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First editor in chief Radhika Jones announced she was leaving as soon as Conde Nast and Anna Wintour find a replacement.
Now Vanity Fair’s online editor, Mike Hogan, is leaving — and soon, May 9th. Hogan did a great job but faced enormous obstacles in and outside of the company.
Hogan had to deal with cruel insanity of getting traffic via Google’s evil algorithm. And then he had Conde Nast and Wintour to answer to apart from Jones.
Max Tani of online newsletter Semafor posted the note Hogan sent to staff. See below.
What else is going to happen to Vanity Fair? Will there still be an Oscar party?
Per a note to staff, executive digital editor Mike Hogan says he's leaving Vanity Fair after 25 years… pic.twitter.com/SOdN5QhAW4
Maybe fans of “The Conners” expected Roseanne to rise from the grave.
She did not, and the series ended 7 seasons last Wednesday with a bang and a whimper.
The two part finale was really two episodes, not one big one.
The first episode was up 18% from the previous week, with 3.345 million viewers who thought they were seeing an hour special.
Disappointed, 6% of them left and missed the actual finale at 8:30pm. That episode, which featured the Conners standing over Roseanne’s grave, fell to 3.1 million.
In the key demo, the numbers rose and fell also, up 34%, then down 11%.
“The Conners” was born when Roseanne Barr posted a racist tweet about Obama associate Valerie Jarrett. Barr lost everything, and her character was killed off what was supposed to be the return of “Roseanne.”
In the final episode, John Goodman’s Dan sued the pharmaceutical company that he argued killed Roseanne with opioids. He won the case but financial reward was just $700. He and the family discovered this by opening an envelope at Roseanne’s grave.
The whole thing made no sense but at the point it didn’t matter. They showed not one clip of Roseanne in their nostalgia package but Dan did place a stone on her grave.
“The Conners” could have had a big send off, but ABC skipped that. They were just happy to see it go. Still, “The Conners” ended with much higher ratings than the canceled “Grey’s Anatomy” and a lower budget.
May its memory be a blessing.
PS This was funny. There was no mention of the missing Conner kid, DJ, played by Michael Fishman. After 37 years it was like he never existed. TV production is cruel. What could he have done to them?
The Rock and Roll Hall of Fame has announced its new class of inductees.
Chubby Checker, eligible since Day 1, is finally in. Hurrah! Year after year Jann Wenner and the nominating committee wouldn’t admit him, saying that “The Twist” was a cover song. They inducted Hank Ballard and the Midnighters — who recorded it first but didn’t have the hit. Now Chubby’s in thanks to John Sykes and co.
The rest of the list is perfect: Cyndi Lauper, Joe Cocker, Bad Company, Soundgarden, and the White Stripes. All good.
Musical Influence awards go to Salt-n-Pepa, and Warren Zevon. Very good choices.
Musical Excellence Awards go to three deserving people: Thom Bell, whose Philly soul sound included hits for The Spinners, Stylistics, and dozens of others; Nicky Hopkins, the incredible keyboard player on hits by the Rolling Stones and many more; and my old friend Carol Kaye, the legendary female bass player from Phil Spector’s Wrecking Crew. Bravo, Carol!
Legendary Warner Music producer Lenny Waronker gets the Ahmet Ertegun Award. Lenny was one of the four or five classy Warner’s producers from the 70s and 80s who churned out all their beloved classic rock hits. James Taylor, Randy Newman, Maria Muldaur, The Doobie Brothers, Ry Cooder — need I say more?
The ceremony takes place in Los Angeles on November 8th. I woulfld go just to see all these people (the living ones) do The Twist.
PS Really great about the late Thom Bell. Along with The Spinners and Stylstics hits, Bell — who I did get to meet years ago — co-wrote two towering R&B songs: “La La Means I Love You” and “Didn’t I Blow Your Mind This Time.”
Nicky Hopkins — also no longer with us — is mostly thought of as part of the Rolling Stones. A gem– Paul McCartney song called “Same Love” from the “Flaming Pie” extras. Could be a hit today.
Carol Kaye, very much alive — OMG, they made her wait until she turned 90 last month. We would be nowhere without her. Check out her website. So happy for her!
There have been so many new shows that the last two had to open today, one after another.
“Dead Outlaw” came first at 2pm, followed by “Real Women Have Curves.” They each got raves. (I went to the “Dead Outlaw” opening and loved it.)
There are so many new musicals this year, but we have the five that will get nominations, I think. My favorite is “Maybe Happy Ending,” followed by “Operation Mincemeat.” There’s a strong push for “Death Becomes Her.” And then the two that opened today.
Usually, musical revivals are aplenty, not originals. So this is a refreshing change of events. The two big revivals are ‘Gypsy” and “Sunset Boulevard.” The third, “Once Upon a Mattress,” had a short run with good reviews. There will be a push for “Pirates: The Penzance Musical.”
It hasn’t been a great season for original plays. The best, I feel, was “Purpose,” with outstanding performances from everyone in the cast starting with LaTanya Richardson Jackson. Laura Donnelly was stunning in “The Hills of California,” which should have had a real run. It was terrific. “The Portrait of Dorian Gray” could be considered a new play, and of course Sarah Snook will be up for Best Actress.
There will be a push for “Stranger Things: FIrst Shadow,” but the play is really for fans of the TV show. Nevertheless, the actors are award worthy, and the production — special effects — are brilliant.
“Dead Outlaw” is little jewel that started last season Off Broadway at the Minetta Lane Theater. It’s small but very clever, with a hot score. I’d like to get the CD ASAP. You leave humming the music.
It’s a true believe it or not story about an outlaw who died in 1910 and was buried in 1976. In the intervening years his dead body — mummified — traveled the county in side shows, then spent 20 years in a closet. Really, no kidding. Director David Cromer does a swell job of making this into homespun humor. I don’t know how “Dead Outlaw” will do on Broadway but someday it could be a cult hit again off Broadway. It should never go away.
This has been a wild month on Broadway for the PR people who get us in and out of the shows so we can tell you about them. It’s a grueling business. The Tony nominations come on Thursday. Then Tony voters and press still have three weeks to see anything they missed.
The Tony Awards come on Sunday, June 8th. Then all the press agents deserve trips to Hawaii. I don’t know how they do it! For opening nights they also have to supply a few famous people on the red carpet, no easy task. Today at “Dead Outlaw,” came Patti Lupone, Katrina Lenk, Richard Kind, Colin Donnell, Victoria Clark, and Ben Platt, among others. Not bad!
You have to admire “60 Minutes.” They just don’t care what Shari Redstone thinks about anything.
At the end of tonight’s show, Scott Pelley called out Redstone, Paramount for firing editor in chief — or at least forcing out — Bill Owens after 40 years with the company.
Pelley is right, of course. Redstone has been meddling in the coverage of Trump and Gaza to protect her merger with David Ellison’s Skydance. Ellison’s father, billionaire Larry, is in bed with Trump. It’s a nasty business.
Owens has always been Pelley’s producer. They are close friends. Obviously Pelley is upset. Like everyone at “60 Minutes,” the most important news show on the air, he’s nervous that all this tampering is going to bring bigger trouble.
I told you this week before anyone else that Owens’s successor will be Tanya Simon. A few weeks ago, CBS brought in ex-superstar producer Susan Zirinsky to oversee “60 Minutes” and the CBS Evening News. The latter, which hatched under Owens’ watch, is a disaster. CBS should admit it, pretend it was like Pam’s dream on “Dallas,” and put Norah O’Donnell back in charge.
Zirinsky certainly signed off on the note below. So, now what? The next one out, expert sources tell me, will be CBS News chief Wendy McMahon. And then there’s George Cheeks, co-CEO of Paramount Global, who allowed the Grammy Awards to leave the network after decades, and has made plenty of other bad decisions.
Francis Ford Coppola, the real Godfather of Hollywood, is being honored tonight by the American Film Institute, and it’s about time.
The Oscar winning director of “The Godfather,” “The Godfather Part 2,” “Apocalypse Now,” changed films forever for the much better as leader of the 70s sort of Rat Pack of movies.
On the red carpet tonight: Steven Spielberg, George Lucas, Harrison Ford, Spike Lee, Antoine Fuqua, Dustin Hoffman, plus Adam Driver, Andy Garcia, Jack Black, Elle Fanning, Joe Mantegna, all great stars.
Top execs present including Sir Howard Stringer, and Sony Classic president Michael Barker.
Strangest celebrity on the red carpet: Suzan Hughes, first wife of later Herbalife creator Mark Hughes. Don’t know what’s up there.
Al Pacino — who just had a star studded 85th birthday — and Robert De Niro tag teamed their tribute on stage.
Missing: Robert Duvall, Diane Keaton, Adrien Brody, Kathleen Turner, and Nicolas Cage (who’s a Coppola).
Plenty of Coppola’s, though, including son Roman, producer of Wes Anderson movies, and granddaugher Gia, director of “The Last Showgirl.”
Sofia Coppola? MIA.
James Caan would have been there if he could, believe me!
Lana Del Rey is the real artist of the 2020s who will last and be taken seriously 20 years from now.
Last night at the Stagecoach show in Coachella, California, Lana delivered a magnificent performance to showcase her new song, called “Husband of Mine,” the first song, and her upcoming western flavored album. (Stagecoach is the country version of Coachella.)
The hour long show has guest stars, and sets that rival Broadway. Actually, Lana should bring this show to Broadway. It would be an enormous hit.
All the songs are more than Grammy worthy. But don’t miss the finale, with Lana and co. singing John Denver’s “Take Me Home, Country Roads.” I feel like I’m hearing this song everywhere lately, especially on commercials. But this is an elevating version.
The penultimate song, “57.5 Million,” is about the number of listeners she has on Spotify. It’s very witty, and is definitely meant to be a radio hit. But as Lana says, listen closely to verse about kissing Morgan Wallen. Lana says it’s the last time she’ll ever sing it.
PS Roger Miller, whose name is in the chorus, was a great country star who died much too young– 56 — in 1992. His song, “King of the Road,” remains a classic.
Here’s a mini review from a fan: She headlined stagecoach last night, in the California desert. Debuted a bunch of new songs. The standout opener “husband of mine”… it was breathtaking and sweeping and really cool! Made me want to take a road trip in Alabama – – now! Did I mention my tears? It made me think of Bridges of Madison County, and ironic, because Clint Eastwood is name dropped in the lyric!
Her new themes and look are more old Hollywood than country music. And I’m living! She could’ve had a Disney Orchestra.
Another song “5 7.5” was fun, referencing her Spotify followers and dangers of show business. Another new one “quiet in the south” she asked are you coming home tonight or should I burn the house down? Lol
Of course the album is going through a name change, and it will be delayed. Typical.
Amazon’s poorly released “The Accountant 2” starring Ben Affleck has tried to rival the 20 year re-release of “The Revenge of the Sith.”
The Sith have won.
Last night, “Sith” took in $11.5 million including Thursday previews.
The “Star Wars” installment handily beat “The Accountant” sequel, which had a $9.4 mil opening — and in 600 more theaters.
Number 1 is still “Sinners,” looking to cross $100 Million today.
Sony Pictures has two new films out, both of which are being ignored. “On Swift Horses” stars Jacob Elordi, which doesn’t seem to matter. “Until Dawn” — I’m not sure what it is, but Spider Man is not in it.
Another low mileage weekend at the box office. Maybe moviegoers are afraid to leave the house and be kidnapped by Homan and Trump at the popcorn stand. Not kidding, kids.
The album pop charts are not only at a standstill. They are dead.
This week’s number 1 album went to SZA’s “SOS” which sold just 2,425 CDs or downloads. With streaming, it came in at 52,049.
“SOS” was released in December 2022. But the singer has gone on tour with Kendrick Lamar. He finished close behind at number 1.
With little new product, this is a disastrous moment for the record biz. Big hits like Lady Gaga’s “Mayhem” have cooled down.
Country singer Morgan Wallen, whose new album arrives May 16th, had a bad week. Ditto Playboy Carti.
Only two albums have sold a million copies since the first of the year, by Kendrick Lamar, and Bad Bunny. No one can live on record sales anymore. Touring is mandatory, which is why Justin Bieber is in financial trouble.
Upcoming releases to cure this situation: Miley Cyrus on May 30th, Cynthia Erivo and Lil Wayne each on June 6th, Benson Boone June 20th, Alice Cooper in July. The Bruce Springsteen Tracks II comes June 27th.
The hope is Taylor Swift is preparing a surprise before the Sept 30th Grammy deadline. Adele is somewhere relaxing.
Meantime, here’s a great new single from Bebe Buell.
I didn’t really know what I was going to write about the “Sunset Blvd.” revival on Broadway last night.
Then, following the curtain call, the St. James Theater got pretty wild when there was a live auction from the stage.
South African actor Pierre Marais proved to be a successful auctioneer, raising money for Broadway Cares/Equity Fight AIDS. (All the theaters take up the cause this time of year.)
Marais was auctioning the bullhorn through which the show’s star, Nicole Scherzinger, sang when the electricity went out in the theater. It was one of those bravura moments in theater history. For the St. James, it was better than when Pearl Bailey stopped “Hello, Dolly!” mid-dance and grabbed an audience member’s camera with Instamatic flash.
Not only did stars Scherzinger and Tom Francis but also by two surprise guests: the show’s creator, Sir Andrew Lloyd Webber, and director Jamie Lloyd. During the show, ALW put in a cameo during live video projected in the house. More on that to come.
The couple in front of me, from Texas, joined in at around $6,000 after a young South African woman bid the stakes up to $5,000. (She shouted to Marais, “I’m only doing it because you’re South African!”)
The $6,000 couple loved the show. He kept jumping up all night and applauding.
But then Marais cooed, “Who goes to seven thousand dollars?” And up went hands and shrieks from behind me. A very pleasant looking couple, maybe 50 at most, went flush when they realized what they’d done.
It was their first time seeing this production, they told me — as opposed to the two young people I met during intermission carrying a Chihuaha service dog with a hat and sweater. “This is our sixth time,” they said, including the dog.
Did the Kraaijevelds love the show? He did. She did, too, although she had an allegiance to Glenn Close, obviously.
And what is going on with “Sunset Blvd.”?
It’s not a standard Broadway musical. There are no sets. If you don’t know the show you have no idea what’s going on. All the actors are excellent. Scherzinger is a powerful singer who also happens to be beautiful. She tears through the material like Chita Rivera appearing on “American Idol.” The audience loves her. Tom Francis is the Paul Mescal of Broadway.
I missed having no sets. But this a concert, with spectacular dancing and a lot of smoke on stage. Jack Knowles’s lighting design is award winning, no doubt.
But “Sunset Blvd.” is the most video-driven show I’ve seen since the god awful Ivan von Hove “West Side Story.” There are huge screens reflecting camera people on the stage who are broadcasting the action. You can the actors’ pores, for better or worse. About half the show is a projection. You never the big Hollywood mansion, the movie studio, or the antique car which turns out to be the major plot point.
I’m sure the CD of this show is popular. For fans, the singing can’t be beat. I think that will bear fruit at the Tony Awards.
PS I didn’t remember how much of the “Sunset” score is borrowed from “Jesus Christ Superstar.” That was ok with me!
Here are the proud auction winners, courtesy of me:
