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Last night, the Greta Gerwig directed comedy made $48 million on top of $22 mil in Thursday previews and is headed to a record shattering weekend. That’s a $70.5 mil opening night. The weekend will be double that or more.
The marketing part of it is pure genius, and will be studied for years to come. Mattel and Warner Bros. have collaborated on a pink revolution. There isn’t anyone who doesn’t know about this movie. The whole branding has been indelible. You can’t escape “Barbie” if you tried. She’s bigger than Mission Impossible and Indiana Jones.
Jamie Foxx is alive and well, and grateful. Three months ago he suffered what is still a mystery ailment. His sister and daughter, he says, took great care of him, saved his life, and clamped down on all information.
There were reports that he was blind and paralyzed. Foxx says this isn’t true, and even crosses his eyes in this video as a joke. But he definitely went through “something” –maybe a mini stroke. He seems okay now and says he’s still healing. But all the predictions of doom and gloom were wrong, thank goodness.
Willie Jones and the Royal Jokers have their debut album out, produced by my old friend in Nashville, Jon Tiven.
Who is Willie? Jon says: “According to Bettye LaVette, Willie discovered her and was the first professional person in the music business she ever met…and he told her she I could sing and wrote a song just for her.”.
Bettye adds in an email: “And I have loved him for most of my life.”
Willie is 86 years old. He and the Royal Jokers released some singles in the mid NINETEEN FIFTIES. But they never resulted in an album. Tiven says:
“At age 86, Willie & the RJ’s are getting their first LONG PLAYING release on Pravda Records, “Let’s Groove” featuring duets with Black Francis, Bettye LaVette, and Chuck Mead. The songs are by Willie & myself with help from Keith Reid, Steve Cropper, Steve Kalinich, Al Franken, Chuck Mead, Bettye LaVette, Joe Bonamssa, Frederick Knight, Andreas Werner and Charlie Feldman.”
I met Jon in 1999 when he was producing a Wilson Pickett album called “Soul Survivor.” He’s done a lot of great work down in Nashville with his wife, Sally, putting out stellar, real music these last 25 years or so. He knows I’m a sucker for these stories.
So Willie Jones — the whole album rocks. I have a couple of tracks here I really, really like including “Color TV” and “Every Day is New.” Former Senator Al Franken co-wrote “Color TV.” Another old friend, the great Charlie Feldman, co-wrote “Break Free.” Enjoy!
For years we’ve heard that Donald Trump’s teen son, Barron, was off limits to the press.
But now Donald himself has thrown Barorn, 17, into themix with this post on his TruthSocial media page.
“In an effort to level the playing field,” the picture of Barron reads, “
Barron Trump will debate Joe Biden.”
So let’s see: Barron, who’s 6 foot 7, has never actually been heard. His voice is a mystery. Years ago I was told that when he attended Columbia Grammar prep he had trouble with English because he lived on the same floor of Trump Tower with his Slovenian grandparents. So the debate between him and Biden should be pretty interesting.
Again, this is posted by Donald Trump on his social media. It was designed by his staff, at his request. He thinks it’s funny.
Caroline Kennedy’s son, Jack Schlossberg, is backing Joe Biden for president. He’s distancing himself from cousin Robert Kennedy — no doubt with his mother’s permission — joining Kerry Kennedy and Joe Kennedy III among family members who’ve backed away from RFK Jr.
“President John F. Kennedy is my grandfather, and his legacy is important. It’s about a lot more than Camelot and conspiracy theories. It’s about public service and courage. It’s about civil rights, the Cuban Missile Crisis, and landing a man on the moon. Joe Biden shares my father’s vision for America, that we do things not because they are easy, but because they are hard. And he is in the middle of becoming the greatest progressive president we’ve ever had.
“Under Biden, we’ve added 13 million jobs, unemployment is at its lowest in 60 years. Biden passed the largest investment in infrastructure since the New Deal and the largest investment in green energy ever. He’s appointed more federal judges than any president since my grandfather. He ended our longest war. He ended the COVID pandemic, and he ended [former President] Donald Trump. These are the issues that matter. And if my cousin, Bobby Kennedy Jr., cared about any of them, he would support Joe Biden too.
“Instead, he’s trading in on Camelot, celebrity conspiracy theories and conflict for personal gain and fame. I’ve listened to him. I know him. I have no idea why anyone thinks he should be president. What I do know is his candidacy is an embarrassment. Let’s not be distracted again by somebody’s vanity project. I’m excited to vote for Joe Biden in my state’s primary, and again in the general election. And I hope you will too.”
The studios are starting to delay the openings of their big fall films – the Oscar hopefuls — because of strike restrictions regarding promotions.
If the actors can’t publicize the movies, plus there are late night shows on which they can appear — what choices do they have? (They see that Mission Impossible was definitely hurt by this.)
According to reports, Warner Bros is thinking of moving its big releases like “Dune Two” out of harm’s way. “The Color Purple,” “Aquaman 2,” and “Wonka” could join the list.
Now Matt Belloni of newsletter Puck says MGM/Amazon will move Luca Guadgnini’s “Challengers” — starring Zendaya and Josh O’Connor –away from its September 15th date. It was supposed to open the Venice Film Festival two weeks earlier. It’s not anymore.
Todd Haynes’s “May December” with Julianne Moore and Natalie Portman was supposed to open the New York Film Festival. That may be scuttled now as well.
I’m told that earlier this week no fewer than SEVENTY people were on a Zoom call from all the different film festivals including Telluride, TIFF, Venice, Hamptons, and New York plotting strategies. What will they do if no stars come? The economic ramifications are HUGE.
In 2014, I went to the Public Theater in New York to see David Byrne’s “Here Lies Love” and nothing was ever the same.
At the time, everyone was asking if it could move to Broadway. But the configurations of the theater were so unique that no one was ready for it uptown. Where could you put it?
Now, nine years later, the Broadway Theater has been scooped out to look like Studio 54. There’s a huge disco ball twirling from the ceiling. Below, the audience — a lot of of them — move with the portable stages being pushed by stage hands with light sabers directing them like planes landing at La Guardia. (Plus, if you’re lucky, you may see David Byrne himself in a white suit mixed in among the audience.)
Along the sides of the walls, there are seats and now also in the mezzanine. It’s as if the Public production was put on steroids.
And there on all the stages, for 90 minutes, we get an extraordinary cast with the most amazing voices singing the songs of David Byrne and Fat Boy Slim about the rise and fall of Imelda and Fernando Marcos, dictators of the Philippines. (Their son has that job now, and Imelda — once ostracized — is living there again.)
Alex Timbers made his mark in 2014 directing the original, and he’s back along with some of the cast including Conrad Ricamore as Aquino, Jose Llana as Marcos, and several new exciting additions including Arielle Jacobs as Imelda, Melody Butiu, and Moses Villarama.
They are all standouts, but now the show turned one number — sung by Marcos’s mother — into a showcase for a Star. That would be Lea Salonga, who arrives with the fan fare of Dolly Levi and Gloria Swanson on a stage moving across the floor — they literally clear a path for her — singing “Just Ask the Flowers” and the audience goes appropriately wild. There would be a standing ovation except everyone is already standing.
The whole concept of “Here Lies Love” is so unique, it had to come from the Public. “Hamilton” followed. But this show should be as big, as sold out, and as award winning. In 2014 it was a breath of fresh air, and that’s only more true now. For one thing, the Filipino cast is very exciting on its own terms. The voices of these actors are exceptionally gorgeous, and they do credit to Byrne’s inventive melodies.
Songs? Besides “Flowers,” my favorites remain “Why Don’t You Love Me? ” sung by Imelda, which should be released to the radio and covered by every pop singer. Also, Ricamora carries off a very Talking Heads like number called “The Fabulous One,” that ties together both sides of Byrne’s career. Also in addition to the cast fans of Byrne’s “American Utopia” will recognize many of that show’s drummers. They turn up, like singers and dancers, all over the theater.
Imelda Marcos became infamous around the world for her excesses including rooms and rooms of expensive shoes. She was the Evita of the Philippines. “Here Lies Love” doesn’t get into what happened after the Marcoses were expelled from the country. There’s too much to tell in a short period of history including how they eliminated their political rival, Ninoy Aquino. But just this snapshot of history is jarring because the Marcoses — were encouraged by Ronald Reagan — are easily the template for the former US president and his third wife. This is a cautionary tale above everything else.
I’m ready to see this unique production again. It’s worth seeing a couple of times, from different angles.
The producers know what a hit they have. They hosted an old fashioned grand party at David Geffen (formerly Avery FIsher) Hall, using all the levels except the concert hall itself. Guests included producers HER Music and La Chanze, as well as actor Daniel Dae Kim and his family, three Tony winners from “Book of Mormon” — Josh Gad, Andrew Rannels, and Nikki James — plus “Succession” star Arian Moayed, Drew Barrymore, and a slew of guests dressed like it was high Halloween in Greenwich Village. Quite the night!
Tony Awards, here we come!
PS Funniest sighting of the night was Anna Wintour, sitting in the front row of a balcony perch, wearing her trademark sunglasses. A spotlight swept over her at one point, highlighting her own ridiculous imperiousness. She could easily be the subject of the show, singing “Why Don’t You Love Me?”
The three hour epic opened to an explosive $10.5 million last night in previews. Not “Barbie” but pretty amazing for a serious original film that has Oscars and awards season in its sights.
“Oppy” should do $40 million over the weekend, and have staying power for the next six months. Nolan, the stars, and all the crafts people can celebrate.
The Greta Gerwig directed, Margot Robbie directed feminist comedy made a stunning $22.3 million last night in previews.
That places it at number 24 on the all time previews list, ahead of movies like The Batman, The Avengers, and the first Hunger Games movie.
“Barbie” is on track for a $100 million weekend, and that’s a low estimate. Fueled by relentless marketing from Warner Bros. and Mattel, “Barbie” is going to be a summer sensation. She’s a doll!
Tony Bennett has died at 96, just three weeks short of his 97th birthday.
I was so honored and lucky to know him. He was actually a legend, a obviously a great singer and artist, a philanthropist, and political activist.
After a tremendous first chapter of life with hits like “I Left My Heart in San Francisco,” Tony came back stronger than ever in the 1990s with a voice that had grown only richer and wiser, and had hit after hit especially with Laga Gaga toward the end. He recorded with other stars, too, like Amy Winehouse, and it broke his heart when she died.
For long time, Tony lived in the shadow of Frank Sinatra, the premier crooner of his day. But when Sinatra died, Tony stepped out of that shadow and claimed his rightful place in the world of the arts. We were so lucky he lived here in New York where we could see him and talk to him regularly.
Tony was no prima donna, that’s for sure. I’ve told these stories before, but two come to mind. One was after a TV special of his won several Emmys. At the after party there was a buffet. There was Tony and his devoted wife, Susan, sitting on a long bench among other people who were not paying attention to them. Their paper plates were perched on their knees and they were eating from them. Tony, I said, you just won a lot of Emmy Awards! Bennett replied, “It’s okay! We’re fine here!”
My favorite story was accompanying Aretha Franklin to a recording session with Tony on New York’s west side. He was recording for his second Duets album. The temperature outside was about 100 degrees. Inside it was worse because Aretha had asked to turn off the air conditioning. She was wearing a sleeveless top and didn’t have a drop of sweat on her. Tony was dressed in a suit and tie and he was drenched. “Tony,” I said, “you can take off the jacket and the tie, you know.” He looked at me and said, “I got dressed up to sing for Aretha Franklin!” and refused to doff anything.
When I told Aretha she responded, “We took Tony Bennett to the recording studio and he burst into flames!”
Tony’s big second act was due to his own talent, of course. But also to the devotion of his family, principally his son, Danny, who became his astute manager and guided him through the 21st century. Tony’s other kids, grandkids, and wife Susan surrounded him with love. Condolences to all of them. What a life to celebrate!
PS One thing I left out: as late as 18 months ago Tony was still giving little concerts in his living room despite Alzheimer’s. He remembered every word and phrase of the songs. The music had been written into his wiring. At his 95th birthday at Radio City two years ago, it was the same. He performed a 40 minute solo set with his band, plus performed with Lady Gaga, never missing a beat. His rich voice was always a Wonder of the World. And so was he!
