Selasa, 24 Desember 2019

The Rise of Skywalker: Disney cuts Star Wars same-sex kiss in Singapore - BBC News

Disney has cut a brief scene of two women kissing in the Singaporean version of its latest Star Wars film.

The Rise of Skywalker features the first same-sex kiss in the franchise's history - described by reviewers as "a brief flash of two women kissing... among a crowd of characters".

But the version released in Singapore omits the scene.

Singapore's media regulatory body told the BBC that Disney cut the scene so it didn't get a higher age rating.

"The applicant has omitted a brief scene which under the film classification guidelines would require a higher rating," said a spokesperson from IMDA.

Without the kiss, the film is rated PG13 in Singapore.

It is not clear if Disney - the owners of Lucasfilm, the Star Wars production company - cut the scene in other countries. It was reportedly shown in China but not in the UAE.

Disney has not responded to the BBC's requests for comment.

Films in Singapore are typically classed under six different ratings:

  • G (General)
  • PG (Parental Guidance)
  • PG13 (Parental Guidance 13)
  • NC16 (No children under 16)
  • M18 (Restricted to those above 18) and
  • R21 (Restricted to those above 21)

It is not clear what rating the film would have had if the same-sex scene was included. A previous gay teen rom-com, Love Simon, was rated R21 by the IMDA.

In comparison, Love Simon is rated PG13 on movie listing site IMDB.

Brokeback Mountain, which featured two gay cowboys, was aired in Singapore in its entirety in 2006 - but was similarly hit with an R21 listing.

Same-sex marriages are not recognised in Singapore and gay sex is illegal - though the law is not enforced.

There are gay bars and clubs in Singapore, as well as an annual pride rally.

In 2018, a gay Singaporean man won a landmark case allowing him to adopt a child he fathered through a surrogate.

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2019-12-24 04:55:11Z
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Instagram influencers partied at a Saudi Arabian music festival — but no one mentioned human rights - msnNOW

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On social media accounts of the followed and famous, the MDL Beast music festival was a rave true to form: fluorescent face paint, flashing lights and a star-studded lineup of DJs who spun dance music into the wee hours.

Officially, the festival was “revolutionary,” “progressive” and “a remarkable first” — superlatives many of its influencer-attendees reiterated in posts seen by millions of followers on Instagram, Twitter and Snapchat during the three-day concert that concluded Saturday.

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What didn’t make it into their captions and tweets, however, was any reference to reports that document the human rights abuses of the festival’s host, the government of Saudi Arabia.

The event — along with the stars who were invited and possibly paid to attend — was organized by the kingdom’s entertainment authority and is part of its sweeping public relations strategy to showcase cultural changes. But critics say it also serves a much more insidious purpose: to rehabilitate Saudi Arabia’s damaged international image after the murder of Washington Post columnist Jamal Khashoggi.

The CIA concluded last year that Saudi Crown Prince Mohammed bin Salman ordered Khashoggi’s October 2018 assassination inside the Saudi Consulate in Istanbul, contradicting Saudi Arabia’s insistence that the crown prince had no advance knowledge of the plot.

On Monday, the kingdom announced that five people had been sentenced to death in Khashoggi’s killing. The two most senior officials implicated in the case, including an adviser to the crown prince, were cleared of wrongdoing.

The people who attended the festival have abetted that effort, according to journalists, human rights experts and influencers who chose not to go.

Posts from MDL Beast’s high-profile revelers were accompanied by the visual cues that often indicate a paid partnership. Some used the hashtags #ad, #MDLBeast partners or #MDLBeastbrandambassadors. Many tagged the festival’s Instagram account @mdlbeast in all their flattering photo captions. Festival organizers did not respond to a request from The Washington Post to confirm whether they paid influencers to promote their event.

American actor Armie Hammer posted a series of photos to Instagram, where he has 1.2 million followers.

“What I just witnessed was truly special,” he wrote. “It felt like a cultural shift. A change. Like Woodstock in the 1960′s.”

But in the days since the event ended, others have been quick to point out the kingdom’s ongoing restrictions of women’s rights and the crackdown on political dissent that Mohammed has overseen — even as the government pursues projects like MDL Beast, which would have been unthinkable only several years ago.

The country just recently began to allow women to drive, and in August, a royal decree for the first time allowed women to travel without the permission of their husbands or a male relative. It took months for the government to release women’s rights advocates who it had arrested and detained before those changes on what Amnesty International called “bogus charges.” Loujain al-Hathloul, among the most prominent activists, has been imprisoned for a year and a half.

As Western festival-goers arrived in Riyadh in varying states of undress, the activist Rana Ahmad said Saudi women, forced to wear abayas and headscarves, would never be able to appear in public so dressed down.

“They enjoy their freedom here, while Saudi women are suffering and watching!” she wrote on Twitter. “It’s really the worst feeling that you can’t be free and treated differently just because you’re a Saudi [woman]!”

Among the most vocal critics of the music festival and its brand ambassadors was Karen Attiah, a Washington Post opinion writer and Khashoggi’s editor at the time of his death.

“The dark side of influencer culture is that it really is the ultimate expression of capitalism. Money over human lives,” Attiah wrote on Twitter. “What good is your platform if you overlook Saudi regime’s murder and torture for a few bucks?”

Attiah, who is writing a book about Khashoggi’s work for The Post, called the influencers’ financial kickbacks “blood money.”

Also vocal in their criticism was the duo behind the Instagram account Diet Prada, which serves as a kind of watchdog over the fashion and beauty industry. In a weekend post, Diet Prada called on its 1.6 million followers to draw attention to the influencers who may have accepted money to promote the festival.

In a statement posted to social media, model Emily Ratajkowski said she turned down a paid invitation to attend and promote the festival even though she has “always wanted to visit Saudi Arabia.”

“It is very important to me to make clear my support for the rights of women, the LGBTQ community, freedom of expression and the right to a free press,” Ratajkowski wrote. “I hope coming forward on this brings more attention to the injustices happening there.”

Transgender model Teddy Quinlivan claimed in an Instagram story post that the Saudi government had paid influencers to “positively promote travel and events” to the country and wrote that any influencer who was “promoting tourism to a place [that] openly kills journalists and LGBTQ people” was a “sell out.”

“Extremely, profoundly disappointed to see people on my Instagram feed who traveled to Saudi Arabia as part of their government’s image rehabilitation campaign,” former Out editor and current GQ columnist Phillip Picardi wrote on social media. He encouraged any influencers who were unaware of Khashoggi’s murder or the “ulterior motives” behind the Saudi government’s invitation to call their agent, whose job, Picardi said, is to do risk assessment and research before accepting a paid partnership.

An image of a Glamour UK Instagram story that advertised the MDL Beast festival also circulated. The post was labeled as a “paid partnership” with the event organizers. Representatives from Glamour UK and its parent company, Condé Nast, did not respond to a request for comment from The Post.

In response to criticism from the Diet Prada account, Bollywood actress Sonam Kapoor said she wished to “agree to disagree.”

“ … Let’s appreciate that the whole world is” problematic right now and “any step forward is something that I want to celebrate,” she wrote on her Instagram story. “I was treated with immense respect and love as a Hindu brown female actor.”

American actor Ryan Phillippe has also defended his attendance in the comments of the photos he posted to Instagram from Saudi Arabia. When a user asked him if he was getting paid to post about the festival, Phillippe did not answer the question but said he was traveling to “many places in the mid east.”

“Find me a country without issues, I’ll wait,” Phillippe wrote. ” … Things are changing and progressing rapidly in KSA and the people are lovely. Pay attention and quit virtue signaling, princess.”

Read more:

Saudi Arabia says five sentenced to death in killing of Jamal Khashoggi

In the aftermath of Khashoggi’s killing, Saudi influence machine whirs on in Washington

Opinion | Saudi Arabia’s Khashoggi verdict is a mockery of justice

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2019-12-24 04:21:00Z
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Senin, 23 Desember 2019

Eddie Murphy returns to Saturday Night Live after 35 years - CNN

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2019-12-23 12:53:36Z
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Pete Wentz Pleased with 'Rise of Skywalker,' Says We're 'Star Wars' Spoiled - TMZ

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2019-12-23 08:50:00Z
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Cats is being patched with ‘improved visual effects’ - The Verge

Theaters are receiving a new version of Cats with “some improved visual effects,” just days after it premiered to dismal reviews. The update to the CGI-heavy movie was available to download on Sunday night, with hard drives otherwise ready to ship by Tuesday, according to a memo reviewed by The Hollywood Reporter. The change was requested by the film’s director Tom Hooper (Les Misérables, The King’s Speech), according to THR.

Hooper admitted to finishing the film just a day before its Friday premiere after working on it for “36 hours in a row.” The last-minute tweaks left room for mistakes, apparently, like Judy Dench’s human hand slipping through unnoticed.

The exact improvements haven’t been detailed. Hooper’s been updating the visuals ever since the first trailer startled audiences with “digital fur technology” that transformed the likes of Idris Elba, Ian McKellen, Taylor Swift, and Jennifer Hudson into bipedal cats.

Changes to films already in theaters are extremely rare, but they do happen. Vanity Fair lists a few examples, including The Shining which Stanley Kubrick reportedly re-cut to trim the ending shortly after it premiered. However, that was pre-digital, making it a much more costly affair to swap out the old reels on a national or international scale. Let’s hope the advent of digital distribution doesn’t usher in an era of nearly-complete film releases akin to nearly-complete software releases like iOS 13.

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2019-12-23 08:22:46Z
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Minggu, 22 Desember 2019

Eddie Murphy Brings Back Some Iconic 'Saturday Night Live' Characters With Updated Twists - Entertainment Tonight

Eddie Murphy Brings Back Some Iconic 'Saturday Night Live' Characters With Updated Twists | Entertainment Tonight

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2019-12-22 08:34:58Z
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Rise of Skywalker opening weekend box office falls short of Force Awakens and Last Jedi - Polygon

Star Wars: The Rise of Skywalker’s opening weekend will land south of both The Force Awakens and The Last Jedi, according to domestic box office estimates Disney sent out this morning.

The Rise of Skywalker’s first weekend pulled in $175.5 million in North America, $90 million of that from the Thursday night early-bird showings and then Friday’s full premiere. Though it’s an estimated total, $175 million is still short of the top 10 among domestic opening weekends all time, behind 2016’s Captain America: Civil War.

It’s also not in the same tax bracket as Skywalker’s trilogy predecessors — The Force Awakens and The Last Jedi both took more than $200 million in their debut weekends, good for third and fourth in that (domestic) category, all time. At this point, the opening weekend top 10 is largely an intramural competition, with Disney films accounting for 13 of the top 14, and six of those in the last two years.

But $175.5 million still makes The Rise of Skywalker the third-highest grossing Star Wars movie after its first weekend in the United States, comfortably in front of Revenge of the Sith, which earned $108.4 million from its 2005 debut.

Internationally, The Rise of Skywalker added $198 million to its gross (for $373.5 million worldwide), helped by $26.8 million and $12.1 million from same-day premieres in the United Kingdom and China, respectively. By comparison, The Force Awakens scored almost $500 million ($494 million to be precise) in its first weekend worldwide, while The Last Jedi took in $437.5 million. Notably, China waited about a month after both movies’ launch date before they premiered in that country.

Disney started out the weekend by tamping down industry-watchers’ expectations, offering a $160 million estimate for The Rise of Skywalker’s domestic box office even as other third parties projected $200 million or more.

The comparatively depressed box office haul could reflect any number of audience trends, ranging from fatigue with the 42-year-old franchise; last year’s underwhelming Solo: A Star Wars Story ($148 million opening weekend worldwide, $84.4 million U.S.) ; a critically tepid, if not thumbs-down, response to director J.J. Abrams’ vision for the franchise; or the querulous chatter of a divided fan base on social media.

Rotten Tomatoes currently gives The Rise of Skywalker a 54% rating among critics (meaning percent of positive reviews), which is low enough to get the green splat icon. Moviegoers, however, give it an 86% (meaning ticket buyers who gave it 3.5 out of 5 stars, or more). Metacritic’s aggregation of 59 scored reviews also lands The Rise of Skywalker at a 54; Metacritic readers rate it a 50, evenly dividing more than 1,000 user reviews between positive and negative.

“There’s certainly a palpable sense throughout The Rise of Skywalker that the creators are trying to revisit and pay off every satisfying battle and memorable moment from Skywalker Saga history all at once,” says our spoiler-free review. However, “the film feels clumsy, hurried, and above all, like an admission of creative defeat.”

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2019-12-22 16:33:22Z
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