Gender Bias in Reading Box Office Returns

Posted on August 5, 2016 at 9:11 pm

Bravo to Manfeels Park, for this outstanding Tumbler post that makes clear the gender bias in reporting on what should be straightforward box office numbers.

Today’s news: Ghostbusters ‘tanks’, ‘stumbles’ with 53% drop in its second week.

Presumably that’s a bad performance compared to other action movies in their second week then?

Let’s check…

Captain America: Civil War: -59.5%
Dark Knight: -52%
Amazing Spider Man: -61%
Oh, and for an example of an actual ‘tanking’:

Batman vs Superman: -69%
Now, let’s examine all the reporting last week that Ghostbusters was going to struggle because of its first week multiplier against its budget…

Ghostbusters first weekend US figures: $46m
It had a $144m budget, so in its first week it made 32% of that.
Descriptions: ‘Lacklustre’, ‘problematic’, ‘will haunt Sony’

Star Trek Beyond first weekend US figures: $59.6m
It had a $189m budget, so in its first week it made 30% of its budget.
Reporting: ‘Dominates’, ‘wins big’

To be clear: there are articles describing both movies’ openings as ‘solid’. But there’s basically no one calling Beyond worrying or Ghostbusters a big win.

Nell Scovell on Hollywood’s Obstacles to Women Directors

Posted on July 18, 2016 at 7:50 am

My friend Nell Scovell has a terrific article in the New York Times about Hollywood’s poor record on women directors. While just about any male director with an indie at a festival is handed a superhero movie with a $100 million budget and, even more telling, male directors whose films lose money still get a chance to make another, women directors, even those with a record of excellent work, do not.

In television, most studio executives and showrunners claim they are looking for female directors, but I suspect it’s the same way that I sometimes look for the sunglasses on my head: They’re right there, but I can’t see them.

People insist it’s a pipeline problem when it’s really a broken doorbell problem. Competent and talented women are right there on the doorstep, hitting the buzzer, but no one is answering the door. Last year, even with constant calls for more gender diversity, 86 percent of the first-time TV directors were still white males.

Past efforts, including allowing aspiring women directors to “shadow” established directors, have not been successful at increasing the number of women in director jobs. Scovell has some practical suggestions for change that go beyond the usual “let’s try harder.”

All networks and showrunners should look at the genders of their directors for the coming season. They don’t have to balance the roster 50/50 — although that would be awesome — they just have to make sure they beat last year’s 17 percent benchmark, which includes a scant 3 percent minority women. Make every fifth director a female. Just do better and the numbers will rise each year, creating a new benchmark to beat, until we hit equality.

Next, studios should flip the shadow programs. From now on, let the newcomers do the directing and pay the old hands to shadow them. The green directors get to rack up real credits while the show has a safety net.

Hidden Figures Will Tell The Story of Three Black Women at NASA

Posted on July 10, 2016 at 8:00 am

Three of my favorite performers will star in a new film called “Hidden Figures,” the true story three African- American women who worked for NASA during the 1960s space race. of Janelle Monae, Octavia Spencer and Taraji P. Henson will star as Katherine Johnson, Dorothy Vaughan, and Mary Jackson, who are a crucial part of NASA’s history.

Here’s Katherine Johnson.

And the cast congratulates her.

Jen Yamato on Three Awful Articles About Actresses

Posted on July 9, 2016 at 3:22 pm

There have been a lot of complaints about the Vanity Fair cover story on Margot Robbie by Rich Cohen (“Vinyl”), which reads like a parody of skeezily raphsodic profiles of beautiful women. I particularly like the takedown from Rebecca Shaw, who is, like Robbie, Australian, and so addresses Cohen’s idiotic comments about her country as well as his idiotic comments about Robbie.

Australia is America 50 years ago, sunny and slow, a throwback, which is why you go there for throwback people.

Bloody hell, calm your farm Richo. We’re America 50 years ago, so what – increasing our troops into Vietnam?…

That was the middle of a search that finally led to Alexander Skarsgård as Tarzan and Robbie as Jane. Jerry spoke of the actress in a tone he reserved for the big stars, the sure things, the Clooneys and Pitts, those whose magnitude seems old-fashioned. “When I think of Margot Robbie, a single word comes to mind,” Jerry said. “Audrey Hepburn.”

A single word: these two words. Earlier in the piece Richo said that Wolf of Wall Street defined Robbie. It “put her up with Sharon Stone in Casino and Cathy Moriarty in Raging Bull – one of Scorcese’s women.

I know I am 50 years behind all of this being one of the throwback people and all, but did you know that women don’t have to be defined by 1. being compared to other women and 2. belonging to some man or another? Astonishing stuff from here, downunder.

The Fug’s Heather has some thoughts as well.

The piece reads like an interview in which subject and questioner had zero chemistry. But it’s an interviewer’s job to find that, or fix it, rather than go home and throw Google searches at the problem. Frankly, when I read that conclusion and it so strongly created the image of her just casually standing up and leaving, I wanted to shake her hand. Australia has a right to be offended by the finished article (and it is, from what I’ve read). So too does Margot Robbie, though I suspect she will calmly say nothing. She’s already won, honestly. She, somehow, still comes across as normal and cool even though she’s not given as much voice as she deserves.

At The Daily Beast, Jen Yamato insightfuly brings together the Rich Cohen profile of Margot Robbie with two other articles about actresses that have provoked complaints. Variety’s critic Owen Gleiberman wrote that the trailer for the new “Bridget Jones” movie made him think that Renee Zellweger “no longer looks like herself,” and thus he might not be able to enjoy the movie. (See Thelma Adams’ response, too.)

And the usually-better Wesley Morris wrote a piece titled “How I Learned to Tolerate Blake Lively.” He spends most of the article explaining that he was expecting to see Kate Hudson starring in “The Shallows,” but no, it was another lithe blonde actress from California instead. Yamato has some good advice: “One glaring (and fixable!) factor in this trend of vaguely lecherous, sketchy filmbro culture: Hire more women writers and editors to represent a more accurate diversity of opinions, analysis, context.”

#OSCARSlesswhite — New Additions to the Academy Bring Some Diversity

Posted on July 2, 2016 at 4:31 pm

Some good news from the Motion Picture Academy — the acceptance of a younger, more diverse group of highly qualified members, which should help with the embarrassingly narrow focus that led to the #oscarsowhite problem last year, not a single person of color nominated for an acting award. New members include actors Idris Elba, Brie Larson, John Boyega, America Ferrera, Michael B. Jordan, Emma Watson, Tina Fey, Oscar Isaac, Tom Hiddleston, Ice Cube, and directors Ryan Coogler, Julie Dash, Adam McKay and Patty Jenkins. and Chadwick Boseman. It is the Academy’s largest and most diverse new group of members, more than double the 322 invited last year. 41% of the new invitees are people of color. There are 283 new international members from 59 countries. Academy president Cheryl Boone has made good on her promise for prompt action. Here’s hoping we see this kind of improvement every year.