
Kushner also linked up with political commentator Van Jones and celebrity, Kim Kardashian West for the campaign.
But there have been other celebrities who have been vocal advocates for reform. Jay-Z’s annual Tidal X benefit concert this year brought together activists and major stars (Ms. Lauryn Hill, Lil Wayne, Nick Jonas, Lil Kim, Meek Mill, Anderson.Paak and more), in an effort to advocate for criminal justice and prison reform.
Rapper Meek Mill has been a vocal advocate for criminal justice reform after being sentenced to 2-4 years in state prison for parole violations. A judge had sentenced Meek for violations stemming from a gun and drug case from 2008.
The Philly native publically emphasized the need to bring forth systemic change in an op-ed published in The New York Times. Meek Mill’s nearly decade-old case from when he was 18 is all too case is representative of the failures of the justice system, especially for young Black Americans.
Trump and his skeptics
Despite President Trump running a “tough on crime” stance during his Presidential campaign, even proposing to bring back the stop and frisk policy, the President is in support of the new legislation and is expected to sign the bill this week.
Yet, in light of Michael Cohen’s sentencing, Flynn’s sentencing postponed, the passing of the bill is timely given that President Trump’s political and business activities are under severe investigation.
Given that throughout his speeches Trump having repeatedly delivered racist and anti-immigration fervor, his supposed “changing of heart” has been met with staunch skepticism from some Democrats as well as opposition within his own party.
On the Republican side, opposition came from former Secretary Jeff Sessions and Senate majority leader, Mitch McConnell.
Additionally, Donald Trump stood by his decades-old claim that the group of five men (who became known as the Central Park Five), wrongfully imprisoned for the 1989 rape and beating in Central Park, despite DNA evidence proving otherwise and a convicted serial rapist coming forward and admitting to committing the crime.
There is no doubt that this bill is going to positively impact the lives of thousands of people and give justice to those have been harshly punished.
But while many will be quick to laud this new bill as a huge success and herald Trump’s ability to work with Democrats, we must not forget his hateful and bigoted rhetoric that may see a shutdown of Congress or a border wall come into fruition.
After Sunday’s defeat at Liverpool left the club 19 points off the top of the Premier League table and 11 points adrift of the top four, Manchester United have sacked the head manager, José Mourinho.
While Mourinho will be quick to blame everyone but himself, citing injuries that have plagued the team’s defense, for someone who is known as the managerial mastermind for “parking the bus,” Mourinho cannot deflect his responsibility for the club’s disappointing run during his two and half year reign as manager.
Manchester United has announced that Jose Mourinho has left the Club.
We would like to thank him for his work during his time at Manchester United and wish him success in the future. #MUFC
Though the manager has led the Red Devils to League Cup and Europa League titles, these achievements are meager for the historic club that have won 13 Premier League titles, 11 FA Cups and have been three-time champions of Europe.
Frustrated by the Portuguese manager’s aversion to adhering to the club’s traditional attacking principles, the patience of United’s board and fans have repeatedly been tested during Mourinho’s spell at Old Trafford.
Mourinho has specifically garnering resentment from the club’s fans who abhor the managers’ negative style of football especially since United’s first team is encumbered with attacking options.
Jose Mourinho out at Man United. Results, style of football, lack of youth development and transfer failings all part of the decision @ESPNFChttps://t.co/Idx7loIK1r
Plus, United have given Mourinho plenty of transfer money to compete against the likes rivals Manchester City, Liverpool, and Chelsea at the top of the league. In fact, Mourinho’s transfer choices have rendered the club to spend of around £400m on 11 players.
Most notably, United spent £75 million (95 million US dollars) in 2017 to acquire the talent of Belgian striker Romelu Lukaku. The previous year, the club spent a world record fee of £89 million (113 million US dollars) for French superstar midfielder, Paul Pogba, who has been a vocal critic of the Portuguese manager.
Perhaps, the only people to miss Mourinho’s presence in England will be the media since his public meltdowns have been a rich source of material for news publications over the years.
In the meantime, United currently sit sixth on the Premier League table. The club has only won once in the league since Nov. 3 and the disappointing result at Anfield was the final straw for the club’s board.
In addition, there has been further disappointment expressed from the board’s stance over the lack of initiative Mourinho has shown to develop United’s younger players and the academy.
“Manchester United announces that manager José Mourinho has left the club with immediate effect. The club would like to thank José for his work during his time at Manchester United and to wish him success in the future. A new caretaker manager will be appointed until the end of the current season, while the club conducts a thorough recruitment process for a new, full-time manager.”
A caretaker manager will be appointed until the end of the current campaign and a permanent manager will be put in place ahead of next season.
Names of possible temporary replacements have been thrown around in the news cycle, such as former Paris Saint Germain manager, Lauren Blanc, and United legends, Ole Gunnar Solskjaer and Gary Neville.
Tottenham manager, Mauricio Pochettino is said to be the club’s top choice as a permanent boss. Yet, it is widely believed that Spurs chairman, Daniel Levy will fight to keep the Argentian coach.
In terms of what’s next for the former Inter Milan, Chelsea, Real Madrid, and now Manchester United boss, I’m sure his recent dismissal will not deter another major club in Europe from hiring the manager.
Idris Elba’s recent “Du-rag thought” captioned Instagram videos, prove as much as he is a talented actor with successful business side ventures — running a production company, clothing line, and record label and all — he is full of valuable and insightful knowledge.
But his recent posts on IG are not what has garnered so much attention on social media.
In a recent interview with the British news publication, The Sunday Times, the actor was asked if it’s hard to be a man in Hollywood now, due to the emergence of the #MeToo movement.
Elba’s simple, yet cutting response to question dispelled the standpoint of critics of #MeToo, who view the movement as a sweeping conspiracy-like scheme to take down all men (it’s bizarre I know, but some people actually believe this!).
Elba responded to the question perfectly, by stating,
“It’s only difficult if you’re a man with something to hide.”
https://giphy.com/gifs/sergio-leone-yXDY2NTMpNiTu
The actor’s answer was quickly applauded online from the likes of TV maverick Shonda Rhimes, bad-ass filmmaker Ava DuVernay and government official, Valerie Jarrett.
While this is not the first time actors have been asked about the climate of the industry in the wake of the #MeToo movement and the rise of the TIMES UP campaign, other male actors,’ such as Matt Damon and Henry Cavill have delivered cringe-worthy responses that have necessitated public apologies.
Their responses cited a differentiation between sexual misconduct and warned the risk of certain behaviors being conflated with other behaviors.
See? "Idris Elba On #MeToo Movement's Impact In Hollywood: 'It’s Only Difficult If You Are A Man With Something To Hide' – Essence" https://t.co/gnHOoObKyy
But these responses are emphatic proof that a lot of men do not understand that these instances of sexual misconduct are systemic, not isolated incidences of abuses of power but are symptoms of an oppressive system of power.
Nonetheless, Elba’s latest statement is another example of the actor being a champion for gender equality. In 2016, Elba delivered a powerful speech to the UK’s Parliament, stressing the need for more women in Hollywood, in front of the camera and working behind the scenes.
Drawing from his own experience in the industry, Elba declared in his speech to the parliament,
“What all this taught me, is too often people get locked inside boxes. And it’s not a great place to be. Ask women, they’ll say the same thing.”
While some stars avoid commenting on the systemic issues within the industry for fear of backlash, Elba is not afraid to talk about these topical issues. He confronts them head-on.
Elba’s advocacy is indicative of the fact that throughout his career, the 46-year-old has always sought to break out categorical confines set out by the industry.
On the back of earlier announcements that tech giants Apple and Amazon will be expanding their presence outside the West Coast, Google announced that it will spend $1 billion to establish a 1.7 million-square-foot campus in New York City.
The question of whether the Big Apple will contend with California in being the nation’s new tech hub will inevitably draw supporters as well as critics.
Nonetheless, the new campus is set to be built in the West Village. The company is estimating that the site will double the size of its 7,000-employee workforce over the next decade.
JUST IN: Google is investing more than $1b to establish a new NYC campus, Google Hudson Square pic.twitter.com/ip08e8ss3k
Dubbed the Google Hudson Square, the campus will be located at 315 and 345 Hudson Street as well as 550 Washington Street.
The tech giant has hopes to start moving into the two Hudson Street buildings by 2020. In 2022, they hope to move into the building on 550 Washington Street.
This latest investment by the company follows the $2.4 billion purchase of the Manhattan Chelsea Market in March this year.
Ruth Porat, senior vice president, and chief financial officer at Google and Alphabet, said in a blog post on Monday,
“When we came to New York City almost two decades ago, it was our first office outside of California. It’s now home to more than 7,000 employees, speaking 50 languages, working on a broad range of teams, including search, ads, maps, YouTube, Cloud, technical infrastructure, sales, partnerships and research.”
In addition, the company is investing in other locations in the U.S, as the blog post also cited that the company has established new offices and data centers in Detroit, Boulder, Los Angeles, Tennesse, and Alabama.
Though the awards season officially kicked off last week with the announcement of the 76th Golden Globe nominations, it’s unfortunate, albeit not surprising, that the list of nominated directors didn’t include women.
It’s not the first time women directors have been snubbed for the category.
The last female director to be nominated by the Hollywood Foreign Press in 2014 was Ava DuVernay, for her MLK biopic, Selma. In fact, the last time a woman won the category for Best Director was 34 years ago.
With all that being said, here is a list of female directors whose films this year deserve recognition.
On the Basis of Sex (Directed by Mimi Leder)
Leder’s biopic on Ruth Bader Ginsburg is timely given that Associate Justice of the Supreme Court has become a feminist icon for another generation of women. I mean, she has been nicknamed ‘Notorious RBG,’ by the leftist millennial demographic.
Plus, since women’s reproductive rights are increasingly under threat with the conservative stance of the current administration’s, it is important to spotlight the life and career of a woman who has worked tirelessly to prevent gender discrimination.
The film emphasizes that even before her appointment to the Supreme Court, RBG has been a pioneering force in gender equality law.
Leder is a frequent director on the HBO drama series The Leftovers as well as serving as an executive producer to the series. The industry veteran is also set to direct and serve as an executive producer to Apple’s morning show series that will star Reese Witherspoon, Jennifer Aniston, and Steve Carrel.
The 65-year-old helmed the box-office science-fiction hit Deep Impact. But the commercial failure of the film, Pay It Foward that Leder directed sidelined the filmmaker’s movie career.
It was TV and the storytelling renaissance to come out of the small screen in the past two decades that provided the creative avenue that Leder needed — which has often been the case for many female directors.
The Miseducation of Cameron Post (Directed by Desiree Akhavan)
Set in the 1990s, The Miseducation of Cameron Post follows the story of a young teenager who after being caught in the backseat of a car with the prom queen, is sent to a gay conversion camp, called God’s Promise. Though she subjected to questionable “reparative” therapy techniques, she bonds with some fellow residents as they pretend to go along with the process while waiting to be released.
But it’s been a busy year for Akhavan. In addition to the release of The Miseducation of Cameron Post, Akhavan released her series The Bisexual, which she wrote, produced, and starred in. As evident by the title, the series tackles the subject of bisexuality and how this sexual identity is a taboo both within and outside of the LGBTQIA community. The show is now available to stream on Hulu and is definitely worth checking out.
Akhavan is a director, producer, screenwriter, and actress based in New York. She is best known for her 2014 feature film debut Appropriate Behavior.
The Kindergarten Teacher (Directed by Sara Colangelo)
In Colangelo’s film, audiences watch a kindergarten teacher go to extraordinary and somewhat problematic lengths to shepherd the talent of her student who she deems a child prodigy. Written and directed by Colangelo, the tense narrative explores the power dynamics that are embedded in being a teacher and mentor.
Speaking to Women And Hollywood on the Netflix film, Colangelo stated, “For me, this story is, above all, about a woman’s awakening to art, and her well-intentioned but twisted journey to deliver a young poet to the world. I’d like people to wonder whether Lisa Spinelli may have been right all along.”
A graduate of NYU, Colangelo is a New York-based writer and director whose short films have screened at festivals around the world, including Sundance, Tribeca, and SXSW.
Colangelo’s debut feature, Little Accidents, had its world premiere at the 2014 Sundance Film Festival and was subsequently nominated for a 2015 Independent Spirit Award.
On Her Shoulders (Directed by Alexandria Bombach)
Bombach’s powerful documentary chronicles the tireless activism of 23-year-old Nadia Murad, who after testifying before the United Nations on the 2014 genocide of the Yazidis in Northern Iraq, has carried the hopes of her people to bring attention to the issues and war crimes that have plagued the region.
As implied in the documentary’s title, On Her Shoulders, reveals the burden that comes with Murad sharing her story and exposes the tension in Murad’s passion to instill change while also recovering from the trauma she has experienced and live an ordinary life.
Originally from Santa Fe, New Mexico is an award-winning cinematographer, editor, and director. On Her Shoulders premiered at the 2018 Sundance Film Festival where Bombach won Best Directing in the US Doc. Competition.
Her first feature-length documentary, FRAME BY FRAME, had its world premiere at SXSW 2015, went on to win more than 25 film festival awards. The film follows the lives of four Afghan photojournalists who are facing the realities of building Afghanistan’s first free press.
Private Life (Directed by Tamara Jenkins)
Netflix film, Private Lives, about a couple trying to get pregnant through IVF. The couple has to grapple with the emotional toll that comes with encountering a series of setbacks and disappointments.
Undergoing IVF herself, the filmmaker was inspired to write about her experiences and explore the discourse surrounding the topic.
There is a level of authenticity that exudes out of the film. Private Lives exposes the irony in how conceiving a child is a private act but in cases of IVF, that privacy is stripped away and is instead subject to outside scrutiny from friends and family and invasive doctor’s appointments.
Speaking on her personal experiences with IVF with Robert Ebert.com, Jenkins relayed,
“Many people I know, because of the nature of their lives, delayed having kids because of work and the kind of careers they had. Then [they] found themselves later pursuing parenthood. So I realized that it wasn’t my singular problem. I was being given permission to explore the subject beyond the things that the story of my own. You go to those waiting rooms and you look around and you’re definitely not the only one.”
Private Life is Jenkins’ first film since Savages, which she also wrote and directed.
Destroyer (Directed by Karen Kusama)
Though a lot of media coverage on Kusama’s latest film is centered on the physical transformation of the movie star, Nicole Kidman, Kusuma’s directing and the film’s riveting storyline is worthy of more attention.
Destroyer centers on the story of a burnt-out and troubled police detective who reconnects with people from an old undercover assignment as part of her personal project of reckoning with her past.
Destroyer is Kusama’s fifth feature film and in speaking on her latest film, Kusama described to The Awardist,
“What inspired me to do [the film] was the notion of how difficult it is to be accountable for our mistakes and how painful a process that can be.”
Given that most of Kusama’s films center around women behaving “badly”, in speaking to SYFY, the filmmaker was asked what attracts her this portrayal of women, to which she explained,
“I’m interested in a more dimensional understanding of female experience and of human experience. I think what that generally entails is working with more ambiguity, more mystery, more difficult feelings for your characters, and difficult people on screen.”
Kusama is known for helming the horror film, Jennifer’s Body and the film Girlfight, a coming-of-age drama that launched the career of actress, Michelle Rodriguez.
You Were Never Really Here (Directed by Lynne Ramsay)
Dubbed as the 21st-century Taxi Driver, Ramsay’s pulsating drama tracks the life of brutal hitman who on the trail of finding a missing teenage girl, uncovers a web of corruption and abuse of power along his way.
The crime thriller earned rave reviews at the Cannes Film Festival last year. Plus, it also won the filmmaker a prize for screenwriting.
Lynne Ramsay is a bad-ass Scottish film director, writer, producer, and cinematographer. All of Ramsay’s feature films, Ratcatcher, Morvern Callar and We Need to Talk About Kevin have garnered awards and rave reviews.
We can attribute Ramsay not being a more well-known name not as a consequence of her Scottish origins but because of the age-old-tale of Hollywood blacklisting female directors for supposedly being “difficult.” In other words, for women having an opinion.
Anyways, let’s hope that the rave reception of this film and/or Joaquin Pheonix’s performance will enable Ramsay to no longer be blacklisted by Hollywood — especially in light of the cultural shakeup that has occurred within the industry with the emergence of the #MeToo movement and Times Up campaign.
Night Comes On (Directed by Jordana Spiro)
On the eve of her 18th birthday, Angel LaMere a young Black queer woman is released from serving time in a juvenile detention facility. Haunted by her past, she embarks on a journey of retribution for her mother that threatens to destroy her future.
After premiering at the Sundance Film Festival this year, Spiro’s first feature film is a visual declaration of her talent as a filmmaker and powerful storyteller.
Spiro co-wrote the script with Angelica Nwandu. In an interview with ET, the filmmaker spoke on the importance of spotlighting marginalized voices and stories, noting,
“I volunteered for many years in the Foster System, and I got to see firsthand how broken the system is, how difficult it is, for these young people to age out of the system, and how very tied their hands are when they’re trying to move forward in their life. [I saw] how stigmatized they are [and] just how enormous the challenge is for them. I wanted to bring some attention to that, and I also wanted to point out the universality of this story, that at the end of the day, it’s really about a person who is trying to find their place in the world, which is something that we can all identify with.”
Jordana Spiro is also an actress that has starred in numerous films and television series including Netflix’s, Ozark and TBS comedy television program, My Boys.
Tribeca Film Institute (TFI) and Pond5 announced a partnership to launch a forward-thinking filmmaking fund and an ongoing industry program aimed at promoting sustainable careers for independent storytellers.
The program speaks to the needs of filmmakers who lack resources during “in-between” phases such as research, creative collaboration, festival travel, content, community screenings, outside-the-box mentorship, and extra release support.
As evident by the TFI’s Through Her Lens filmmaking program announced in October, the company has been dedicated to making sure that filmmakers with diverse backgrounds and a wide range of perspectives are provided with an array of support to improve visibility in an often-inaccessible, difficult-to-break-into industry.
In speaking on TFI’s mission and the new partnership with Pond5, executive director of TFI, Amy Hobby stated,
“TFI’s mission is to break barriers in access, exposure, and sustainability. We have assessed that there is a period of time in a project cycle when filmmakers need support not only financially, but also from peers and veterans of the industry. Partnering with Pond5, we’ve been able to create a very flexible fund and program that can meet those needs.”
If you haven’t heard of Pond5, here is a little summary about the company. Pond5 is the world’s largest, most vibrant video-first content marketplace, providing filmmakers, creators, and producers of all kinds with the content, inspiration, and tools they need to improve their projects.
As the only content marketplace that meaningfully shares licensing revenue with its contributing artists, Pond5 provides an important platform for professional visual and audio creators
“Pond5 prides itself on being the world’s most filmmaker-friendly creative marketplace. Helping filmmakers succeed in their craft is what we’re all about. As filmmakers ourselves, we know how hard it can be to secure the finances, resources, and footage necessary to tell your story. If we can play a small role in helping filmmakers tell an even better story, we feel like we’ve done our job.”
The program between TFI and Pond5 will offer support through funding, targeting-networking events, access to Pond5 content and mentorship programs, all designed to facilitate a sense of community for independent storytellers.
Additionally, TFI alumnae and Pond5 artists can apply for micro-grants through the program three times a year, offering multiple opportunities to receive funding.
Last night, TFI and Pond5 hosted a Producers Networking event, bringing together emerging filmmakers and established producers to meet and discuss future projects, as well as announcing the first 6 grant recipients for 2019. Peep the list of recipients below.
499 AÑOS (499 YEARS)
CREDIT: ALEJANDRO MEJÍA, AMC
Creative Documentary Feature
Directed by: Rodrigo Reyes
Producers: Inti Cordera and Andrew Houchens
499 Years examines the brutal legacy of colonialism nearly five centuries after Cortez arrived in the Aztec Empire. Bold, unique, and strikingly cinematic, the film uses magical realism, combining documentary and fiction to show how past traumas continue to affect contemporary reality while challenging us to overcome our histories of violence.
DEATH OF NINTENDO
CREDIT: VALERIE CASTILLO MARTINEZ
Scripted Feature
Directed by: Raya Martin
Writer/Producer: Valerie Castillo Martinez
Executive Producer: Whitaker Lader
Co-Producers: Jeremy Chua, Nikolo Juban
Set in 90’s suburban Manila, the story takes us into the colorful pop-culture world of four 13-year old friends, back in the days when video games were still a novelty.
Mimaw and her friends Paolo, Kachi, and Gilligan go on a journey of self-discovery together as they play games and wrestle with new dilemmas – puppy love, circumcision and other horror stories.
A HOLE TO HELL
CREDIT: PAWEL NAZARUK
Documentary Short
Directed by: Pawel Nazaruk & Tomasz Adamski
Producer: Pawel Nazaruk
The Cold War race to dig the deepest into the Earth reveals an entrance to Hell in arctic Russia. Forty years later, Yuri Smirnoff is the last man standing.
NO FAULT
CREDIT: AARON KOVALCHIK
Scripted Short
Director: Myna Joseph
Producers: Amy Lo, Lucy Owen, Lizzie Shapiro
Executive Producer: Lana Yang
Following a near-fatal car accident, Lu wrestles with creeping invisibility as she approaches the second half of her life.
On this long winter day, she finds her physical identity fractured, ignored, misunderstood, and judged – but with wry humor and stubborn resilience, she’s determined to be seen.
A 17year-old orphan is shipped off to her estranged grandmother and she plots her escape while navigating a foreign environment, new friendships and a hidden eating disorder.
SURVIVOR LOVE LETTER
CREDIT: PHOTO: JESS X. SNOW; MURAL: LAQYA NUNA YAWAR
AR Experience and Installation
Lead Artist & Executive Producer: Tani Ikeda
Lead Artist & Creative Director: Jess X. Snow
Additional Lead Artist: Layqa Nuna Yawar
Producer: Kevin Tsukii
Through a network of augmented reality murals centering Survivors of sexual assault, Survivor Love Letter presents a galaxy where survivors are not only believed and supported but also loved unconditionally.
Using our AR app, users can watch the mural and the love letter come to life through animation and read a library of love letters from survivors and allies all over the world and ultimately have the option to add to the galaxy by writing their own.
