Scientists target PR and ad firms they accuse of spreading disinformation
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By Valerie Volcovici
WASHINGTON (Reuters) – More than 450 scientists on Wednesday called on the executives of major advertising and public relations firms to drop their fossil fuel clients and stop what the scientists said was their spread of disinformation around climate change.
They sent a letter to the executives of major global public relations and advertising firms, including conglomerate WPP, Edelman and IPG, as well as the CEOs of their clients who tout sustainability goals including Unilever, Amazon and Microsoft.
“As scientists who study and communicate the realities of climate change, we are consistently faced with a major and needless challenge: overcoming advertising and PR efforts by fossil fuel companies that seek to obfuscate or downplay our data and the risks posed by the climate crisis,” the scientists wrote.
None of the advertising and PR firms or their clients were immediately available to comment on the letter.
There has been increasing scrutiny of the role that PR and advertising firms play in helping oil and gas companies to play down their role in exacerbating climate change or “greenwashing” with claims the companies offer climate solutions.
A U.S. House panel questioned oil company CEOs in October about their role in spreading climate change misinformation and subpoenaed them for documents related to money they spent on PR and marketing firms as well as social media firms.
The panel’s investigation is expected to dig into these third party companies.
Several lawsuits accuse major oil and gas companies of “greenwashing,” citing ad campaigns that make what the suits allege are unsubstantiated claims meant to deceive customers into believing products are environmentally friendly.
Climate scientist Michael Mann, a signatory to the letter, said the ad campaigns minimize environmental risks.
“We climate scientists have been trying to raise the climate crisis alarm for decades, but we’ve been drowned out by these fossil fuel industry-funded PR campaigns,” said Mann.
A campaign led by Clean Creatives, a group pressuring ad and PR firms to drop fossil fuel clients, had called on Edelman to drop its oil and gas clients. Edelman said earlier this month it would not but said it would set up a panel of “external climate experts to offer input and guidance on strategy and on assignments and client situations of concern.”
In a statement to Reuters in December 2020, WPP said: “WPP recognizes the importance of its role in addressing climate change by applying rigorous standards to the content we produce and helping clients to accelerate the world’s transition to a lower-carbon economy.”
(Reporting by Valerie Volcovici; Editing by Howard Goller)
Climate change made the past 7 years the warmest on record
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The UN’s World Meteorological Organization found that 2021 was the seventh hottest year to date, at 1.11°C above pre-industrial levels
In Palmdale, California, temperatures reached 41.1°C in July 2021 ROBYN BECK/AFP via Getty Images
The past seven years were the warmest on record as climate change continued apace, despite the cooling effect of the La Niña weather pattern in 2021, the United Nations has found.
The UN’s World Meteorological Organization (WMO) analysed the six main global temperature data sets, which revealed that last year was the seventh hottest to date, at 1.11°C above pre-industrial levels.
“The continued onslaught of record years, including the seven warmest having occurred since 2015, is precisely what we expect to see due to human-caused planetary warming,” says Michael Mann at Pennsylvania State University.
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Governments at the COP26 climate summit in November reaffirmed their commitment to trying to hold temperature rises to 1.5°C and well below 2°C at worst. But emissions reductions pledges currently have the world on course for 2.4°C or more. 2021 is the seventh year in a row where temperatures have been more than 1°C above pre-industrial levels.
While only the seventh warmest year on average globally, 2021 saw climate scientists shocked by several temperature records broken by much larger margins than usual in some places, such as the near-50°C record set in Lytton, Canada. Previous research showed this event would have been “virtually impossible” without climate change.
“Climate change impacts and weather-related hazards had life-changing and devastating impacts on communities on every single continent,” said Petteri Taalas at the WMO in a statement.
Although not a record for surface air temperatures, 2021 was another record-breaking year for heat content in the upper levels of the oceans, which are absorbing much of the carbon dioxide emitted by humans and the heat that this gas traps.
The cooling effect of the La Niña weather pattern is expected to give way later this year to its opposite, El Niño, which was responsible for 2016 being the hottest year on record. The UK Met Office, which holds one of the six data sets examined by the WMO, forecasts that 2022 will be 1.09°C above pre-industrial levels.
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From Radiohead to Haim: The six best music videos directed by Paul Thomas Anderson
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As a director, Paul Thomas Anderson needs no real introduction. He is one of the most celebrated auteurs of the modern era, and given that he’s only released nine feature-length flicks to date, this gives you a clear indicator of his status.
He kicked off his career with 1996’s crime thriller Hard Eight, a compelling introduction into the dense mind of one of Hollywood’s most unmistakable filmmakers. After that, in 1997, Anderson delivered us the masterpiece that is Boogie Nights, effectively constructing Mark Walhberg’s acting career in the process. Magnolia followed, as did other classics such as Punch-Drunk Love and There Will Be Blood. A stylistic master, Anderson is the contemporary lord of the period piece, in an age where the likes of Ridley Scott continue to deliver stagnant versions of the past.
Whilst Inherent Vice and There Will Be Blood were set in two completely different time periods, 1970 and the early 20th century respectively, Anderson’s films have an authentic quality, no matter when they are set. This speaks volumes of his creative viewpoint. Anderson is acutely aware that for a movie to be artistically valid, he has to get the wardrobe, script and cinematography right. He understands each element’s role within a film, giving them a multi-faceted essence in what is a real rarity for modern cinema.
Another medium in which Anderson has shown his genius is the music videos he’s directed. Whilst a sporadic trend, Anderson has directed some iconic visuals for some major artists. His feature-length films always lean heavily on their soundtracks, so there’s no real surprise that he’s mastered the music video too. If anything, it’s a shame he hasn’t directed more.
Like with the actors he hires for his movies, Anderson has a tendency to work with the same artists multiple times, but this is wonderful a thing. Understanding what the music needs to be brought to life, Anderson’s music videos are one of a kind. Join us then, as we list Paul Thomas Anderson’s six best music videos.
Paul Thomas Anderson’s six best music videos:
‘Daydreaming’ – Radiohead (2016)
‘Daydreaming’ makes a strong claim for being Anderson’s top music video to date. Nearly six and a half minutes of total bliss, the footage and Radiohead’s swooning single intertwine in the most emotive of ways. Evoking the heady implications of the title, this really is a piece of art.
The camera tracks Radiohead frontman Thom Yorke as he walks through many different settings, including the stark vista of a snowy mountain. The video is like the spiritual successor to Punch-Drunk Love and Inherent Vice, utilising bright colours and Anderson’s vintage lens flare with real skill.
‘Paper Bag’ – Fiona Apple (2000)
Classic Fiona Apple, vintage Paul Thomas Anderson. The third single from the New York singer-songwriter’s iconic album When the Pawn… it’s safe to say that the ideas Anderson tried out here would make it into Punch-Drunk Love and become its defining features. Comprised mostly of tracking shots, we watch Apple dance around an art-deco ballroom, singing into the camera.
Apple sings, “I thought he was a man, but he was just a little boy”, as she dances with a troupe of little boys dressed like men, a thinly-veiled illusion to the many faults the males of the species have. Beautifully choreographed and shot, the end scene where Apple leaves the boys behind, backed by a vibrant Michael Mann-esque blue light, is just exquisite.
‘Save Me’ – Aimee Mann (1999)
‘Save Me’ by American songstress Aimee Mann is something of a forgotten gem. Released for Anderson’s Magnolia, Mann wrote the soundtrack for the film whilst reading the script and keeping the characters in mind.
In the video, we see Mann sitting in the same rooms as the characters, as she sings about freaks and love. An interesting inversion of the movie soundtrack music video, this is Anderson at his most ingenious.
‘Try’ – Michael Penn (1997)
Another iconic video was for Michael Penn song ‘Try’, the husband of Aimee Mann. Penn scored the soundtracks for both Hard Eight and Boogie Nights, and the ‘Try’ video references the latter. The video was shot with the crew and certain members of the cast while the film was in post-production. Shot in one take, it was filmed in the longest hallway in North America, which stretches over a quarter of a mile long.
The late Philip Seymour Hoffman appears twice in the video. He hands Penn his guitar and microphone the first time, and the second time he holds a boom mic for the singer. Famously, Hoffman wears a Planet of the Apes T-shirt and a jacket that references Boogie Nights with the words ‘Angels Live in My Town’ printed on it.
‘Summer Girl’ – Haim (2019)
Another tracking shot special is ‘Summer Girl’ by Haim. An upliftng summer anthem, this is the band’s riff on Lou Reed’s ‘Walk on the Wild Side’. The video is vintage Anderson.
Hazy and featuring the sonorous streets of his native L.A., you’ll have it on repeat after watching. The video centres on Danielle Haim and her sisters as we see them go about their daily live’s followed by an unknown saxophone player. In one of his most recent music videos, Anderson shines.
‘Across the Universe’ – Fiona Apple (1998)
Another entry comes from Anderson’s old flame, Fiona Apple. A languid cover of the iconic Beatles track, it makes a claim for being the best cover of the original out there, even surpassing that of David Bowie’s 1975 version. Monochrome and slowed down, the video captured the sentiment of the song in the best of ways.
Apple wears headphones as the world descends into chaos around her. She’s spun around, watches fights and general violent abandon, but nothing’s gonna change her world. A stunning music video, it makes us wish we could go back to 1998.
Endeavor Content to be CJ ENM’s ‘key driving force’ globally, as $785m takeover completed
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CJ ENM has said Endeavor Content will be “the key driving force” for the South Korean media giant’s expansion globally, following the completion of its $785m deal for the US-based operation.
The acquisition, first revealed in November, will see CJ ENM rapidly scale its global scripted presence by taking an 80% stake in the LA-based firm.
Deal specifics
The agreement with the prodco’s US-based owner, Endeavor Group Holding, will see the Seoul-based firm invest $775m, including a $120m contribution to Endeavor Content, which launched in 2017. The deal values the company at close to $970m.
Endeavor has retained 20% of the scripted portion of Endeavor Content, and has retained the non-scripted portion of the business, as well as certain documentary and film sales and financing consulting services. Endeavor Content’s Graham Taylor and Chris Rice will continue as co-CEOs.
CJ ENM said the acquisition would provide access to Endeavor Content’s portfolio and “a robust global distribution network, thus strengthening its global content production and multi-studio structure.”
Endeavor Content has more than 40 movies and series set to be produced by 2023, with a slate that includes Ben Stiller’s Severance and Nicole Kidman’s Roar for Apple TV+, Wolf Like Me for Peacock in the US and Oz streamer Stan, Michael Mann’s Tokyo Vice for HBO Max, and Amy Schumer’s Life & Beth for Hulu.
Its sales arm has been behind shows ranging from Killing Eve to Nine Perfect Strangers, while upcoming film projects include The Lost Daughter for Netflix, and Michael Bay’s theatrical release Ambulance.
Kang Ho-Sung, CEO at CJ ENM, said: “Endeavor Content will be the key driving force for CJ ENM’s global growth.
“CJ ENM plans to produce and distribute its own content for viewers all around the world with Endeavor Content, now part of the multi-studio, as the global basecamp.”
Content & context
The sale comes six months since Endeavor agreed to divest 80% of its scripted interests to settle its long-running dispute with the Writers Guild of America (WGA), which was concerned that the growing focus on production was not in the best interests of talent on its books.
It also marks a watershed moment for CJ ENM, which had previously dabbled in US firms with investments in Skydance Media and DreamWorks, the latter upon its move into the content business 26 years ago.
It has made bigger moves more recently, including buying Nordic distributor Eccho Rights, amid a trend of South Korean companies investing in US content firms.
CJ ENM has previously said it will leverage Endeavor’s distribution channels and use the acquired company’s original IP portfolio to support the global roll-out of its OTT platform, TVING. Last summer, the Korean firm said it would invest more than ₩5tn ($4.5bn) in content creation over the next five years to fuel global growth.
The sale follows a busy four years since Endeavor Content formally launched. It inked a multi-year deal with CJ ENM-backed South Korean prodco Bon Factory in 2021 to develop TV projects in both English and Korean languages, and more recently acquired veteran producer Brad Weston’s Makeready.
It has also partnered with former eOne exec John Morayniss to launch new Toronto-based outfit Blink Studios and took a minority stake in The Ink Factory, the London and LA-based production firm behind The Night Manager. Other deals include a development pact to adapt British author Terry Pratchett’s Discworld novels for TV.
Brian Cox on Hannibal Lecter; Daniel Radcliffe Is Weird Al; Oscar Isaac Is Sleepy in Moon Knight
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Brian Cox opens up about being the first to play Hannibal Lecter back in 1986; Daniel Radcliffe is set to play Weird Al Yankovic; Disney+ drops the trailer for Moon Knight. All in today’s Movie News Rundown.
Scream Hits Big at the Box Office: The fifth installment in the Scream franchise starring Jenna Ortega scored $30.6 million over the weekend, according to Variety, and was projected to get to $35 million by the end of the MLK Day weekend.
Daniel Radcliffe Takes On Weird Al: The Harry Potter star is set to play famous parody artist Weird Al Yankovic in a biopic written by Weird Al himself. The movie is being made exclusively for the Roku Channel and is produced by Tango and Funny or Die.
‘Torrid Celebrity Love Affairs’ Etc: Consider that for a song title, Wilco. Roku said in a release that the Weird Al movie “holds nothing back, exploring every facet of Yankovic’s life, from his meteoric rise to fame with early hits like ‘Eat It’ and ‘Like a Surgeon’ to his torrid celebrity love affairs and famously depraved lifestyle. Weird: The Al Yankovic Story takes audiences on a truly unbelievable journey through Yankovic’s life and career, from gifted child prodigy to the greatest musical legend of all time.”
Brian Cox on Hannibal Lecter: In an exclusive excerpt for MovieMaker, the Succession star opens up about being the first to play Hannibal Lecter in Michael Mann’s 1986 film Manhunter. Cox took a different approach to playing the serial killer than Anthony Hopkins, who ended up playing Lecter in Silence of the Lambs and two other films.
Crazy vs. Insane: “A chief difference between my portrayal and Tony’s was that Tony played him crazy whereas I played him insane, and there’s a difference between madness and insanity. Tony was scary and very Grand Guignol, but that wasn’t my and Michael Mann’s take. Our take was, this guy is an intellectual. He’s very, very clever. But if you saw him in the street you wouldn’t look twice at him. He wouldn’t stand out for his manners or his clothes or some kind of exaggerated charisma. He’s just an ordinary-looking, sounding and acting guy who happens to have an absolutely razor-sharp brain,” Cox writes in his memoir, Putting the Rabbit in the Hat.
Joss Whedon Speaks: The Buffy the Vampire Slayer creator sat down for a long conversation with Vulture to talk about his upbringing, Buffy, and the allegations that brought him back down to earth after a long stretch as a television God. It’s an interesting interview, with Whedon getting super candid about some of the darkest parts of his childhood.
The Last Duel: Is trending on a small scale on Twitter, and a lot of people seem to be noticing the Adam Drive/Matt Damon/Jodie Comer/Ben Affleck medieval epic for the first time after skipping it in theaters. It’s understandable why you’d wait to watch a movie at home during these times, of course. I saw it in theaters myself and I was scratching my head at how fast it seemed to disappear from theaters — I, like many Twitterers, thought it was excellent!
Let Oscar Isaac Have a Nap: Disney+ debuted the trailer for its new Marvel series Moon Knight — which stars Oscar Isaac as a very sleepy gentleman who suffers from dissociative identity disorder (DID) and moonlights (pun intended) as the superhero Moon Knight — last night during the NFL Super Wild Card matchup between the Arizona Cardinals and Los Angeles Rams. The series streams March 30. Watch the trailer below:
Main Image: Oscar Isaac as Marc Spector in Moon Knight. Photo Credit: Disney+/Marvel.