Sunday, 12 October 2025
Leonardo DiCaprio shares fond memories of working with Diane Keaton
Sunday, 9 June 2024
Brushstrokes Through Time: Indian diaspora artists celebrate Hollywood’s Golden Age

Monday, 25 September 2023
Reality TV show contestants are more like unpaid interns than Hollywood stars
Country singer Adley Stump, a former contestant on NBC’s hit reality show ‘The Voice,’ performs at an Air Force base in Washington state. Joint Base Lewis McChord/flickr, CC BY-NC-SA
David Arditi, University of Texas at ArlingtonIn December 2018, John Legend joined then-newly elected U.S. Rep. Alexandria Ocasio-Cortez to criticize the exploitation of congressional interns on Capitol Hill, most of whom worked for no pay.
Legend’s timing was ironic.
NBC’s “The Voice” had just announced that Legend would join as a judge. He would go on to reportedly earn US$14 million per season by his third year on the show. Meanwhile, all of the participants on “The Voice,” save for the winner, earned $0 for their time, apart from a housing and food stipend – much like those congressional interns.
The fall 2023 TV lineup will be saturated with low-cost reality TV shows like “The Voice”; for networks, it’s an end-around to the ongoing TV writers and actors strikes.
Whether it’s “The Voice,” “House Hunters,” “American Chopper” or “The Bachelorette,” reality shows thrive thanks to a simple business model: They pay millions of dollars for big-name celebrities to serve as judges, coaches and hosts, while participants work for free or for paltry pay under the guise of chasing their dreams or gaining exposure.
These participants are the unpaid interns of the entertainment industry, even though it’s their stories, personalities and talent that draw the viewers.
Dreams clash with reality
To conduct research for my book, “Getting Signed: Record Contracts, Musicians, and Power in Society,” I interviewed musicians around the country.
The book was about the exploitative nature of record contracts. But during my research, I kept running into singers who had either auditioned for or participated in “The Voice.”
On “The Voice,” singers compete on teams headed by a celebrity coach. Following a blind audition and various elimination rounds, the live broadcasts begin with four teams of five members apiece. These 20 contestants spend months working in Los Angeles and are provided with only their room and board. Each week, at least one player is eliminated. At the end of each season, the winner receives $100,000 and a record contract.
While some viewers might see reality shows like “The Voice” as launching pads for music careers, many of the musicians I spoke with were disheartened by their experiences on the show.Contestants audition for ‘The Voice’ ahead of its 24th season.
Unlike “American Idol,” where a number of winners, from Kelly Clarkson to Jordan Sparks, have made it big, no winners of “The Voice” have become stars. The closest person to “making it” from “The Voice” is the controversial country singer Morgan Wallen, who was infamously dropped by his label and country radio following the emergence of a video of him using a racial slur. And Wallen didn’t even win “The Voice”; in fact, he barely made it past the blind audition.
Former contestants repeatedly told me that the television exposure did little to help their careers.
Prior to joining the show, many of the musicians were trying to scratch out a living through touring or performing. They put their developing careers on pause to chase their dreams.
However, the show’s contracts have stipulated that contestants cannot perform, sell their name, image and likeness, or record new music while on “The Voice.” (The Conversation reached out to NBC to see if this remains the case for the current season, but did not receive a comment.)
This leaves the 20 finalists with no means to sell their music, even as they spend up to eight months competing. When the show’s losers return to performing, many of them have little new material to promote. By the time they drop a new single or album and announce a tour, some of them told me that they had lost a good portion of their following.
There is one group of people who receive meaningful exposure from these shows: the coaches and judges. Several singers, such as Gwen Stefani and Pharell Williams, have used “The Voice” to jolt their stagnating music careers. While earning millions as coaches and judges, these stars even use the show to promote their music – something the contestants themselves are barred from doing.
Paying these contestants is feasible. If Legend earned $13 million instead of $14 million, that spare million dollars could be dispersed to half of the contestants at $100,000 apiece – an amount that’s currently only reserved for the winner of the show. Cut the salaries of all four coaches by $1 million apiece, and it would free up enough money to pay all 20 contestants $200,000 each.
A gold mine for networks
“The Voice” is far from the only reality show to take advantage of the genre’s low overhead costs.
Over the past two decades, shows featuring Americans looking to buy houses or remodel their homes have exploded in popularity. HGTV cornered this market by creating popular shows such as “House Hunters,” “Flip or Flop” and “Property Brothers.”
Viewers might not realize just how profitable these shows are.
Take “House Hunters.” The show follows a prospective homebuyer as they tour three homes. Homebuyers featured on the show have noted that they earn only $500 for their work, and the episodes take three to five days and about 30 hours to film. The show’s producers don’t pay the realtors to be on it.
The low pay for people on reality TV shows matches the low budget for these shows. A former participant wrote that episodes of “House Hunters” cost around $50,000 to film. Prime-time sitcoms, by comparison, have a $1.5 million to $3 million per episode budget.
Sidestepping the unions
That massive budget gap between reality TV and sitcoms is not simply due to an absence of star actors.
Many scripted television shows are based in Los Angeles, where camera crews, stunt doubles, costume artisans, makeup artists and hair stylists are unionized. But shows like “House Hunters,” which are filmed across the country, will recruit crews from right-to-work states. These are states where employees cannot be compelled to join a union or pay union dues as a condition of employment. For these reasons, unions have far less power in these states than they do in places traditionally associated with film and entertainment, such as California and New York.
That’s one reason why TV production started moving to Atlanta – what’s been dubbed the “Hollywood of the South” – where shows like “The Walking Dead” and “Stranger Things” have been filmed.
But in my research, I also learned that Knoxville, Tennessee, has become a reality TV mecca. Like Georgia, Tennessee is also a right-to-work state. In Knoxville, many working musicians join the city’s low-paying entertainment apparatus by taking gigs working on TV and film production crews in between shows and tours.
At a time when TV writers and actors are on strike, it is important to understand that the entertainment industry will try to exploit labor for profit whenever it can.
Reality TV is a way to undercut the leverage of striking workers, whether it’s through their lack of unionized actors, or their use of nonunionized production crews.
Contestants, casts and crew members are starting to catch on. Many reality TV participants have said that they feel like strike scabs, and Bethenny Frankel of “Real Housewives” is reportedly trying to organize her fellow reality performers.
Preying off contestants who are desperate for exposure, reality TV might just be the next labor battle in the entertainment industry.
As John Legend put it, “Unpaid internships make it so only kids with means and privilege get the valuable experience.”
Reality TV does the same to aspiring actors, musicians and celebrities.![]()
David Arditi, Associate Professor of Sociology, University of Texas at Arlington
This article is republished from The Conversation under a Creative Commons license. Read the original article.
Wednesday, 20 September 2023
Amid the Hollywood strikes, Tom Cruise’s latest ‘Mission: Impossible’ reveals what’s at stake with AI in movies
Enter Tom Cruise and cue the Mission: Impossible theme music.
Although Barbie and Oppenheimer received most attention this summer, Tom Cruise’s latest instalment in the Mission: Impossible series (Dead Reckoning Part One), reveals more about the future of movies.
Highlights threat from AI
Eerily prescient to the Hollywood strikes, yet begun well before the strike in 2020, this blockbuster explores AI threats to human society and our political order.
Cruise’s nemesis is an AI program called the Entity. Created as a cyberweapon, the Entity achieves sentience to become both agent and object in the ensuing global competition for power.
With computational omniscience in a digitally networked and reliant world, the Entity can manipulate digital and physical infrastructure, such as mobile phones and transit systems, and thus also control the humans who rely on digital interfaces.
Recognizing the Entity as a fundamental threat to humanity, Ethan Hunt (Cruise) of the Impossible Missions Force goes rogue (again) to acquire and destroy the AI.
Immersive experience
The film’s plot is a vivid reminder of how little agency humans have in digital environments, even as the cinematic environment relies on contemporary technologies to immerse its audience.
Like Cruise’s previous summer 2022 blockbuster, Top Gun: Maverick, Mission: Impossible — Dead Reckoning is designed to be cinema as experience more than story, using drone cinematography and sophisticated sound editing.
Director Christopher McQuarrie explained his approach as dedicated to “a fully immersive big screen experience,” including high-definition video and sound technologies that allow editors to create the sensation of sound in the audience’s physical environment.
Human acting, star power
As a Hollywood movie star, Cruise is similarly devoted to creating visceral audience experiences.
Even as computer-generated imagery (CGI) and digital effects have overtaken big-budget films, Cruise insists on doing all of his own stunts. He explicitly compared his approach to classic film performances, saying: “No one asked Gene Kelly, ‘Why do you dance? Why do you do your own dancing?”
Clips of his riding a motorcycle off a cliff circulated online six months before the film released.
When Mission: Impossible was released in July 2023 Cruise surprised fans at global premieres, spending time on the red carpet meeting and talking with them.
His dedication to in-person presence recalls an earlier era of Hollywood, when movie stars could not rely on social media to connect with their fans. Despite his public support for the strike, he also advocated for exemptions to allow actors to promote their films.
No digital de-aging
Unsurprisingly, McQuarrie decided against using a digitally de-aged Cruise, instead focusing attention on the physical fitness of a movie star who appears far younger than his 61 years.
All of Mission: Impossible – Dead Reckoning recalls earlier eras of cinema. The film’s title is taken, at least in part, from the 1947 film with Humphrey Bogart.
References to the six previous Mission: Impossible films abound, including the return of Canadian actor, Henry Czerny as Kittridge, Hunt’s adversary from the franchise’s first film in 1996.
The early desert sequence recalls big-screen desert epics like Lawrence of Arabia (1962), while the submarine introduction to the Entity’s power echoes The Hunt for Red October (1990), among others.
Classic car, train chases
A 20-minute car chase through the streets of Rome features an imperilled baby carriage on steps, a reference to the same scenario in director Sergei Eisenstein’s influential Battleship Potemkin from 1925.
Cruise is handcuffed to costar Hayley Atwell, a trick used in various films, including the James Bond film Tomorrow Never Dies (1997), while driving a small yellow Fiat, reminiscent of both The Italian Job (1965) and The Bourne Identity (2002).
There’s even an extended sequence where Hunt battles enemies on top of and throughout the Orient Express train, evoking everything from the films based on Agatha Christie’s novel, to Buster Keaton’s The General (1926), to yet another James Bond film, From Russia with Love (1963), whose plot hinged on the threat of misused cybertechnology.
The numerous cinematic references are to films that predate the era of streaming and social media.
Physical presence: a luxury?
Writers and actors are right to be worried. With so many processes in commercial media already routinized, the industry appears particularly vulnerable to generative AI.
The current circumstances recall earlier transitions such as the effect when films introduced sound technologies, a threat to silent-film actors dramatized in the Gene Kelly film, Singin’ in the Rain. More recently, movie theatres moved from celluloid to digital projection, largely eliminating projectionists.
Overt resistance to new technologies is rarely successful in the long term. Business professor and pundit Scott Galloway has compared the writers’ strike to the 1980s National Union of Mineworkers strike in Northern England.
With so much digital content available, physical presence and proximity becomes rarer and therefore more of a luxury item.
Return to live experiences
Certainly, audiences have returned robustly to live music concerts. (Just try getting a Taylor Swift ticket in Toronto.)
For now, we will all have to wait and see how it ends for cinema and those who make it. Part two of Mission: Impossible — Dead Reckoning isn’t due out until next summer.
Hopefully, it will be a Hollywood ending for all of us.![]()
Sarah Bay-Cheng, Dean of the School of the Arts, Media, Performance & Design and Professor of Theatre and Performance Studies, York University, Canada
This article is republished from The Conversation under a Creative Commons license. Read the original article.
Wednesday, 19 August 2020
Rihanna mocks Trump with viral video and her song ‘Needed Me’

Rihanna mocks Trump with viral video and her song ‘Needed Me’
Rihanna has poked fun at US President Donald Trump by posting a viral video of the president and his wife Melania, with her own track edited in.
The clip in question shows Donald and Melania disembarking Air Force One on Sunday (16 August). The president appears to try to hold the first lady’s hand, however, she seems to be more concerned with stopping her skirt from blowing up in the wind, ignoring his numerous attempts at affection.
Rihanna has shared a version of the video with her 2016 hit “Needed Me” playing over the top.
The lyrics “I was good on my own, that’s the way it was” can be heard as Melania refuses to hold her husband’s hand.
Rihanna posted the clip with a caption referencing how many days are left until the US election, writing: “Melania likes art. #78days.”
The “Wild Thoughts” singer has been working on her ninth studio album for the last four years.
She recently told fans they are “not going to be disappointed” after the long wait. Speaking about her new music, Rihanna said: “I am always working on music and when I am ready to put it out in the way that I feel fit, it’s gonna come out.
“You’re not going to be disappointed when it happens. It’s going to be worth it.”Source: https://www.daily-bangladesh.com
Tuesday, 10 May 2016
Treasure trove
- Weightless Every year Cannes Film Festival has a strong line-up of movies. For every cinema lover, it’s the highlight of the movie calendar as it showcases agenda-setting films. This year’s line-up looks special, with the latest films by Woody Allen and Steven Spielberg. Here are the seven movies we’re most looking forward to...
- Cafe Society: Being Woody Allen’s fourth time opening, the non-competition slot at Cannes, the film stars Jessie Eisenberg, Steve Carell and Blake Lively in the prominent cast. It’s a romantic dramedy exploring the story of a young man who arrives in Hollywood during the late 1930s.
- La La Land: Directed by the amazing Damien Chazelle, whose last film Whiplash received much success and acclaim, is back in this musical with Ryan Gosling and Emma Stone. The film is about the story of a jazz pianist who falls for an aspiring actress in Hollywood.
- Silence: Who wouldn’t be excited to see a movie directed by Martin Scorcese? In his next directorial, Scorsese puts together a historical drama called Silence starring Adam Driver, Liam Neeson and Andrew Garfield.
- Money Monster: This Jodie Foster directed film brings together the magic of Julia Roberts and George Clooney together after a long time. With such star power both in front and behind the camera; we are certain this film will have all the elements of a gripping film. Set on the Wall Street, the film is tale of a common man who takes a newsroom hostage to take revenge of his loss of money because of a misleading advice given to him.
- The Nice Guys: Set in the 70s The Nice Guys is the first time pairing of Ryan Gosling and Russell Crowe in this bizarre crime, drama and comedy film set on the case of a missing girl. What follow is a series of complicated twists in the gripping and comedic twist of events as they go deeper into the case.
- The BFG: Directed by Hollywood royalty, Steven Speilberg’s The BFG is an adaptation of the most beloved tales by Ronald Dahl. The film is a story of a young girl who befriends a friendly giant as they set out on an adventure to stop the evil man eating giants. What’s more interesting is that the screenwriter is late Melissa Mathinson who last collaborated with the director genius on ET.
- Weightless: Who wouldn’t want to see an ensemble cast of Rooney Mara, Cate Blanchett, Ryan Gosling, Micheal Fassbender, Chritian Bale, Natalie Portman and Val Kilmer. While not much is known of the plot, Weightless is a story of two intersecting love triangles set in the music scene in Texas.Source: http://www.tribuneindia.com
Wednesday, 25 March 2015
Brad Pitt buys Bieber portrait for son
Wednesday, 13 August 2014
Amitabh Bachchan, Shah Rukh Khan mourn Robin Williams’ death
Monday, 28 April 2014
Hollywood heartthrob Milo Ventimiglia roped in for Priyanka Chopra I Cant Make you Love Me
Saturday, 9 November 2013
Steven Spielberg Drops Out Of 'American Sniper'
Saturday, 23 March 2013
Bruce Willis Donates Ski Resort To Small Idaho Town
Thursday, 21 March 2013
Honey Singh to rap for Bruce Willis’ actioner 'Diehard 5'?
Sunday, 17 March 2013
Megan Fox Is 'A Complete Slave' To Her Infant Son
Megan Fox has gone all mushy now that she's a mom. The actress and her husband Brian Austin Green welcomed their first child, Noah Shannon, on September 27 and she confesses she's a changed woman after becoming a mother She told Eonline.com, "I used to have this wicked, dark sense of humour, and now I don't find morbid things laughing anymore. I'm so much softer than I used to be, and I feel everything so much deeper than I used to. "When I watch the news, everyone is somebody's child or someone's mother. So, I'm constantly worrying now about everything." No surprise, Fox says her needs come second to Noah's. She told HollyScoop.com, "He's (son) very bossy! He's only two and a half months and he's super opinionated and I'm already a complete slave to him!" Photo Credits: PR Photos, Source: Starpulse.com
Thursday, 14 March 2013
Robert Pattinson and Kristen Stewart split again
Friday, 8 March 2013
Johansson 'more tigress than kitty' in Cat on a Hot Tin Roof
Esha Gupta as Indian Lara Croft?
According to sources, actor Esha Gupta is likely to play the Indian version of the Hollywood character – Lara Croftfrom the movie Lara Croft: Tomb Raider. Reportedly, it is Esha’s uncanny resemblance to Hollywood actress Angelina Jolie that got her this role. A source said, “Esha was approached for the role as she’s tall and has a very athletic physique. Obviously, her looks are an advantage, as those who’ve seen the original will be able toconnect with the film better…” The project will be made by Indian producers and backed by a Hollywood studio. No other details about the project were provided. Source: Bollywood3



