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A visit to the headquarters of your favorite mall brands
By Caity Weaver
October 26, 2022
Scroll down for Brand Experience
This is a demo article. Scroll down for the Brand Experience. The current Broadway revival of “1776” was hoping to spark a conversation about power and representation. And it has, if not quite in the way it intended. It assembled a diverse cast of women, nonbinary and transgender actors to play the white men who signed the Declaration of Independence, as a way of highlighting those whose perspectives were not considered. The show, which has been in the works for several years, made adjustments after the police murder of George Floyd prompted intense debates over race, justice and hierarchy in the theater business. A new co-director, Jeffrey L. Page, who is Black, was added to shape the work alongside its original director, Diane Paulus, who is Asian American.
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These are the broad outlines of “Peerless,” the playwright Jiehae Park’s sly and polished adaptation of “Macbeth.” Transported from the Scottish heath to the halls of a Midwestern high school, “Peerless” places the tragedy’s moral quandaries into the mouths and miniskirts of M (Sasha Diamond), a senior, and L (Shannon Tyo), her twin. L is a junior, having stayed back a year to increase their chances of getting into what they refer to only as “The College,” which accepts only one student from their school per year. But those plans go awry when The College accepts their classmate D (Benny Wayne Sully) instead. D has a lower G.P.A., but he is Native American. Though M is a girl and Asian American — “double minority,” as she puts it acidly — she believes that D outranks her in terms of racialized admissions policies. Smartly — because Park is very smart — the play is content to absorb the themes of “Macbeth” without providing corollaries for each of its plot points. There’s no Birnam Wood here, no spots to out. Macbeth’s bestie, Banquo, is now BF (Anthony Cason), M’s barely there boyfriend. Instead of the three witches and Hecate, there’s only a single classmate known as Dirty Girl (Marié Botha, delightful), costumed by Amanda Gladu in a witchy black trench coat. The set, by Kristen Robinson, shows a school hallway at an angle, with cutouts for a living room and a bed, as needed, while Mextly Couzin’s flashing, deep-hued lights nudge the environment toward the uncanny.
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Prime Video uses Newsroom AI Studio to create rich visual narratives that cover the intersection of media, AI, innovation and digital marketing.
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Mangia! Mangia! Savour Italy's culinary delights
From Rome to Florence, discover a world of flavor.
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THE OFFICE: AN ANALYSIS
A visit to the headquarters of your favorite mall brands
By Caity Weaver
October 6, 2022
In a 1780 letter to his wife, Abigail, John Adams proposed a chronology of generational obligations for learning. It was his duty, the future president wrote during a sojourn in France, to “study politicks and war,” that the next generation “may have the liberty to study mathematicks and philosophy,” that the next should have “the right to study Painting, Poetry, Musick, Architecture, Statuary, Tapestry and Porcelaine.” Mr. Adams’s epistle ending there, modern readers cannot know whether, with more paper and time, he would have eventually previsioned the 21st-century corporate campus where word clouds are studied in both digital and material states so that the current youngest generation of workers may attain a perfect knowledge of Cinnabon brand identity.
ARTS & ENTERTAINMENT
Roma Tell Their Stories in a Dance-Theater Work From Berlin
By Caity Weaver
October 6, 2022
A tiny car rolls onto the stage, pulled from the front and pushed from the back. It stops in front of a corrugated metal shack, and people stream out of its doors and even its trunk, more than a dozen of them. They aren’t clowns, but this is a joke: one about how certain people are perceived. It’s the start of “Open for Everything,” a dance-theater work by the Berlin company DorkyPark about the Romani, or Roma — those once called Gypsies, a term now widely considered a slur. The show, which has its United States premiere at the Brooklyn Academy of Music on Wednesday, satirically addresses stereotypes attributed to the Roma: that they are nomads, beggars, scammers, thieves, fortune tellers, free spirits, moochers who proliferate like clowns from a clown car. But it also allows the many Roma who perform in it to tell their own stories.
ENTERTAINMENT
Kaelee Overfield has found a large TikTok following by documenting a string of breakups
By Madison Kircher
October 6, 2022
For a particular corner of the internet, the world ended this summer. Several internet-famous WLW couples — an abbreviation for “women-loving women” — had made online announcements that they had split up, leading their followers to speculate about a so-called breakup curse. Followers of the drama called it the “lesbian breakup apocalypse,” and NBC News reported on it in August. For Kaelee Overfield, this mess was an opportunity. Ms. Overfield, 25, has carved out a significant following for her videos breaking down the gay gossip and drama du jour over the last two years. She has more than 480,000 followers on TikTok, where she posts under the handle @Kales_0. Think of her as TMZ but exclusively for queer internet news. A niche market, sure, but one she has arguably conquered, though not without detractors, who criticize her for invading people’s privacy, among other things. Her account is in the style of a YouTube tea channel, a content genre where creators meticulously document celebrity scandals and sagas. Colloquially, this gossip is known as tea, a term with roots in the Black drag community. Such accounts have also become popular on TikTok.
ARTS & ENTERTAINMENT
Review: City Ballet Dresses Up for Another Fashion Letdown
By Gia Kourlas
October 6, 2022
Ten years ago, New York City Ballet held its first fashion gala, and with it came one of the most off-putting dances I’ve ever seen. “Bal de Couture,” with choreography by Peter Martins and designs by Valentino, is still wedged in my memory bank for all the wrong reasons. Most egregious? The pointe shoes in shocking red and hot pink. Suddenly, the legs of dancers, usually so sleek and muscular, were transformed into balloon art. It was a lesson I’ve never forgotten: When it comes to dance and fashion, fashion — with its resources, its stars, its seasonal newness — has the upper hand. For the past 10 years, City Ballet has continued its annual fashion gala, relegating choreographers and dancers to second-tier collaborators. Beyond fundraising, how do these events serve ballet? And how do they hope to make smart viewers out of people new to the art form?
CRITIC’S NOTEBOOK
An Opera Festival That Keeps Faith With Shutdown’s Innovations
By Zachary Woolfe
October 6, 2022
When the pandemic goaded the performing arts to pivot to video, some institutions fared better (and more creatively) than others. Opera Philadelphia was among the most intrepid in America, commissioning a series of short films that embraced a new medium. The company produced a sober version of Tyshawn Sorey’s song cycle “Save the Boys,” as well as “The Island We Made,” a meditative nocturne by the composer Angélica Negrón, filmed by Matthew Placek and starring the drag diva Sasha Velour. The composers Courtney Bryan and Caroline Shaw contributed pieces, and Rene Orth delivered a vibrant dose of K-pop. But even, or especially, for adventurous arts groups like this one, the transition back to primarily live performance has presented a challenge: How to maintain — and even expand on — the lessons learned and experiments ventured over the past few years when returning to the kind of work made in the before times.
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Constanza Macras, the production’s choreographer and director, said in a video call from Berlin that the show originated in 2010 as a reaction to a flare-up of anti-Roma sentiment and violence in Eastern Europe, especially a string of murders in Hungary. The Goethe Institute in the Czech Republic invited Macras to make a piece addressing the issue.
Focus is the brand behind many of America’s favorite mall food brands, including Auntie Anne’s and Jamba.
Macras had a reputation for exploring social issues through dance, but she knew nothing about Roma culture. She didn’t want to make a documentary, she said: “It has to be a work of art.” And she didn’t want to address the murders directly: “I cannot get paid for somebody else’s tragedy.”
Instead, she created a work that’s mostly light and playful, energized by live Roma musicians. Alternating between dance segments and spoken monologues, it is a show that celebrates the strength of Roma people going through their daily lives. “It’s saying, ‘These are your neighbors,’” Macras said.
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What are Brand Experiences
Brand Experiences is a suite of high-impact, visual-first advertising products, designed to align with the right content while ensuring relevance and brand safety.
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Who cares?
Brand Experiences is a suite of high-impact, visual-first advertising products, designed to align with the right content while ensuring relevance and brand safety.
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And now what?
Brand Experiences is a suite of high-impact, visual-first advertising products, designed to align with the right content while ensuring relevance and brand safety.
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What are Brand Experiences
Brand Experiences is a suite of high-impact, visual-first advertising products, designed to align with the right content while ensuring relevance and brand safety.
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Who cares?
Brand Experiences is a suite of high-impact, visual-first advertising products, designed to align with the right content while ensuring relevance and brand safety.
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Brand Experiences is a suite of high-impact, visual-first advertising products, designed to align with the right content while ensuring relevance and brand safety.
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