JEDDAH, Saudi Arabia — A pregnant Saudi woman, far from home, finds herself stalked by inner and outer demons. A wannabe Saudi vlogger and his friends, menaced by the internet’s insatiable appetite for content and more mysterious dangers, try to escape a dark forest. At a wedding, the mother of the bride panics when her daughter disappears with all of their guests waiting downstairs.
These were just a few of the 27 Saudi-made films premiering this month at a film festival in Jeddah, part of the conservative kingdom’s huge effort to transform itself from a cultural backwater into a cinematic powerhouse in the Middle East.
The Saudi push reflects profound shifts in the creative industries across the Arab world. Over the past century, while the name Saudi Arabia conjured little more than oil, desert and Islam, Cairo, Beirut, Damascus and Baghdad stood out as the Arab cultural beacons where blockbuster movies were made, chart-topping songs were recorded and books that got intellectuals talking hit the shelves.
to promote pro-government themes.
In many ways, the region’s cultural mantle is up for grabs, and Saudi Arabia is spending lavishly to seize it.
At the Red Sea International Film Festival, held on a former execution ground, Jeddah residents rubbernecked as stars like Hilary Swank and Naomi Campbell strutted down a red carpet in revealing gowns, and Saudi influencers D.J.-ed at dance parties.
All this in a country where, until a few years ago, women were not allowed to drive, cinemas were banned and aspiring filmmakers often had to dodge the religious police to shoot in public.
Although Saudi Arabia’s population is about a fifth of Egypt’s, the Saudis are more affluent and wired, making them more likely to pay for streaming services and movie tickets. At about $18, a ticket in Saudi theaters is among the most expensive in the world.
But the kingdom only allowed cinemas to reopen only in 2018 after a 35-year ban. Before that, Saudis escaped to nearby Bahrain or Dubai to go to theaters.
Now, the country has 430 screens and counting, making it the fastest-growing market in the world, with a target of 2,600 screens by 2030, Mr. Abdulmajeed said.
Film Clinic, a Cairo-based production company.
Several Saudi-Egyptian collaborations are in the works, and an Egyptian “Hangover”-style comedy, “Wa’afet Reggala” (“A Stand Worthy of Men”), was the highest-grossing release in Saudi Arabia this year, beating the Hollywood blockbusters.
Saudi productions may also continue to draw acting, writing and directing talent from Lebanon, Syria and Egypt — and will most likely need to do so to reach non-Saudi audiences, said Rebecca Joubin, an Arab studies professor at Davidson College in North Carolina.
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“With Saudi opening up, they say in Egypt that it’s saving Egypt’s movie industry,” said Marwan Mokbel, an Egyptian who co-wrote “Junoon,” the Saudi horror film about the vlogger that premiered at the Jeddah festival.
Shahid, its Dubai-based Arabic counterpart.
That has created a big market for Arabic-language content.
Netflix has produced Jordanian, Egyptian and Syrian-Lebanese shows, with varying degrees of success, and just announced the release of its first Arabic-language feature film, “Perfect Strangers.”
Syrian and Lebanese studios that used to depend on gulf financiers — who, they complained, often forced them to water down their artistic ambitions by nixing political themes — are also turning to web series and Netflix for new funding and wider audiences.
a hip alternative to the somnolent broadcast television. Mohammad Makki recalled dodging the police, guerrilla style, to film the first season of his show “Takki,” about a group of Saudi friends navigating Saudi social constraints, a decade ago. Then, it was a low-budget YouTube series. Now, it is a Netflix hit.
“We grew up dying to go to the cinema,” he said, “and now it’s two blocks from my house.”
Saudi women in the industry faced even greater challenges.
When “Wadjda” (2012), the first Saudi feature directed by a woman, was filmed, Haifaa al-Mansour, the director, was barred from mixing in public with male crew members. She worked instead from the back of a van, communicating with the actors via walkie-talkie.
“I’m still in shock,” said Ahd Kamel, who played a conservative teacher in “Wadjda,” which portrays a rebellious young Saudi girl who desperately wants a bicycle, as she walked through the festival. “It’s surreal.”
As a young actress in New York, Ms. Kamel hid her career from her family, knowing they, and Saudi society, would not approve of a woman acting. Now, she said, her family pesters her for festival tickets, and she is preparing to direct a new film to be shot in Saudi Arabia.
Saudi political, religious and cultural sensitivities are still factors, of course.
Marvel’s big-budget “Eternals” was not released in Saudi Arabia — or in Qatar, Kuwait or Egypt — because of gay romantic scenes. Several of the non-Saudi films screened at the Jeddah festival, however, included gay scenes, nudity and an out-of-wedlock pregnancy.
Hisham Fageeh, a Saudi comedian and actor, said officials had told him future films should avoid touching directly on God or politics.
Sumaya Rida, an actress in the festival movies “Junoon” and “Rupture,” said the films aimed to portray Saudi couples realistically while avoiding onscreen physical affection.
But the filmmakers said they were just happy to have support, accepting that it would come at the price of creative constraints.
“I don’t intend to provoke to provoke. The purpose of cinema is to tease. Cinema doesn’t have to be didactic,” said Fatima al-Banawi, a Saudi actress and director whose first feature film the festival is funding. “It comes naturally. We’ve been so good at working around things for so long.”
Vivian Yee reported from Jeddah, Saudi Arabia, and Ben Hubbard from Beirut, Lebanon. Hwaida Saad contributed reporting from Beirut, and Nada Rashwan from Cairo.
LOS ANGELES — Wearing blazers and bedazzled dresses, downing cocktails, swapping industry gossip, and hobnobbing with some of Hollywood’s biggest names, the stars of America’s video game industry assembled on Thursday night for a long-delayed reunion at the Game Awards.
The lavish event was a victory lap of sorts for the video game community. While the movie industry has fretted over ticket sales and cannibalization by streaming services like Netflix, the video game industry has enjoyed tremendous growth during the pandemic. An estimated 2.9 billion people — more than one out of every three people on the planet — have played a video game this year, according to the video game analytics firm Newzoo.
Thursday’s awards were also a welcome opportunity for the industry to gather under the same roof, since last year’s event was held online because of the pandemic. Gaming luminaries arrived on the red carpet at the vast Microsoft Theater in downtown Los Angeles, joined by celebrities better known for their work in other entertainment industries.
Sting, the rock music icon, was backed by an orchestra as he opened the show with a performance of the haunting song “What Could Have Been” from the Netflix series “Arcane,” which is based on the video game hit “League of Legends.” The hit band Imagine Dragons performed “Enemy,” another song featured in “Arcane.”
entertainment award events, you would also have been on the nose.
At the center of the gaming industry’s answer to the Oscars was Geoff Keighley, the video game and television personality who created and hosts the annual event and who tried, with seemingly endless reserves of energy and enthusiasm, to steer an increasingly antsy audience through more than three hours of awards presentations and trailers for upcoming games, interspersed with music from the orchestra.
The show began in 2014 and has attracted millions more eyeballs each year on YouTube and Twitch. Last year’s fully remote version garnered 83 million live streams, according to organizers, and Mr. Keighley said after Thursday’s show that he expected more people to have watched live this year, though preliminary numbers were not yet available.
bnans, said in the crowded lobby after the show. “We’ve been in quarantine for so long, but it’s really nice to actually get to hang out with everyone again and see each other after two years.”
More than two dozen awards were handed out in categories like best action game and best art direction. The most prestigious title, game of the year, went to “It Takes Two,” a two-player puzzle adventure game developed by Hazelight Studios about a married couple navigating a divorce and journeying through a fantastical world.
Microsoft’s gaming division brought home a number of awards, with “Age of Empires IV” winning best strategy game, “Halo Infinite” winning a fan award called players’ voice, and “Forza Horizon 5,” a car-racing game, taking home three honors. “Deathloop,” a first-person shooting game developed by Arkane Studios, also won multiple awards.
The winners were determined by a vote of industry insiders and the general public.
For many watching, though, the awards were just a sideshow. The Game Awards is also used by the industry to introduce new game announcements and debut trailers for upcoming titles. If audience reaction is any indication, the fantasy game “Elden Ring” continues to be one of next year’s most hotly anticipated titles.
debuted on the stock exchange, topping a $45 billion valuation on its first day of trading.
The increased mainstream interest in online worlds has also been a validation for industry insiders and gamers that were using the term “metaverse” years before Mark Zuckerberg decided that Facebook was going to change its name to Meta. Even Mr. Carrey, appearing at the awards show on a prerecorded video, joked about it.
“I’m sorry I couldn’t be there with you, but I look forward to meeting all of your avatars in the metaverse, where we can really get to know each other,” he said.
As the industry has grown, it has faced increasing challenges, none more pressing Thursday night than the treatment of its employees. A shadow was cast over the event by the scandal trailing Activision Blizzard — the game publisher that has been under fire for months following a lawsuit from California accusing it of fostering a workplace environment in which mistreatment and harassment of women was commonplace.
A handful of protesters stood with signs supporting Activision employees outside the theater Thursday evening, and Mr. Keighley faced pressure in the lead-up to the event to condemn the company.
He tweeted last week that Activision would not be a part of the awards show, and he opened the event by saying that “game creators need to be supported by the companies that employ them.”
“We should not, and will not, tolerate any abuse, harassment and predatory practices,” Mr. Keighley said, though he did not mention Activision by name. Rob Kostich, the president of Activision, is on the board of advisers for the Game Awards.
Before the event, Mr. Keighley said in an interview that he wanted to strike a balance between using his platform for good and maintaining the upbeat vibe of an awards show.
“Are we going to use our platform to take companies to task publicly inside the show? It’s always something worth thinking about,” he said, “but it’s not a referendum on the industry.”
The floor of the New York Stock Exchange (NYSE) is seen after the close of trading in New York, U.S., March 18, 2020. REUTERS/Lucas Jackson
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NEW YORK, Nov 26 (Reuters) – COVID-19 has resurfaced as a worry for investors and a potential driver of big market moves after a new variant triggered alarm, long after the threat had receded in Wall Street’s eyes.
Worries about a new strain of the virus, named Omicron and classified by the World Health Organization as a variant of concern, slammed markets worldwide and dealt the S&P 500 index its biggest one-day percentage loss in nine months. The moves came a day after the U.S. Thanksgiving holiday when thin volume likely exacerbated the moves.
With little known about the new variant, longer term implications for U.S. assets were unclear. At least, investors said signs that the new strain is spreading and questions over its resistance to vaccines could weigh on the so-called reopening trade that has lifted markets at various times this year.
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The new strain may also complicate the outlook for how aggressively the Federal Reserve normalizes monetary policy to fight inflation.
“Markets were celebrating the end of the pandemic. Slam. It isn’t over,” said David Kotok, chairman and chief investment officer at Cumberland Advisors. “All policy issues, meaning monetary policy, business trajectories, GDP growth estimates, leisure and hospitality recovery, the list goes on, are on hold.”
The S&P 500 fell by a third as pandemic fears mushroomed in early 2020, but has more than doubled in value since then, though the pandemic’s ebb and flow has driven sometimes-violent rotations in the types of stocks investors favor. The index is up more than 22% this year.
Before Friday, broader vaccine availability and advances in treatments made markets potentially less sensitive to COVID-19. The virus had dropped to a distant fifth in a list of so-called “tail risks” to the market in a recent survey of fund managers by BofA Global Research, with inflation and central bank hikes taking the top spots.
On Friday, however, technology and growth stocks that had prospered during last year’s so-called stay-at-home trade soared, including Zoom Communications (ZM.O), Netflix Inc (NFLX.O) and Peloton (PTON.O).
At the same time, stocks that had rallied this year on bets of economic reopening may suffer if virus fears grow. Energy, financials and other economically sensitive stocks tumbled on Friday, as did those of many travel-related companies such as airlines and hotels.
The new Omicron coronavirus variant spread further around the world on Sunday, with 13 cases found in the Netherlands and two each in Denmark and Australia, even as more countries tried to seal themselves off by imposing travel restrictions.
First discovered in South Africa, the new variant has now also been detected in Britain, Germany, Italy, the Netherlands, Denmark, Belgium, Botswana, Israel, Australia and Hong Kong. read more
Friday’s swings also sent the Cboe Volatility Index (.VIX), known as Wall Street’s fear gauge, soaring and options investors scrambling to hedge their portfolios against further market swings. read more
Andrew Thrasher, portfolio manager for The Financial Enhancement Group, had been concerned that recent gains in a handful of technology stocks with large weightings in the S&P 500, including Apple Inc (AAPL.O), Amazon.com Inc (AMZN.O), Microsoft Corp (MSFT.O), were masking weakness in the broader market.
“This set the kindling for sellers to push markets lower and the latest COVID news appears to have stoked that bearish flame,” he said.
Some investors said the latest COVID-19 related weakness could be a chance to buy stocks at comparatively lower levels, expecting the market to continue rapidly recovering from dips, a pattern that has marked its march to record highs this year.
“We’ve had numerous days when economic optimism collapses. Each of these optimism collapses were a good buying opportunity,” wrote Bill Smead, founder of Smead Capital Management, in a note to investors. Among the stocks he recommended were Occidental Petroleum (OXY.N) and Macerich Co (MAC.N), down 7.2% and 5.2% respectively on Friday.
One of several wild cards is whether virus-driven economic uncertainty will slow the Federal Reserve’s plans to normalize monetary policy, just as it has started unwinding its $120 billion a month bond buying program.
Futures on the U.S. federal funds rate, which track short-term interest rate expectations, on Friday showed investors rolling back their view of a sooner-than-expected rate increase.
Investors will be watching Fed Chair Jerome Powell and U.S. Treasury Secretary Janet Yellen’s appearance before Congress to discuss the government’s COVID response on Nov. 30 as well as U.S. employment numbers, due out next Friday.
Investors held out hope that markets could stabilize. Jack Ablin, chief investment officer at Cresset Capital Management, said moves may have been exaggerated by lack of liquidity on Friday, with many participants out for the Thanksgiving holiday.
“My first reaction is anything we are going to see today is overdone,” Ablin said.
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Reporting by Saqib Iqbal Ahmed; Additional reporting by Chuck Mikolajczak, Megan Davies and Lewis Krauskopf; Writing by Ira Iosebashvili; Editing by Megan Davies, Richard Chang and Alexander Smith
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“The internet is answering a question that it’s been wrestling with for decades, which is: How is the internet going to pay for itself?” he said.
The fallout may hurt brands that relied on targeted ads to get people to buy their goods. It may also initially hurt tech giants like Facebook — but not for long. Instead, businesses that can no longer track people but still need to advertise are likely to spend more with the largest tech platforms, which still have the most data on consumers.
David Cohen, chief executive of the Interactive Advertising Bureau, a trade group, said the changes would continue to “drive money and attention to Google, Facebook, Twitter.”
The shifts are complicated by Google’s and Apple’s opposing views on how much ad tracking should be dialed back. Apple wants its customers, who pay a premium for its iPhones, to have the right to block tracking entirely. But Google executives have suggested that Apple has turned privacy into a privilege for those who can afford its products.
For many people, that means the internet may start looking different depending on the products they use. On Apple gadgets, ads may be only somewhat relevant to a person’s interests, compared with highly targeted promotions inside Google’s web. Website creators may eventually choose sides, so some sites that work well in Google’s browser might not even load in Apple’s browser, said Brendan Eich, a founder of Brave, the private web browser.
“It will be a tale of two internets,” he said.
Businesses that do not keep up with the changes risk getting run over. Increasingly, media publishers and even apps that show the weather are charging subscription fees, in the same way that Netflix levies a monthly fee for video streaming. Some e-commerce sites are considering raising product prices to keep their revenues up.
Consider Seven Sisters Scones, a mail-order pastry shop in Johns Creek, Ga., which relies on Facebook ads to promote its items. Nate Martin, who leads the bakery’s digital marketing, said that after Apple blocked some ad tracking, its digital marketing campaigns on Facebook became less effective. Because Facebook could no longer get as much data on which customers like baked goods, it was harder for the store to find interested buyers online.
The 1992 Olympics in Barcelona had the Dream Team. The 2008 Olympics in Beijing had the Michael Phelps medal sweep. The Tokyo Olympics has a pandemic.
That has been the greatest challenge for NBCUniversal, the company that paid more than $1 billion to run 7,000 hours of games coverage across two broadcast networks, six cable channels and a fledgling streaming platform, Peacock.
The ratings have been a disappointment, averaging 16.8 million viewers a night through Tuesday, a steep drop from the 29 million who tuned in through the same day of the Rio de Janeiro Olympics in 2016. NBCUniversal has offered to make up for the smaller than expected television audience by offering free ads to some companies that bought commercial time during the games, according to four people with knowledge of the matter, who spoke on the condition of anonymity to discuss negotiations.
opening ceremony set a downbeat tone. Instead of the usual pageant of athletes smiling and waving to the crowd, there was a procession of participants walking through a mostly empty Tokyo Olympic Stadium, all wearing masks to protect themselves against the spread of Covid-19 as a new variant raged. The live morning broadcast and prime-time replay drew the lowest ratings for an opening ceremony in 33 years, with just under 17 million viewers. The high came Sunday, July 25, when a little more than 20 million people tuned in.
24 years as NBC’s prime-time Olympics host before leaving the network in 2017. “You can’t create something out of thin air. Everybody knows that this is, we hope, a one-of-a-kind Olympics.”
“It’s like if somebody is running the 100 meters and they have a weight around their ankles,” Mr. Costas continued. “That is not a fair judge of their speed.”
A widespread change in viewing habits, from traditional TV to streaming platforms, has been a big factor in the number of people watching. While NBC’s prime-time audience has shrunk considerably from what it was for the Rio games five years ago, the Olympics broadcasts are still bringing in significantly more viewers than even the most popular entertainment shows. The most recent episode of CBS’s “Big Brother,” a ratings leader, drew an audience of less than four million.
“We had a little bit of bad luck — there was a drumbeat of negativity,” said Jeff Shell, the chief executive of NBCUniversal, during a conference call last week, after NBC’s parent company, Comcast, reported its second-quarter earnings. The less-than-festive atmosphere, he added, “has resulted a little bit in linear ratings being probably less than we expected.”
a television critic for Vulture. “But more than anything, watching this year has shown the wounds that we’re dealing with.”
Ms. Chaney noted NBC’s interview with the American swimmer Caeleb Dressel right after he won gold in a glamour event, the men’s 100-meter freestyle. Moved to tears, Mr. Dressel said, “It was a really tough year. It was really hard.”
The 13-hour time-zone difference between Tokyo and the East Coast may have also figured in the drop in prime-time viewers. Many people in the United States have been waking up to phone alerts trumpeting the medal winners who will be featured in that night’s broadcast.
all-around win — seemed to gain traction not so much on TV but in snippets shared on social media. That trend has been apparent in the number of followers for NBCUniversal’s Olympics channel on TikTok, which have shot up 348 percent since the opening ceremony.
Those who decide to watch must choose from a jumble of channels and digital options. In addition to NBC, the coverage is spread across NBC Sports Network, CNBC, USA Network, the Olympic Channel, the Golf Channel, the Spanish-language channels Universo and Telemundo, not to mention NBCOlympics.com, the NBC Sports app and Peacock.
There are so many choices that NBC’s “Today” show brought in Steve Kornacki, the political correspondent best known for elucidating election results, to break it all down. “If you’re a badminton fan, you’re going to be looking for NBCSN,” he told viewers. “If you’re an archery fan, USA Network. There’s all sorts of different possibilities!”
Jim Bell, who stepped away from Tokyo planning in 2018 when the company placed him in charge of “The Tonight Show Starring Jimmy Fallon.” He left that program and NBC a year later.
Ms. Solomon said she has been waking up at 4:30 a.m. in Tokyo and relying on double-shot lattes to get her through workdays that may go till 11 p.m. She does not share the opinion of some critics of the coverage.
“Every day, new stars arise, and new stories come to the fore,” she said. “So, personally, I don’t want it to end.”
In the view of Mr. Costas, who guided viewers through NBC’s Olympics coverage from 1992 through 2016, any comparison of the Tokyo games with previous competitions is not fair, given the pall cast by the pandemic. And three years from now, if all goes according to plan, NBCUniversal will get what amounts to a do-over in Paris.
“Paris 2024 will be, we hope, fingers crossed, much more like a classic Olympics situation,” he said. “That will be a more legitimate test.”
Some of the nation’s largest employers, for months reluctant to wade into the fraught issue of whether Covid-19 vaccinations should be mandatory for workers, have in recent days been compelled to act as infections have surged again.
On Tuesday, Tyson Foods told its 120,000 workers in offices, slaughterhouses and poultry plants across the country that they would need to be vaccinated by Nov. 1 as a “condition of employment.” And Microsoft, which employs roughly 100,000 people in the United States, said it would require proof of vaccination for all employees, vendors and guests to gain access to its offices.
Last week, Google said it would require employees who returned to the company’s offices to be vaccinated, while Disney announced a mandate for all salaried and nonunion hourly workers who work on site.
Other companies, including Walmart, the largest private employer in the United States, and Lyft and Uber, have taken a less forceful approach, mandating vaccines for white-collar workers but not for millions of frontline workers. Those moves essentially set up a divide between the employees who work in offices and employees who deal directly with the public and, collectively, have been more reluctant to get the shots.
different set of reasons that are not primarily political. They say many of their members are worried about potential health side effects or bristle at the idea of an employer’s interfering in what they regard as a personal health decision.
Marc Perrone, the president of the United Food and Commercial Workers union, representing 1.3 million employees in grocery chains such as Kroger and at large meatpacking plants, said he would not support employer mandates until the Food and Drug Administration gave full approval to the vaccine, which is being administered on an emergency basis.
“You can’t just say, ‘Accept the mandate or hit the door,’” Mr. Perrone said in an interview on Monday.
After Tyson announced its vaccine mandate on Tuesday, Mr. Perrone issued a statement that the union “will be meeting with Tyson in the coming weeks to discuss this vaccine mandate and to ensure that the rights of these workers are protected and this policy is fairly implemented.”
several meat plants became virus hot spots. Now, it is requiring its leadership team to be vaccinated by Sept. 24 and the rest of its office workers by Oct. 1. Frontline employees have until Nov. 1 to be fully inoculated, extra time the company is providing because there are “significantly more frontline team members than office workers who still need to be vaccinated,” a Tyson spokesman said.
Throughout the pandemic, companies have treaded carefully in carrying out public health measures while trying to avoid harm to their businesses.
Last year, when major retailers began requiring customers to wear masks, they quietly told their employees not to enforce the rule if a customer was adamant about not wearing one.
Companies like Walmart have tried a similarly tentative approach with vaccine requirements.
Walmart announced last week that it was requiring the roughly 17,000 workers in its Arkansas headquarters to be vaccinated but not those in stores and distribution centers, who make up the bulk of its 1.6 million U.S. employees.
In a statement, the retailer said the limited mandate would send a message to all workers that they should get vaccinated.
“We’re asking our leaders, which already have a higher vaccination rate, to make their example clear,” the company said. “We’re hoping that will influence even more of our frontline associates to become vaccinated.”
Lyft told their corporate employees last week that they would need to show proof they had been inoculated before returning to company offices.
Requiring vaccinations “is the most effective way to create a safe environment and give our team members peace of mind as we return to the office,” said Ashley Adams, a spokeswoman for Lyft.
But those mandates did not extend to the workers the companies contract with to drive millions of customers to and from their destinations. The drivers are being encouraged to be vaccinated, but neither Lyft or Uber has plans to require them.
Public health experts warn that limited mandates may reinforce the gaping divide between the nation’s high- and low-wage workers without furthering the public health goal of substantially increasing vaccination rates.
They also say it’s naïve to think that workers who resisted vaccines for ideological reasons would suddenly change their mind after seeing a company’s higher-paid executives receive the shots.
“Ultimately we want to ensure that they really have the broadest reach,” Dr. Kirsten Bibbins-Domingo, the vice dean for population health and health equity at the University of California, San Francisco, said of company directives. “Failing to do that, I think, will only cause others to be more suspicious of these types of mandates.”
Legally, companies are likely to be on solid ground if they mandate vaccines. Last year, the Equal Employment Opportunity Commission said employers could require immunization, though companies that do could still face lawsuits.
George W. Ingham, a partner at the law firm Hogan Lovells, said companies with mandates would potentially have to make difficult decisions.
“They are going to have to fire high performers and low performers who refuse vaccines,” he said. “They have to be consistent.” Reasons an employee could be exempted include religious beliefs or a disability, though the process of sorting those out on an individual basis promises to be an arduous one.
Companies may also have to contend with pushback from state governments. Ten states have passed legislation limiting the ability to require vaccines for students, employees or the public, according to the National Conference of State Legislatures.
Disney is among the few big companies pursuing a broad vaccine mandate for their work forces, even in the face of pushback from some employees.
In addition to mandating vaccines for nonunion workers who are on-site, Disney said all new hires — union and nonunion — would be required to be fully vaccinated before starting their jobs. Nonunion hourly workers include theme park guest-relations staff, in-park photographers, executive assistants and some seasonal theme park employees.
It was the furthest that Disney could go without a sign-off from the dozen unions that represent the bulk of its employees. Walt Disney World in Florida, for instance, has more than 65,000 workers; roughly 38,000 are union members.
Disney is now seeking union approval for the mandate both in Florida and in California, where tens of thousands of workers at the Disneyland Resort in Anaheim are unionized. Most of the leaders of Disney’s unions appear to be in favor of a mandate — as long as accommodations can be worked out for those refusing the vaccine for medical, religious or other acceptable reasons.
“Vaccinations are safe and effective and the best line of defense to protect workers, frontline or otherwise,” Eric Clinton, the president of UNITE HERE Local 362, which represents roughly 8,000 attraction workers and custodians at Disney World, said in a phone interview.
Mr. Clinton declined to comment on any pushback from his membership, but another union leader at Disney World, speaking on the condition of anonymity so he could speak candidly, said “a fair number” of his members were up in arms over Disney-mandated vaccinations, citing personal choice and fear of the vaccine.
“The company has probably done a calculation and decided that some people will unfortunately quit rather than protect themselves, and so be it,” the person said.
TRAPPES, France — It all began when a high-school teacher warned that Islamists had taken over the city. The teacher went on TV, issuing alarms from inside what he called a “lost city” of the French Republic. In Trappes, he said, he feared for his life.
“Trappes, it’s finished,” the teacher said. “They’ve won.”
The mayor, a strong believer in the Republic, saw the teacher on television and didn’t recognize the city he described. He knew his city, west of Paris and with a growing population of immigrants and Muslims, had problems but thought it was being falsely maligned. The mayor also happened to be a Muslim.
“The truth doesn’t matter anymore,” he said.
For a few weeks this winter, the fight pitting the mayor, Ali Rabeh, 36, against the teacher, Didier Lemaire, 55, became a media storm that, beneath the noise and accusations, boiled down to a single, angry question that runs through the culture wars rippling through France: Can Islam be compatible with the principles of the French Republic?
Lupin.” But Trappes also saw about 70 of its youths leave for jihad to Syria and Iraq, the largest contingent, per capita, from any French city.
article about Mr. Lemaire, who said he was quitting because of Islamists.
Within a few hours, a conservative politician eyeing the presidency tweeted her support for Mr. Lemaire and “all those hussars on the front line in the fight for the Republic.” Next, the far-right leader, Marine Le Pen, attacked “certain elected officials” for failing to protect the teacher from Islamists.
That the words of a virtually unknown teacher resonated so much was a sign of the times. A few months earlier, an extremist had beheaded a middle-school teacher for showing caricatures of the Prophet Muhammad in a class on free speech. President Emmanuel Macron was now pushing a bill to fight Islamism even as he pledged to nurture an “Islam of France.”
Mr. Lemaire’s words also resonated because of the outsized role in France of public schoolteachers, who are responsible for inculcating in the young the nation’s political values and culture. In the Republic’s mythology, teachers are the “hussars” — the light cavalry once used for scouting by European armies — fighting to preserve the nation’s sanctity.
In the article, Mr. Lemaire said he had been under police escort for months. Trappes’s mayor, he said, had called him an “Islamophobe and racist.” He said he was waiting for an “exfiltration” from deep inside “a city lost for good.”
Overnight, the soft-spoken, longhaired teacher, who said he preferred curling up with Seneca than going on Facebook, was issuing dire warnings on top television news shows.
“We have six months to a year,” he said, “because all these youths who are educated with the idea that the French are their enemies, they’ll take action one day.”
Mr. Lemaire arrived in Trappes, a banlieue, or suburb, in the outer orbit of Paris, two decades earlier. Once a village that grew around a millennium-old Roman Catholic parish, Trappes is now a city of 32,000.
Mr. Lemaire’s high school, La Plaine-de-Neauphle, stands at the heart of an area built to accommodate immigrant workers from France’s former colonies in the 1970s — a mixture of rent-subsidized high-rises, attractive five-story residences and a constellation of parks. The mosque is nearby. So is a market where vendors offer delicacies from sub-Saharan Africa and halal products.
Parti républicain solidariste, which espouses a hard line on France’s version of secularism, called laïcité. He now favors taking girls away from their parents, after a second warning, if the children violate laïcité rules by putting on Muslim veils during school field trips.
“We have to protect children from this manipulation,” of being used “as soldiers or as ideologues,” he said.
‘I See Myself In Them’
remarks to the newspaper Le Monde, the local préfet, the top civil servant representing the central government, praised Mr. Rabeh’s administration for its “total cooperation” in combating Islamism. The préfet also refuted the teacher’s claim to having been under a police escort.
The teacher’s story began wobbling. He admitted to the French news media, as he did to The Times, that he had “not received explicit death threats.” He had also accused the mayor of calling him a “racist and Islamophobe” in an interview with a Dutch television network.
But the network denied the mayor had said any such thing.
‘France Really Doesn’t Like Us’
letter to the students at the teacher’s high school.
“Don’t let anybody ever tell you that you’re worth nothing and that you’re lost to the Republic,” he wrote.
debate was scheduled that evening between Ms. Le Pen and Gérald Darmanin, the interior minister leading the government’s crackdown on Islamism. Hours before the debate, he announced that the teacher would be granted police protection.
That evening, Jean-Michel Blanquer, the national education minister, issued a statement supporting the teacher. He also accused the mayor of trespassing into the high school to distribute tracts — the letter — that morning. “Political and religious neutrality is at the heart of the operation of the School of the Republic,” the minister said.
The city officials at the school that morning told The Times that no copies were distributed inside. The regional education office and Mr. Blanquer’s office refused to make the school principal available for an interview. The minister’s office declined to comment.
The trespassing accusations led to such an avalanche of threats against the mayor that he, too, was put under police protection — a shared destiny, for a while, for the two men of Trappes, who had each lost something.
The teacher was forced to leave the school where he had taught for 20 years and, despite his criticisms of Trappes, said “you really feel you’re on a mission.” He said he should have been more careful with the facts and had made “many mistakes,” but stuck by his interpretation of Trappes as “lost.”
His words, he said, had led to a “clarification of positions today in France.”
The mayor questioned the very Republic that once inspired him. He had believed that “the people who embody the Republic will come, the government will eventually express its solidarity with me.”
“Stunned,” he said, “I find that’s not the case.”
He declined his worried father’s request to resign.
“For a moment during the crisis, I told myself, well, if this is the Republic, I’m abandoning the Republic, just as it’s abandoned me,” Mr. Rabeh said. “But the truth is they’re not the Republic. The kids of Trappes are the Republic.”
The District of Columbia sued Amazon on Tuesday, accusing it of artificially raising prices for products in its ubiquitous online marketplace and around the web by abusing its monopoly power, a sign that regulators in the United States are increasingly turning their attention to the company’s dominance across the economy.
In the lawsuit, the D.C. government said that Amazon had effectively prohibited merchants that use its platform from charging lower prices for the same products elsewhere online. That, in turn, raised prices for those products not just on Amazon’s website but in other marketplaces as well, it said.
“Amazon has used its dominant position in the online retail market to win at all costs,” said Karl Racine, the attorney general for the District of Columbia. “It maximizes its profits at the expense of third-party sellers and consumers, while harming competition, stifling innovation, and illegally tilting the playing field in its favor.”
Jodi Seth, a spokeswoman for Amazon, said in a statement that Mr. Racine “has it exactly backwards — sellers set their own prices for the products they offer in our store.” She added that Amazon reserved the right “not to highlight offers to customers that are not priced competitively.”
others raise their prices elsewhere or choose to list solely on Amazon, the largest e-commerce site in the country, to avoid losing their listings. The complaint said “Walmart routinely fields requests from merchants to raise prices on Walmart’s online retail sales platform because the merchants worry that a lower price on Walmart will jeopardize their status on Amazon.”
Absent the policing, sellers “would be able to sell their products on their own or other online retail sales platforms for less than they sell them on Amazon’s platform,” it said.
“Most favored nation” contracts are common across industries, including the cable industry with media business partners. Mr. Racine’s office will have to prove how the price agreements harmed other sellers and were anticompetitive.
LOS ANGELES — For 28 years, ever since “Super Mario Bros.” arrived in cinemas with the tagline “This Ain’t No Game,” Hollywood has been trying and mostly failing — epically, famously — to turn hit video games into hit movies. For every “Lara Croft: Tomb Raider” (2001), which turned Angelina Jolie into an A-list action star, there has been a nonsensical “Max Payne” (2008), an abominable “Prince of Persia” (2010) and a wince-inducing “Warcraft” (2016).
If video games are the comic books of our time, why can’t Hollywood figure out how to mine them accordingly?
It may finally be happening, powered in part by the proliferation of streaming services and their need for intellectual property to exploit. “The need for established, globally appealing I.P. has naturally led to gaming,” Matthew Ball, a venture investor and the former head of strategy for Amazon Studios, wrote last year in an essay titled “7 Reasons Why Gaming I.P. Is Finally Taking Off in Film/TV.”
Sony Pictures Entertainment and its PlayStation-powered sibling, Sony Interactive, are finally working together to turn PlayStation games into mass-appeal movies and television shows. There are 10 game adaptations in the Sony Pictures pipeline, a big leap from practically none in 2018. They include “Uncharted,” a $120 million adventure based on a 14-year-old PlayStation property (more than 40 million copies sold). “Uncharted” stars Tom Holland, the reigning Spider-Man, as Nathan Drake, the treasure hunter at the center of the game franchise. It is scheduled for release in theaters on Feb. 18.
post-apocalyptic game of the same title. Pedro Pascal, “The Mandalorian” himself, is the star, and Craig Mazin, who created the Emmy-winning mini-series “Chernobyl,” is the showrunner. Executive producers include Carolyn Strauss, one of the forces behind “Game of Thrones,” and Neil Druckmann, who led the creation of the Last of Us game.
Sony games like Twisted Metal and Ghost of Tsushima are also getting the TV and film treatment. (Contrary to speculation, one that is not, at least not anytime soon, according to a Sony spokesman: God of War.)
In the past, Sony Pictures and Sony Interactive operated as fiefs, with creative control — it’s mine; no, it’s mine — impeding adaptation efforts. When he took over as Sony’s chief executive in 2018, Kenichiro Yoshida demanded cooperation. The ultimate goal is to make better use of Sony’s online PlayStation Network to bring Sony movies, shows and music directly to consumers. PlayStation Network, introduced in 2006, has more than 114 million monthly active users.
“I have witnessed a radical shift in the nature of cooperation between different parts of the company,” said Sanford Panitch, Sony’s movie president.
Halo,” a series based on the Xbox franchise about a war between humans and an alliance of aliens (more than 80 million copies sold), will arrive on the Paramount+ streaming service early next year; Steven Spielberg is an executive producer. Lionsgate is adapting the Borderlands games (roughly 60 million sold) into a science fiction film starring Cate Blanchett, Kevin Hart and Jamie Lee Curtis.
Buoyed by its success with “The Witcher,” a fantasy series adapted from games and novels, Netflix has shows based on the “Assassin’s Creed,” “Resident Evil,” “Splinter Cell” and “Cuphead” games on the way. Jonathan Nolan and Lisa Joy, the duo behind HBO’s “Westworld,” are developing a science-fiction show for Amazon that is based on the Fallout video game franchise.
And Nintendo and Illumination Entertainment, the Universal Pictures studio responsible for the “Despicable Me” franchise, have an animated Mario movie headed to theaters next year — another new collaboration between a game publisher and a film company.
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Still, Hollywood’s game adaptation track record is terrible. Why should the coming projects be any different?
For a start, the games themselves have evolved, becoming more intricate and cinematic. “Games have stories that are so much more developed and advanced than they used to be,” Mr. Panitch said.
first major game adaptation in three decades to receive a “fresh” designation on Rotten Tomatoes, the review-aggregation site. Since then, two more adaptations, “Sonic the Hedgehog” (Paramount) and “The Angry Birds Movie 2” (Sony) have been critical and commercial successes.
“Quality has definitely been improving,” said Geoff Keighley, creator of the Game Awards, an Oscars-like ceremony for the industry.
The most recent game-to-film entry, “Mortal Kombat” (Warner Bros.), received mixed reviews but has taken in $41.2 million in the United States since its release last month, a surprisingly large total considering it was released simultaneously on HBO Max and theaters were still operating with strict coronavirus safety protocols.
Mr. Panitch acknowledged that “video game movies have a checkered history.” But he added, “Failure is the mother of invention.”
Game adaptations, for instance, have often faltered by trying to rigidly replicate the action and story lines that fans know and love. That approach invites comparison, and movies (even with sophisticated visual effects) almost always fail to measure up. At the same time, such “fan service” turns off nongamers, resulting in films that don’t connect with any particular audience.
“It’s not just about adapting the story,” said Michael Jonathan Smith, who is leading Sony’s effort to turn Twisted Metal, a 1995 vehicular combat game, into a television series. “It’s about adapting how you feel when you play the game. It has to be about characters you care about. And then you can slide in the Easter eggs and story points that get fans absolutely pumped.”
“Uncharted” is a prequel that, for the first time, creates origin stories for the characters in the game. With any luck, such storytelling will satisfy fans by giving them something new — while also inviting nongamers, who may otherwise worry about not knowing what is going on, to buy tickets. (The producers of “Uncharted” include Charles Roven, who is known for the “Dark Knight” trilogy.)
“It’s a question of balance,” said Asad Qizilbash, a senior Sony Interactive executive who also runs PlayStation Productions, an entity started in 2019 and based on Sony’s movie lot in Culver City, Calif.
Unlike in the past, when Sony Pictures and Sony Interactive pledged to work together and ultimately did not, the current collaboration “has weight because there is a win for everyone,” Mr. Qizilbash added. “We have three objectives. Grow audience size for games. Bring product to Sony Pictures. Showcase collaboration.”
The stakes are high. A cinematic flop could hurt the game franchise.
“It’s risky,” Mr. Qizilbash allowed. “But I think we can do it.”
The costume designer and wardrobe stylist Zerina Akers does not want people to think that her life is picture-perfect, even if she spends her time making sure that her clients are.
“I want to dispel the thought that it is glamorous,” she said of her days, which often include piecing together ensembles for her celebrity clientele, overseeing fittings and tending to her e-tail site. “Yeah, you’re dealing with beautiful things, but you also have to deal with all the luggage, getting all the looks right and running around. It’s a lot of hard work and heavy lifting.”
And, lately, she has been doing all of that on a wounded ankle. She’s mainly worn comfort shoes during the pandemic, but a pair of post-quarantine wedge heels led to her recent mishap. (“Who did I think I was?!” she said, while describing the stumble during a phone interview.)
Ms. Akers, 35, is the go-to stylist for Beyoncé Knowles-Carter — the iconic oversized black hat that the singer modeled in the 2016 “Formation” music video was her handiwork. She also compiled the wardrobe for Ms. Knowles-Carter’s opulent 2020 visual album, “Black Is King,” pulling designs from both established European fashion houses and independent designers from across the African diaspora.
Black Owned Everything, an e-commerce hub featuring a curated selection of apparel, accessories, beauty and décor products.
“Last summer, there was a huge surge in support of Black brands,” she said, describing widespread calls for inclusivity and representation that swelled after the protests against racism and police brutality. That led some people to ask a new question: How long would this last?
“Would it be something that’s going to stick around and really create change, or was it just a trend?” Ms. Akers said. “I felt it was important to not wait around and gauge the reaction of the fashion industry. We were able to create something that we own, and we’re going to keep it going,” she said of the website, which features about three dozen brands.
Ms. Akers, a Maryland native who is based in Van Nuys, Calif., has also been designing clothing recently, a throwback to her teenage years spent creating garments for school fashion shows. Some of her work — a color-blocked dress, a chain-trim bodysuit, a trench jumpsuit — is featured in a capsule collection of separates for Bar III, the private label from Macy’s.
We spoke with her in early May, as she mulled over ideas for revamping the Black Owned Everything site and sorted through wardrobe items intended for the Colombian reggaeton artist Karol G and Chloe Bailey of the R&B duo Chloe x Halle.
Interviews are conducted by email, text and phone, then condensed and edited.
Brandice Daniel, the founder and chief executive of Harlem’s Fashion Row, as part of their annual Designer Retreat. We’re on with the accessories designer Brandon Blackwood, talking about our career paths and giving advice to young people on how to make it in fashion. I talk about the importance of being in good financial standing and doing what you love without prioritizing being “internet famous.”
3:30 p.m. My assistant, Christian Barberena, arrives at my house and we chill in the backyard, going over our next two weeks of work and divvying up tasks. Usually, my team handles internet shopping and sourcing items in stores. Then, I’ll primarily handle things that are being custom-made by designers.
5:45 p.m. I realize I’m about 15 minutes late for a Netflix virtual screening event for “Halston,” and Chris and I tune in to watch. It’s a must-see. Based on what I’ve read about him, it was well-cast — and it’s visually quite stunning.
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8 a.m. I awake with a bit of anxiety, because I’ve been trying to figure out how to seamlessly do some construction on the Black Owned Everything site without alarming our followers. I want it to have much more storytelling, engage more Black photographers and graphic designers, and make it more than just a generic e-commerce space. I also have to find an entry-level social media manager to help make the Instagram account more robust while the site is down.
The Rooftop by JG with Liza Vassell, the founder of Brooklyn PR. We’re both late but make it just in time to not lose our table. It’s our first time connecting outside of work and we spent an hour and a half stuffing our faces, discussing our experiences being Black women making our own way, and investing in and supporting each other.
6:30p.m. Today was one of those weird days — productive, yet somehow I was left feeling like I didn’t quite do enough. I start checking out mentally by watching trash TV.
8:30 a.m. My makeup artist, Leah Darcy Pike, arrives to help me get ready for a portrait for this column. I decided to throw on an aqua blue look from my Macy’s collection.
1:17 p.m. I call my product development consultant and deliver the good news that I love our new Black Owned Everything candle sample. It’s kind of woody and sort of like patchouli, with these other weird notes. We also discuss possible product ideas we could launch for Juneteenth, like a summer travel kit.
2:05 p.m. I open my garage in an attempt to organize it, then close it back. It’s filled with jewelry, clothes from past photo shoots, my personal wardrobe overflow, B.O.E. stuff … it’s gotten a little crazy.
3 p.m. It’s Chris’s birthday, so I run out and grab a cake from Sweet Lady Jane and we indulge for just a moment.
4:15 p.m. I go to a mall in Sherman Oaks to pick up monochromatic sneakers for my weekend shoot with Karol G. I love color-blocking, particularly red shoes and red bags.
Sally Hemings. I’m currently obsessed with the narratives of slaves. The varied experiences never cease to amaze me. I keep them etched in my brain as a reminder of how resilient we really are as a people.
8:33 a.m. I’m cracking open the week’s packages one by one. There are 20 to 30 — a combination of gifts, things from Black-owned businesses that they want us to review, and some celeb stuff. For the most part, I try to have some stuff go to my office, but since we’re blurring lines with the pandemic, I’ve just been having it come straight to one place.
10:45 a.m. Head out to meet Chris so we can set up a rack for Karol G before heading into a fitting. The first thing I usually try to do with fittings is see what makes the client’s face light up, then I’ll start with those things that they’re most excited about. Typically, the trickiest part is the alterations because you want to make sure they hold up and last, but not damage the garment. On this day, everything went smoothly.
5:33 p.m. After grabbing a bowl of fried tofu with veggies and grits at Souley Vegan, I head to my office to work on a new project with Chris. We’re trying to start a virtual reality character for the site. She’ll be dressed in the Black-owned brands and you can follow her day-to-day.
8 p.m. We realize we should probably stop working and head home to pack for a shoot in San Francisco. When I fly, I have to have my travel blanket (right now, it’s Burberry), my memory foam neck pillow and a sleep mask — I can never stay awake on a plane, even if it’s just an hourlong flight.