“The decline of cable isn’t a new story, but what has started to take hold is a change in narrative inside the industry. Rather than try to prop up what they all know to be a decaying linear business, cable executives are instead focusing on their still-healthy intellectual properties and the brands behind them. Some of those cable brands are even aiming to carve out a space in the streaming world.” – Variety
Author: Matthew Westphal
There Are Four Kinds Of Streaming Video Viewers, Says Hulu Report
A new study, titled “Unpacking the Streaming Experience” and released by Hulu to launch its “Generation Stream” audience research platform, found that consumers watch in four different ways, which Hulu calls therapeutic streaming, classic streaming, indulgent streaming, and curated streaming. – The Hollywood Reporter
New COVID Emergency Fund For Nonprofit Presses And Literary Organizations
Created jointly by the National Book Foundation, the Academy of American Poets, and the Community of Literary Magazines and Presses with $3.5 million from the Mellon Foundation, the Literary Arts Emergency Fund will make one-time grants of $5,000 to $50,000. – Yahoo! (AP)
Black Theatermakers In Europe Talk About The Change They’re Working Toward
Excerpts from a recent Zoom conversation among three artistic directors — Kwame Kwei-Armah of London’s Young Vic, Julia Wissert of Schauspiel Dortmund in the Ruhr Valley, and Eva Doumbia of Compagnie La Part du Pauvre near Rouen — about their challenges as well as “white universality, decolonizing theater institutions and their issues with the word ‘diversity.'” – The New York Times
Arts Center In Sydney Is Saved From Liquidation — But At The Expense Of Some Artists
“Carriageworks has a clear path towards recovery after creditors voted unopposed on Tuesday for a proposal to rescue the arts company with the support of philanthropists and the New South Wales government, but not everyone is happy with the deal.” The problem: many of those creditors are small arts organizations and individual artists, who may get only about a third of the fees owed them. – The Guardian
When Lockdown Started, Powell’s Book Sales Soared. How’s Business Now? (Not So Good)
Emily Powell: “In some ways, it’s hard to say, because our trends have completely evaporated. Before the pandemic, I could have told you, ‘Oh, the first sunny day, and this month will look like this. The second sunny day will look like that.’ But all of those behaviors have gone away. So right now we’re on a relatively steady sales decline and trying to do our best to turn that in a different direction.” – Oregon Public Broadcasting
Designing For Accessibility, 30 Years After The Americans With Disabilities Act
Michael Kimmelman: “With one in four American adults living with disabilities, designing for accessibility and diversity should hardly be considered a chore or just a compliance issue. It’s an opportunity, both economic and creative, but one that requires a shift in mind-set.” – The New York Times
Disabled Performers On Their Place In The Arts Business
“Social movements like #OscarsSoWhite and #MeToo have started important conversations about an industry with entrenched disparities. With that in mind, we asked entertainers” — actors Ali Stroker, Marlee Matlin, Micah Fowler, and Lauren Potter, and Leroy F. Brown Jr. of Krip-Hop Nation — “how they have navigated their careers, and where their hopes lie for the future of their industry.” – The New York Times
Backstage Workers In Britain Are Being Asked To Pay Theatres Back For What They Got While Furloughed
“The repayment clauses could stipulate that the amount employers have paid towards furlough contributions is subtracted from workers’ wages when shows resume, and if workers do not return to the show they could be required to pay back the furlough contributions in full.” – The Stage
Zizi Jeanmaire, Ballerina Who Became Famous Actress And Cabaret Legend, Dead At 96
Trained at the Paris Opera Ballet, she became an international star in the title role of Carmen by her husband, choreographer Roland Petit (for whom she continued to dance for decades, sometimes with the likes of Nureyev and Baryshnikov as partners). She went to Hollywood and starred alongside Bing Crosby in Anything Goes. Back in Paris, where she and Petit were the toast of high society, she became queen of the city’s music hall scene, decked out in resplendent feathers for her signature tune, a lewd little number called “Mon Truc en plumes.” – The Washington Post
