Category Archives: Entertainment

Bizarre therapy session as part of four day livestream

KATY Perry is embracing another peculiar publicity stunt by doing her own version of Celebrity Big Brother and, it’s just as weird as it sounds.

As promotion for her brand new album Witness, the singer is currently in the middle of a three day 24/7 livestream stretching from Thursday to Sunday that has filmed her doing everything from yoga, to sleeping to sobbing to a therapist.

The lengthy livestream is taking place at Witness Worldwide Headquarters, a house specifically made for the promotional event. The whole event is a lead up to a free concert on Monday in LA for 1000 of her lucky fans.

She’s staying in the house with her team (make-up artist, assistants, pets) and has also been visited by numerous celebrity guests including Gordon Ramsey.

Most recently, the livestream featured Perry sitting down to Dr. Siri Sat Nam Singh, a celebrity psychologist who hosts Viceland’s The Therapist.

Perry repeatedly broke down as she spoke with the therapist about everything from her difficult relationship with her parents to her past battles with alcoholism.

At one point, as she discussed her past battles with alcohol, a minder could be heard forcefully suggesting she stop the livestream. She refused.

She admitted to thoughts of suicide in the past: “I wrote a song about it. I feel ashamed that I would have those thoughts, feel that low and that depressed.”

“You can be right or you can be loved. I just want to be loved,” she said.

E Marketers Estimates for 2016

Over-the-top (OTT) video is changing the way consumers view video content, contributing to a rise in the use of connected TV devices and a decline in the number of pay TV viewers. eMarketer estimates that there will be 193.3 million US OTT video service users in 2017, of which 76.2% will use a subscription OTT service at least once per month.

  • Growing demand for OTT video content is a major driver of connected TV uptake in the US. eMarketer projects that there will be 168.1 million US connected TV users in 2017, of which nearly half (48.3%) will use a smart TV. Streaming devices, particularly those from Amazon, Google and Roku, will also gain users throughout the forecast period.
  • US OTT video viewer penetration will approach three-quarters of internet users by the end of the forecast period in 2021. YouTube is the leader in the overall OTT category, though subscription-based services, including Amazon Video, Netflix and Hulu, are growing at a faster rate.
  • For the first time, eMarketer’s forecast includes estimates for the number of subscription OTT video service users. We predict that 76.2% of total OTT video service users will watch video on a paid subscription-based OTT service in 2017—a figure that will reach 78.6% in 2021.
  • The number of US pay TV viewers is declining as the number of OTT video viewers rises, though of course these is overlap between the two groups. eMarketer estimates that the proportion of US adults with a pay TV subscription will fall from 77.6% in 2017 to 69.2% by the end of 2021.

Song Moonlight re creates the show Friends with an all black cast

JAY Z’s return to the rap scene was always going to be one for the history books — and one of the songs off his brand new album 4:44 is the latest hit to be making waves.

The song Moonlight focuses on the Academy Award mix-up from five months ago when La La Land was briefly awarded the Best Picture Oscar instead of the rightful winner Moonlight.

The song takes a long, hard look at Hollywood as increasing pressure is put on studios to diversify their shows and movies with a more multicultural cast.

And Jay Z seems to have taken the diversity issue into his own hands — by re-creating the hugely successful sitcom Friends with an all African-American cast.

The eighth track got its video treatment today and, while it is still only exclusively able to be viewed on the streaming service Tidal, the preview is sending Jay Z’s message loud and clear.

The short snippet released by the streaming service re-creates the opening sequence of the show, even filming at the same fountain where the original cast filmed years ago.

The clip stars Jerrod Carmichael (Transformers: The Last Knight), Issa Rae (Insecure), Tiffany Haddish (Girls Trip), LaKeith Stanfield (Atlanta), Lil Rey Howery (Get Out) and Tessa Thompson (Thor: Ragnarok).

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After the intro, the video features the stellar cast acting out scenes from the Friendsepisode The One Where No-one’s Ready word for word.

When the cast takes a break in-between scenes, Carmichael walks up to speak to comedian Hannibal Buress, who explained the video to Vox.

“As everyone else gets ready to keep rolling, the video breaks the multi-cam format to focus on Carmichael, looking around the set and hating everything about it. And it’s at this point, as Carmichael walks off the Friends set, that Jay-Z’s Moonlightfinally starts playing, his voice breathing that they’re “stuck in La La Land; even when we win, we gon’ lose.”

And just like the opening line of the song, the rest of Moonlight stays just as powerful.

“Y’all n***as still signin’ deals? Still? / After all they done stole, for real? / After what they done to our Lauryn Hill?”

The song was also explained by Jay Z when he sat down with iHeart Radioto promote the monumental album.

“The hook is ‘We stuck in La La Land/Even if we win, we gonna lose.’ It’s like a subtle nod to La La Land winning the Oscar, and then having to give it to Moonlight. It’s really a commentary on the culture and where we’re going,” he said.

The full video for Moonlight is expected to be released on the rest of the world’s streaming services next week.

Big Obstacle for Mobile Game Companies

Mobile gaming is a competitive space, especially in China where there are over 300 app stores that sell Android apps alone. And while hits like Candy Crush or Temple Run don’t come around often, there are steps that game developers can take to stand out in the crowded market. Ethan Collins, business development manager at Beijing-based game publisher Yodo1, spoke with eMarketer’s Man-Chung Cheung about the app distribution challenge in China and how to tackle it.

eMarketer: What are some of the challenges associated with penetrating China’s mobile gaming market?

Ethan Collins: Monetization is a challenge. Because there are so many stores that sell Android apps, the marketplace is fragmented and few ad networks exist. As a result, game developers need to rely on monetization through in-app purchases and microtransactions. Top players in China will drop tens of thousands of dollars in-app without blinking an eye, so games should provide VIP services that cater to this demographic.

eMarketer: Does the fragmentation of the app marketplace make it challenging to launch new games?

Collins: Distribution is a big component of success. However, because there are so many marketplaces, game developers have to target Android app stores that have the biggest reach first, and later integrate the SDKs [software development kits] and payment keys required for other app stores. For example, we had to launch Rodeo Stampede across more than 60 Android app stores in China.

Time and Punishment

What is avant-garde theater today? It’s easy enough to look back on last year’s vanguard, but how can we define the movement we are in the midst of? In her series, Kate Kremer explores the question of the new avant-garde.

Tim Etchells is the co-founder and artistic director of Forced Entertainment, a British ensemble known for durational performances lasting from six to twenty-four hours. Yet in his article on Taiwanese-American artist Tehching Hsieh, Etchells is self-effacing: “six hours might seem quite silly when compared to Tehching’s yearlong pieces (laughable almost) but nonetheless, there’s something about duration, its energy and its inherent undertow of decay, that has always agitated and vitalised the space of performance for me.”

Tehching Hsieh became legendary for a series of yearlong performances created in the 1970s and ‘80s, during which he lived according to self-imposed “contracts” that placed him under rigorous constraints. From 1978-1979, Hsieh lived in solitary confinement. From 1980-1981, he punched a time clock every hour upon the hour.

From 1981 to 1982, Hsieh lived outside, not setting foot inside a “building, subway, train, car, airplane, ship, cave, or tent.” From 1983-1984, he lived attached by an eight-foot rope to artist Linda Montano—their proximity made more severe by the stipulation that they not touch. From 1985-1986, Hsieh lived without art. And then for thirteen years, Hsieh disappeared himself from the art world.

It makes sense that Etchells should feel an affinity for Hsieh’s work. Like Hsieh’s performances, Forced Entertainment’s “durationals” are improvised within sets of rules and constraints. Quizoola! involves performers continually asking and answering questions, competing among themselves for the audience’s laughter and attention; in Speak Bitterness, they perpetually confess. The durationals are, in Etchell’s words, “rule structures inside which the performers are free to operate, making real decisions about what they do next in reaction to what the others are doing, what the audience is doing, and what they feel like.”

Duration represents, for each, a way of making the work more felt. Hsieh has said that he tried to “make art stronger than life so people [could] feel it.” Indeed, his works stand as lived metaphors for varieties of imprisonment often unseen: incarceration, labor, homelessness, marriage, a life without art, a life lived invisibly. Through duration, the extraordinary constraints Hsieh imposes upon himself transcend the merely metaphorical. Art, endured for so long, is revealed as Life, and its “real” consequences must be recognized.