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From Beyonce To Shonda Rhimes, The Most Powerful Women In Entertainment 2018

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Shonda Rhimes may have defined Thursday night television, but she’s now dictating the medium’s future. When the Grey’s Anatomy creator signed a nine figure, four-year deal with Netflix last year, she cemented her place at the forefront of entertainment’s digital future-and pioneered Netflix’s handsome producer paydays.

Rhimes, who created and executive produced ABC hits including Scandaland How To Get Away with Murder, is now developing eight shows for the streaming service through her production outfit ShondaLand.

“We are powerful women and when we say we have power, what we are really saying is that we deserve to have power. We deserve whatever good thing it is that we are getting,” said Rhimes at Elle magazine’s 25th annual Women in Hollywood celebration.

Demanding what you deserve can feel like a radical act.

Worth an estimated $135 million, Rhimes is the wealthiest female showrunner–the person who oversees writing and production of each TV episode-in Hollywood. She has said that her deal, which reportedly includes a base salary of $150 million with incentives that could bump it much higher, is bigger than the $300 million secured by Ryan Murphy.

Rhimes is just one of the world’s most powerful women in media and entertainment effecting change and impacting her industry with groundbreaking deals and inclusive storytelling. Take Lucasfilm president Kathleen Kennedy, who has helped pioneer Star Wars‘ most inclusive casting yet. Under Kennedy’s stewardship, Kelly Marie Tran became the first woman of color to have a lead role in the multi-billion dollar franchise, playing Rose Tico in 2017’s The Last Jedi.

Across the lot, Dana Walden has seen her power grow in the studio landscape. Following Disney’s $71.3 billion acquisition of the majority of 21st Century Fox, the former chair and CEO of Fox Television Group will also head up 20th Century Fox TV, ABC Studios, the Freeform network, ABC-owned TV stations, ABC Entertainment and several other divisions.

Walden believes more women need to be in decision-making roles at every level. “There must be women in the highest ranks of every organization, and meaningful female representation on every corporate board,” Walden told Forbes last year.

Our recruiting and our training has to be oriented to ensure that we’re identifying and nurturing future generations of female leaders.

Entertainment’s most powerful span Hollywood, music and publishing. As each segment continues to deal with the fallout of the #MeToo movement, women have taken action. Anna Wintour, who continues to control Vogue, suspended photographers Bruce Weber and Mario Testino amid sexual misconduct charges and set a code of conduct for models and photographers.

Wintour teamed up with music power woman Beyoncé for the September issue of Vogue; she was given creative control over her cover photo and leveraged that power to hire the first African American photographer to shoot the cover in the magazine’s  126-year history. Another first for Beyoncé: In 2018, she became the first black woman to headline Coachella.

Here’s the full list of Media and Entertainment power women:

1. Oprah Winfrey, Media mogul

2. Shari Redstone, Vice Chair, CBS & Viacom

3. Bonnie Hammer, Chair, NBCUniversal Cable Entertainment

4. Donna Langley,  Chair, Universal Pictures

5. Anna Wintour, Artistic Director, Conde Nast

6. Beyoncé, Singer

7. Dana Walden, Chairman, Disney TV Studios and ABC Entertainment

8. Katharine Viner, Editor-in-Chief, Guardian

9. Taylor Swift, Singer

10. Zanny Minton Beddoes, Editor-in-Chief, The Economist

11. Kathleen Kennedy, President, Lucasfilm

12. Shonda Rhimes, Showrunner

13. Arianna Huffington, Founder & CEO, Thrive Global

14. Serena Williams, Tennis player

15. Shobhana Bhartia, Chair, HT Media

16. Priyanka Chopra, Actress

– Natalie Robehmed: I’m an associate editor at Forbes covering media and entertainment, with a focus on the movie business. For the magazine, I’ve written cover stories on 

 

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This ‘Game of Thrones’ Fan Demands A Rewrite—And 1.2 Million Sign Petition

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The creator of the notorious Game of Thrones petition calling on HBO to remake the show’s eighth and final season only learned of its success (more than 1.2 million have signed) on Thursday, days after it went viral.

HBO’s high fantasy series Game of Thrones has for years been a juggernaut, giving the network some of its highest ratings ever. But the show’s final episodes have drawn the ire of fans and some critics who say the writing has been sloppy and plot points were unearned.

After offhandedly making the petition more than a week ago as a way to vent, Dylan (he declined to give his full name to Forbes), a 30-year-old analyst for a health system in Fort Worth, Texas, hadn’t given it a second thought. That is, until a coworker approached him after work.

“Hey, is this you?” the coworker said.

And that’s how he learned his Change.org petition had blown up. After learning of his newfound internet fame, he provided an online update, where he told the world that no one from HBO has approached him. He doesn’t reasonably expect HBO to remake anything, he said, but he wants to send a message: he’s disappointed.

In an email exchange with Forbes, here is what Dylan had to say about the petition. Warning: This contains spoilers.

What exactly prompted you to start the petition? You said it was a few days after Episode 4. What in particular were you disappointed by, both in that episode and the next one?

Really it was a combination of Episode 3 and 4’s failures that brought me to the point of writing the petition. There were many, many qualms I had with the episodes, but I’ll mention a couple. The Battle of Winterfell was a strategic disgrace. I mentioned in my long update that the show suffered from “everyone is stupid” syndrome. I’m sure there is a better term for it, but when the plot is intense and dramatic simply because every character involved is an idiot, that is not great writing. You had some of the wisest, most experienced individuals in Westeros all in one room, and THAT was the defense strategy? As for Episode 4 I had many lamentations, but the specific one that made me facepalm the hardest was how Rhaegal died. Easily one of the cheapest deaths of the whole series. I could probably go on for a long time about it, but that’ll do for now.

Have you started other Change.org petitions before?

I have not. I understand that they are normally for more social and humanitarian issues, but maybe this whole thing has drawn more people to the site that can browse these other petitions.

What do you make of the overwhelming response this petition has gotten? And some of the backlash about “entitled fans” and whatnot.

Well in my long update I talked about how I started it and how surprised I was by the response when I checked back in after a week. I was mostly just chuckling at it, taking it lightly, then I learned my parents had contacted news institutions and reporters and I was taken aback. This petition isn’t about me. Any passionate nerd could have written it. Heck I clearly put like the minimum effort into the original post! I have seen a few things calling out the petition and its signers as a whole, but nothing yet that calls me out directly. I guess if we’re entitled, we’re entitled together. I hoped to clear some things up in my update post, but I may have taken too long to put some clarifying words out there.

Did your parents reach out to reporters after you found out the petition had been doing well? Are they fans of the show as well? (Author’s note: I asked this question in a follow up email). 

Yeah I had called them on my way home from work after I found out myself, just to say, “Hey check this out, neat huh?” They were notably more excited than I was about the “internet fame” and started reaching out to reporters on their own. I wasn’t terribly thrilled about it, but they were excited for me. Yes, I got my parents into the show maybe around season 5 or so…can’t remember when, but I introduced everyone in my immediate family to the show.

Has your life changed at all since the petition blew up?

Well since I only learned of its success [Thursday] after work, the only life impact I have experienced so far is a lack of sleep for one night. I think I was too pumped to sleep well last night! I would imagine that after the finale the petition will garner more attention, but we’ll see.

What do you hope to get out of the petition now? I know you said you don’t expect HBO to actually remake Season 8 and that no one from HBO has been in contact with you.

That’s the question isn’t it? Sometimes acknowledgement of the outcry is enough, and decisions are made behind the scenes to adjust for such backlash. I am also one of the somewhat disgruntled Star Wars fans as well – relatively unhappy with the writing of the new trilogy – so seeing D&D (D.B. Weiss and David Benioff) lose their Star Wars contracts might be interesting. I have seen people call for that. I just don’t know why they should be rewarded with another beloved story after what we saw from the end of Thrones, but who knows? If we get a Star Warstrilogy from them that’s as good as the first few seasons of Thrones, I might be eating my words.

Do you still think Game of Thrones  is one of the greatest TV shows of all time?

Absolutely. It is a universal cultural phenomenon. I heard someone once say something along the lines of, “This show shouldn’t even exist. It’s this crazy, convoluted fantasy epic with dragons and zombies and castles and political drama. We should be happy it was brought to us.” That’s some huge paraphrasing, but I do agree with the sentiment. In my long update, I say that D&D deserve praise for their adaptation of the books during the first several seasons of the show. Obviously the praise stops short towards the end of the rushed series.

-Rachel Sandler; Forbes Staff

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Business is my obsession says Sjava

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The award-winning South African musician Jabulani Hadebe, known as Sjava, on why he would choose money over pleasure.

1. What sets your music apart?

I always try to make it different.

I think most of the time when people create music, they create it according to what is ‘hot’ and what is ‘popping’; they never really talk about things nobody talks about…

So I just always try to sit in my corner and stay true to it.

2. What specific qualities do you need in order to last in the music industry?

I think talent and discipline, in terms of respecting what you do, and being dedicated towards it. You also need luck and a lot of people don’t believe in that.

They believe that you create your luck, but I really believe in luck.

3. In the future, do you see yourself as a more of businessman or a musician? 

Music is my first love and I have been doing it professionally since my first album came out in 2016, however, since then, I have seen and learned a lot of things.

There have also been many business opportunities and lessons on how to use money correctly.  Branching into business is my new hobby right now; it has become my obsession. 

4. Why do you think it took you longer to find success in the music industry?

Time. I really believe that God’s timing is the best, and I thank God every day that it took forever because I don’t think my music would be what it is today.

I talk about my experiences, and how I view things. I don’t think if I made it 10 years ago, I would have been the same person, and I don’t regret it.

5. What is your philosophy in life?

What keeps me going is not really caring about what people think of me. I also take things as they come. I am not the kind of person who says, ‘I see myself, in five years, achieving this and that…’

I just take it one step at a time. Because what if I say, ‘in two years, I want to achieve this’, and it doesn’t happen, only to find that it is going to happen in the third year? That would mean I have already been mentally defeated.

6. What did winning the BET Awards Viewer’s Choice for Best International Act mean to you?

It was crazy. It felt like they were still rehearsing… I didn’t believe it was real at the time, but it is what it is. I also didn’t think I would win, because of how expensive data is in South Africa as compared to other countries on the continent from where artists were also nominated. I really thought my people wouldn’t have the resources to help me win. They surprised me and I won, that is why whenever I see a group of people, I get out of the car, so I can take a picture with the award, because they helped me get it.

7. What is more important: money or pleasure?

I would definitely choose money. As black people, we have been made to believe that money is not everything and it cannot buy you love and it can’t bring you happiness, and that is not true. We need to teach people to like money, and that it is not a curse.

I come from poverty, so I know what I’m talking about. Where I am now, and looking back to where I come from, my life is better. I might not be as happy as I was then, but my life is better. So I wouldn’t choose the happy broke life I had. I would rather choose where I am now, so I can take better care of my family.

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New Ways Of Thinking On Health, Arts And Humanities Are Emerging In Africa

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Imagine bringing the best of all academic disciplines, artistic creations, activist experience and health care knowledge to bear on understanding and addressing current health care concerns. Rather than silos of people working in their specific areas of interest, imagine collaborations committed to listening and learning from all participants.

This is the vision of Medical and Health Humanities in Africa. It’s a field that grew out of the medical humanities in the US and UK. It brings together academics, researchers, practitioners, creative artists, health care seekers and providers.

Essentially, it straddles disciplines and practices in an effort to address health concerns. Artists compose music to open up understandings of health care and specific conditions, such as delirium. Some academics open up new conversations about existing health concerns like AIDS or use everything from yoga to photography to observation and drawing to help educate health sciences students. Others pair academics and artists to help young people talk about sex and sexuality or tuberculosis.

At its core, Medical and Health Humanities is about conversations and collaborations between people who are interested in health. This encourages new understanding, practice and knowledge. It also seeks to provide “translators” who can make often complex ideas in science and humanities accessible. They can also use creative arts to change perceptions, frame new questions and direct new discussions that result in more nuanced answers to health issues.

While still a relatively new field on the African continent, it is growing and gaining momentum. The latest milestone is the first English-language special issue of the globally respected BMJ Medical Humanities Journal to deal exclusively with work on and about medical and health humanities in Africa.

The special issue came out in December 2018. It showcases work from various countries in Africa, among them Nigeria, Malawi, Kenya, Tanzania and South Africa.

The projects profiled in this special issue, and others elsewhere on the continent, reveal the vital role Medical and Health Humanities can play across Africa in bridging the gaps between disciplines to improve people’s experiences of health care.

Beyond disciplinary boundaries

One of the Medical and Health Humanities projects highlighted in the BMJ’s special edition deals with digital storytelling and antiretroviral adherence in KwaZulu-Natal, South Africa. Another article shows how opium, thalidomide and contraceptives contributed to the making of modern South Africa.

The projects and articles themselves are, of course, important. But another critical element that must not be overlooked is how the field exemplifies inter-, trans- and multidisciplinary research and practice. It removes people from their disciplinary silos.

This is becoming increasingly important across academia. In the worlds of medicine and health, people often work on similar concerns in familiar ways; in doing so, they miss out on new perspectives. Working across disciplines and practices is a way to learn from each other and reflect on how things could be changed for the better.

And, crucially, it creates conversations about how we might improve our collective understanding of health and wellness.

Different forms

On the African continent, the Medical and Health Humanities community is also trying to do things differently when it comes to how research is conducted and presented.

If a field is genuinely committed to collaboration, collective engagement, building networks and relationships, it must do more than work quickly to “produce measurable outcomes” limited to academic articles. It must spend time building connections that extend beyond one event or “outcome”.

We attempted to do this during the writing of the special issue of the BMJ Medical Humanities journal. We were among a group of practitioners in South Africa who pooled resources from two universities to bring as many people who were working on the special issue together as possible. We wanted to ensure that experienced and emerging writers from multiple disciplines and practices had a chance to benefit from each other’s knowledge and experiences.

A workshop was held in 2017 at the Wits Institute for Social and Economic Research (WiSER). Participants came from Zimbabwe, Kenya, Nigeria, Tanzania, Malawi, Swaziland, South Africa, the UK and Canada and presented and discussed their work.

From this, people put together a range of material for the journal and the blog linked to the special edition. Some of this material took the form of academic articles; there are also podcasts, photographs, pieces of music, images and poetry.

This allowed us to present creative and academic work in a format that was more accessible to those with digital access and moved beyond academic journals. After all, part of what the field is concerned with is maintaining critical, intellectual rigour while making information available to people in a number of ways. In doing this the field tries to break down some of the barriers that prevent people from sharing work or ideas.

New networks

There is more to come for the Medical and Health Humanities field in Africa. A group called the Medical and Health Humanities Africa networkhas been established. CODESRIA, the Council for the Development of Social Science Research in Africa, among others, has been drawn into discussions about growing the field’s networks on the continent. The second conference organised by the Malawi Medical Humanities Network will be held in Zomba, Malawi in August and a workshop in Johannesburg in March called State of Dis-ease will continue these exciting new conversations.

-Carla Tsampiras; Senior Lecturer in Medical Humanities, University of Cape Town

-Nolwazi Mkhwanazi; Senior researcher, Wits Institute for Social and Economic Research, University of the Witwatersrand

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