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Cher Puts the Whole Taylor Swift-Scooter Braun Song Ownership Fight in Perspective with One Succinct Tweet

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 Cher has put the whole Taylor Swift-Scooter Braun Big Machine fight in perspective with one succinct Tweet. In capital letters, she writes: BABE, THIS SHIT HAS BEEN HAPPENING SINCE MILLION SELLING ARTISTS WERE PAID OFF WITH A CADILLACE AND A BOTTLE OF JACK! she adds a unhappy emoji and finishes: “I’m sorry Scooter.”

Record company executives have indeed been swindling songwriters for all of eternity. Wilson Pickett complained to me many times about his copyrights. Tina Turner wrote in her memoir “I, Tina” that Phil Spector paid her for recording “River Deep Mountain High” with a Thunderbird. Ronnie Spector and Darlene Love had to chase Spector for decades to get their money. And on and on and on.

Cher knows everything. Where is her book already?

 

Box Office: Star Power Matters as Matt Damon, Christian Bale Steer “Ford v. Ferrari” Number 1 at the Finish Line

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Star power still matters, especially at the race track.

James Mangold’s “Ford v. Ferrari” is number 1 this morning, heading to a $30 million weekend.

The stars, Matt Damon and Christian Bale, paid off. So did exciting race scenes of the 1966 Le Mans race. Damon plays Carroll Shelby, Ford’s legendary designer. Bale is his eccentric driver, Kenny Miles. The pair make for a great on screen relationship. It’s all chemistry.

For Fox, now part of Disney, this success matters a lot. Disney itself couldn’t have pulled off a movie like this. But the two studios together are gassed and ready to go.

Bale is headed to a Best Supporting Actor nomination. The movie should be a Best Picture nominee. Damon — who’s very good– may have to settle for other accolades. I just the studio doesn’t put Bale in the lead category. It’s already quite full with the Joker himself, Joaquin Phoenix, plus Leonardo DiCaprio, Robert De Niro, Adam Driver, and Jonathan Pryce.

Meantime, Warner Bros. can celebrate “Joker” crossing $1 billion worldwide. For an R rated movie, it’s unheard of, and they now hold the record in that category.

Box Office UPDATE : Kristen Stewart Updated “Charlie’s Angels” A Total Loss with $8.6 Mil Weekend Including Thursday Previews

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SUNDAY UPDATE: “Charlie’s Angels” totaled up $8.6 million for three days. It is a total write off unless some foreign territories suddenly loved it.

“Doctor Sleep” took a perma nap and “The Good Liar” was DOA. What a shame. Warner Bros. must take immediate action to ensure this doesn’t happen to “Just Mercy.”

 

SATURDAY:

Bosley must be turning in his grave.

Columbia Pictures’ latest installment of “Charlie’s Angels” is a total write off at the box office. Last night the Kristen Stewart version of the 70s hit TV show took in just $3.15 million, including $900K from Thursday. It’s possible the movie will make less than $7.5 million for the weekend.

Even if the number gets as high as $9 million, the party is over for the movie, directed by Elizabeth Banks. Basically, no one went and no one cares. That’s rough to say, but apparently true. This is WAY off from the already anemic $13.5 million the studio had predicted.

Stewart stars with two actresses no one knows anything about. I’m sure they’re lovely but I don’t know their names and you don’t either. So many ‘name’ actresses could have been hired, literally of any color or background. Plus, the movie lacks any sex appeal– the one thing “Charlie’s Angels” is supposed to have.

“Charlie’s Angels” isn’t the only box office disaster of the moment. Warner Bros. has two: “Doctor Sleep” and “The Good Liar” each took in $1.6 million. This points to a disturbing trend for that studio as nearly every “adult” oriented movie they’ve had this year has flopped.

There’s a real worry about “Just Mercy,” which I thought would be their Oscar entry. It’s coming soon, and no one I’ve talked outside the business has any idea what is it. Jamie Foxx and Michael B. Jordan star in what should be the “Green Book” of this year. But there’s no buzz. I hope that isn’t a bad omen.

Taylor Swift’s Real Problem: She Can’t Play New Songs at the AMAs Because of the Grammys. And Now She Can’t Play Old Songs

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EXCLUSIVE

Let’s look at why Taylor Swift is in such a panic about performing at the American Music Awards.

The owners of her records (not her publishing rights) won’t let her play her old songs on the AMAs. They’ve got a year-long kind of non compete clause that prevents her from re-recording her old hits and putting out an album or whatever, DVD, CD. Unfortunately that year includes the AMAs, her Netflix special, and maybe even her four concert dates for next year.

That’s right. The lack of a real “Lover” tour has a lot to do with this. If she performs “Shake it Off” and “Red” et al everyone at those stadiums will record them. So there’s that.

But more concerning is that Taylor cannot perform the new “Lover” songs on the AMAs. That’s because she’s exclusive to the Grammy Awards on January 26th for those songs. Next week she’ll get a raft of Grammy nominations for the “Lover” album. And then she can’t perform that material anywhere before she goes on the Grammys– and likely wins a bunch, too.

CBS and the Grammys are depending on Swift doing one or two numbers on their show. Grammy performers are cut if they do the AMAs.

So this poses a big problem. If you can’t sing the old songs, and you can’t sing the new ones, what do you sing when you win the Lifetime Achievement Award at the AMAs?

And so Taylor is panicking, with good reason. Borchetta and Braun should just let her do it, and move on. But this is where push has come to shove. And Swift can’t agree to their demands.

This much we know: she’s never ever going to go out with them again!

How to Kill a Mockingbird: Broadway Hit Tumbles at Box Office as Jeff Daniels Leaves, Ed Harris Arrives

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Mock- yeah.

It’s Box Office Redux for producer Scott Rudin as Jeff Daniels has exited “To Kill a Mockingbird” on Broadway and the box office has taken a sudden, drastic drop.

Rudin went through this just previously when Bette Midler said goodbye to “Hello, Dolly!” and Bernadette Peters succeeded her. Like a heart monitor indicating arrest, the numbers went plummeting.

For the weeks building up to Daniels’ goodbye, “Mockingbird” was printing money, taking in over $2 million a week. That started right after Labor Day. But now that Harris is in, the show suffered a  week to week drop of over $300,000. The average ticket price fell from $192 to $168. The top price dropped from $708 to $497.

This is to say nothing about Ed Harris or the whole new cast because they’re probably just as good if not better than the original gang. But this is what happened to Bernadette Peters and her cast. Suddenly there were plenty of empty seats.

In the case of “Mockingbird” 2.0, by December 8th you can see the erosion in the expensive seats. There are plenty of good ones almost every night. That will go on as long as investors can take it. Then Rudin will announce Daniels’ return for a victory lap, tickets as high as $1000, and a closing. History loves repeating itself.

 

Taylor Swift Rebukes Borchetta-Braun Statement, Says They Already Turned Down Use of Her Songs at Two Events

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Read this, kids. Taylor Swift’s PR, Tree Paine, says Borchetta-Braun turned them down to use Taylor’s songs at two events. This back and forth on Twitter is going to wear out. But meantime, I say to the record guys, she’s got you. You can’t win. Make a big nice statement and say she can use the songs whenever. Saul Zaentz did this to John Fogerty and it became his epitaph. It wasn’t “producer of The English Patient.” It was “The Guy Who Tortured John Fogerty.” Who needs that?

Box Office Bosley as New “Charlie’s Angels” Won’t Fly, Sony– Despite Excellent Year– Prepares for Flop

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Call them Angels of the Mourning.

The new “Charlie’s Angels.” written and directed by Elizabeth Banks– one of our favorite people– is headed for a big flop this weekend.

Last night in previews, the new Angels made just $900,000. Predictions are for a $12 million weekend, if lucky. That’s pushing it.

The new “Charlie’s Angels” stars Kristen Stewart and two actresses no one’s ever heard of. It also a convoluted plot, with three Bosleys and who knows who is voicing Charlie. (It should have been Robert Wagner, who took over from the beloved John Forsythe.)

Stewart plays an androgynous Angel named Sabina, not Sabrina. I’m sorry, but that doesn’t fly. None of it does. The audience doesn’t want Angels who aren’t smart, sexy, women. This was never a PC organization. We want Jaclyn Smith, Kate Jackson, and Farrah Fawcett. And Cheryl Ladd. All the fun is gone.

On Rotten Tomatoes, these Angels have scored a lowly 58%. There is no enthusiasm for it. But you could tell when what seems like years ago, Miley Cyrus, Lana del Rey, and Ariana Grande released the title track called “Don’t Call Me Angel.” It was met with yawns. Three superstars, no one cared. And “Don’t call me angel” is the chorus from another classic hit, “Angel of the Morning.” That should have been the song they covered.

Sony needn’t worry. They’ve had a great year with “Once Upon a Time in Hollywood,” the latest Spider Man movie, “Far from Home,” and coming soon is Tom Hanks in the wonderful “Beautiful Day in the Neighborhood.” “Zombieland” has also done very well, and “Little Women” should be a banger, with loads of Oscar nominations.

 

Taylor Swift’s Record Company Tells Her to Shake it Off, They’re Not Preventing Her from Performing Anything

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Well, there’s two sides to every story. So here’s the statement from Scott Borchetta and Big Machine regarding Taylor Swift’s massive plea from yesterday. Borchetta disagrees with Taylor’s assessment of the situation. “Lover” is still going to win lots of awards.

from Big Machine:

As Taylor Swift’s partner for over a decade, we were shocked to see her tumblr statements yesterday based on false information. At no point did we say Taylor could not perform on the AMAs or block her Netflix special. In fact, we do not have the right to keep her from performing live anywhere. Since Taylor’s decision to leave Big Machine last fall, we have continued to honor all of her requests to license her catalog to third parties as she promotes her current record in which we do not financially participate.

The truth is, Taylor has admitted to contractually owing millions of dollars and multiple assets to our company, which is responsible for 120 hardworking employees who helped build her career. We have worked diligently to have a conversation about these matters with Taylor and her team to productively move forward. We started to see progress over the past two weeks and were optimistic as recently as yesterday that this may get resolved. However, despite our persistent efforts to find a private and mutually satisfactory solution, Taylor made a unilateral decision last night to enlist her fanbase in a calculated manner that greatly affects the safety of our employees and their families.

Taylor, the narrative you have created does not exist. All we ask is to have a direct and honest conversation. When that happens, you will see there is nothing but respect, kindness and support waiting for you on the other side. To date, not one of the invitations to speak with us and work through this has been accepted. Rumors fester in the absence of communication. Let’s not have that continue here. We share the collective goal of giving your fans the entertainment they both want and deserve.

Listen to Taylor Swift’s Sure to Be Oscar Nominated “Beautiful Ghosts” from “Cats,” Read Her Plea to Music Execs to Give Her Back Her Music

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It’s not easy being Taylor Swift. She’s just released her song from the “Cats” movie, called “Beautiful Ghosts.” She will be nominated for Best Song for sure. Dammit, it’s really good.

Plus, Taylor re-recorded her great song “Lover” from her current hit album with Shawn Mendes, and it’s number 1 on iTunes. “Lover” is going to sweep the Grammys on January 26th. That’s just how it is. She’s at the top of her game.

But, you can’t have everything. She’s in a fight with her former pal Scott Borchetta and Justin Bieber’s manager, Scooter Braun. They’re holding her songs hostage and not allowing her to perform a medley of past hits on the American Music Awards. This is ridiculous. Guys, let her do it. She’s going to outplay you. Seriously, this isn’t sportsman like. Just say she can’t use the live versions on a recording for one year. Dudes!

Taylor’s big issue is that she needs to do a medley of old hits on the AMAs. She has to save the “Lover” songs for the Grammys. She’s also fighting with the boys because they won’t give rights to Netflix for a documentary. Taylor of course has posted a message to them, which I will post here under the “Beautiful Ghosts” video.

Borchetta and Braun are going to lose this fight in the court of popular appeal. And Braun in particular doesn’t need the wrath of Taylor’s fans just as he’s prepping Bieber’s comeback. This will get ugly. (Braun also reps Ariana Grande, so he has her to think about, too.)

Here’s the “Cats” song. Get ready for Taylor to be big all awards season. She deserves it.

 

Titled “Don’t Know What Else to Do”
Guys – It’s been announced recently that the American Music Awards will be honoring me with the Artist of the Decade Award at this year’s ceremony. I’ve been planning to perform a medley of my hits throughout the decade on the show. Scott Borchetta and Scooter Braun have now said that I’m not allowed to perform my old songs on television because they claim that would be re-recording my music before I’m allowed to next year. Additionally – and this isn’t the way I had planned on telling you this news – Netflix has created a documentary about my life for the past few years. Scott and Scooter have declined the use of my older music or performance footage for this project, even though there is no mention of either of them or Big Machine Records anywhere in the film.
Scott Borchetta told my team that they’ll allow me to use my music only if I do these things: If I agree to not re-record copycat versions of my songs next year (which is something I’m both legally allowed to do and looking forward to) and also told my team that I need to stop talking about him and Scooter Braun.
I feel very strongly that sharing what is happening to me could change the awareness level for other artists and potentially help them avoid a similar fate. The message being sent to me is very clear. Basically, be a good little girl and shut up. Or you’ll be punished.
This is WRONG. Neither of these men had a hand in the writing of those songs. They did nothing to create the relationship I have with my fans. So this is where I’m asking for your help.
Please let Scott Borchetta and Scooter Braun know how you feel about this. Scooter also manages several artists who I really believe care about other artists and their work. Please ask them for help with this – I’m hoping that maybe they can talk some sense into the men who are exercising tyrannical control over someone who just wants to play the music she wrote. I’m especially asking for help from The Carlyle Group, who put up money for the sale of my music to these two men.
I just want to be able to perform MY OWN music. That’s it. I’ve tried to work this out privately through my team but have not been able to resolve anything. Right now my performance at the AMA’s, the Netflix documentary and any other recorded events I am planning to play until November of 2020 are a question mark.
I love you guys and I thought you should know what’s been going on.
Taylor

Dupont Should Come Unglued After Audiences See Todd Haynes’s “Dark Waters” with Mark Ruffalo and Anne Hathaway

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Dupont will no longer be a Teflon corporation after audiences see  Todd Haynes’s memorable scary “Dark Waters,” opening November 22nd. Mark Ruffalo stars as the corporate lawyer from Cincinnati who took down the company and won a $670 million settlement for rural West Virginians who were poisoned by the company when they put something called C-8 in Teflon.

Yeah, the Teflon in our pans. It turns out everyone in the world is infected in some way now, it’s far worse than just the local farmer. Now they’ve removed C8 from Teflon, but the damage has been done.

Feeling nervous? “Dark Waters” is a call to arms directed by Todd Haynes, who usually deals with more intimate films. But activist Ruffalo discovered the story of how Rob Billot working for Cincinnati law firm Taft– who usually worked for the bad guys– saw what was happening and decided to do something about it. He learned how babies were being born deformed, people worked with Teflon were dying of cancer, farm animals were losing their minds and expiring at alarming rates.

“Dark Waters” premiered Tuesday night at Lincoln Center’s Walter Reade Theater with a swell, old fashioned dinner at Lincoln Restaurant. Focus Features has a winner in this descendant of “Silkwood” and “Erin Brokovich” with all-star cast that includes Ruffalo, Anne Hathaway, Tim Robbins, Bill Pullman, Bill Camp, and Mare Winningham.

Everyone showed up except for Hathaway (on bed rest waiting for baby number 2). More on her in a minute. It was Ruffalo, an environmental activist, who pulled this project together. Remember Haynes is better known for his character pieces. But he also made a movie years ago with Julianne Moore called “Safe,” in which no one was safe from chemicals. In a way, he’s return to an old interest and done a smashing job. This might be his most commercial movie.

Ruffalo plays  lawyer Billot, who’d just made partner at a white shoe law firm Taft when his Parkersburg, West Virginia grandmother sends two local farmers to him. All their cows are dead or going mad, everyone is sick. A massive amount of data has already been compiled and hidden by Dupont, which knows what’s happening and won’t do anything about it. Selling frying pans is more important.

Out of the frying pan and into the fire went Billot, who had a young family and dwindling financial resources. The case against Dupont went on for years, but luckily Billot had the help of his firm and two older lawyers (Tim Robbins and Bill Pullman, in roles that used to be played by Josef Sommer and Donald Moffat) who support the cause.

“Dark Waters” plays like a procedural in the mode of “Silkwood” or “Erin Brockovich.” Haynes and co. keep it simple and honest, with tremendously subtle work from a supporting cast that includes Bill Camp and Mare Winningham. Oscar winner Anne Hathaway starts slow as Mrs. Billot but comes through with (as usual) with stark authenticity.

In a season of gangsters, Hollywood cowboys, papal friendship, and alienated villains, we need “Dark Waters,” a David vs. Goliath tale that affects all of us in real life and once again exposes corporate greed. Billot deserves a medal for what he’s done. Haynes, Ruffalo et al should get their recognition for bringing the story to the screen.