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Tag: Ewan McGregor

  • Lapointe: This charming TV commercial is hard to ignore

    Lapointe: This charming TV commercial is hard to ignore

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    Some television viewers greet commercials by grabbing the remote control and surfing other channels. Others just thumb-punch the mute button. Once in a while, we merely endure them. That’s because much commercial advertising can be annoying at best and offensive at worst.

    This means you, gambling, booze, and pickup trucks. You, too, fast food. And all you car-crash lawyers who sue, sue, sue everybody all the time all over Detroit TV.

    But a rare and special ad currently airing in heavy rotation can lure a viewer into staying on channel, turning up the volume and staring at the screen for 30 charming seconds. It is the mini-drama for Expedia Travel called “Northern Lights: Julie, Grace & Maya.”

    The frosting on this particular cupcake is a 57-year-old song by the Velvet Underground called “I’ll Be Your Mirror.” The whole package is sentimental without being schmaltzy, a delicate balance that is hard to achieve.

    “Northern Lights” tells a plausible story touching on nature and nurture and female family ties. It honors intergenerational bonding over family values that are about more than material things.

    Nevertheless, exotic-destination travel — what Expedia calls a “bucket-list-trip” — is a high-end product, not for those struggling financially. As another old song might have said: all you need is money.

    “Lights” shows a working mother taking her daughter and her mother on an impulsive vacation to Norway to see the Northern Lights. As their story unfolds visually, the soundtrack plays a short clip from the 1967 song “I’ll Be Your Mirror.”

    “I find it hard to believe

    “That you don’t know

    “The beauty you are

    “But, if you don’t . . .

    “Please put down your hands

    “‘Cause I see you.”

    The ethereal female singing voice is that of Nico and not Lou Reed, the usual front man of the V.U. If ever a commercial on TV can be called exquisite, this may be the one. It began to air on Super Bowl Sunday to promote specific, special tourism in the year of the aurora borealis.

    Like many ads, “Lights” tries to include memorable visual “hooks” that viewers anticipate (sometimes unconsciously) on repeated viewing. One comes in the fifth shot of 16 camera cuts in 30 seconds.

    It shows the working Mom (lawyer? executive?) having rushed home through the front door while still on her cell phone. She’s looking for her mother, who is baby-sitting for her daughter. This family appears to be matriarchal, if not matrilinear.

    “Mom?” she says, an urgent edge to her tone.

    By now, we see a personality, if not a character. Single mom? Husband dead or away in the military? Divorce? They leave it vague, but force you to imagine this mother more fully. Her “mom” is the smiling, grayish woman playing in the next room on the floor by the bed with the little girl.

    Their toy shows a pretend version of the Northern Lights projected in a dark room. The visual plotting here is clear even as a silent film. Then comes a pivotal shot. The camera swings left to right to meet the working mom as she comes to a sudden stop while entering through the doorway.

    She gazes at her mother and daughter, open-jawed, slightly startled, her eyes with just a flash of regret — is my daughter growing up without me? But her look quickly softens and her lips close in a small smile because, after all, her daughter is safe with grandma. Still, a seed has been planted.

    Despite a quiet feel, the “Mirror” music plays on, almost like a lullaby, which is appropriate for the next scene, after the grandmother puts on her coat and leaves. We see, through the mother’s eyes, the little girl sleeping on the sofa while mom works late at her home desk, burning the midnight electricity.

    She works against the backdrop of two, big windows, dark against the urban skyscape. That’s a clue, too. They live in the sky but can’t really see it. The soft singing continues, a German accent, a voice once described as “a bewitching contralto.”

    The camera then pans left-to-right and downward (from mom’s point of view) to the Northern Lights toy. This gives Mom a flash of inspiration. You can see it in her eyes. She pulls out her cell phone right away and books a trip for three to Norway to see the Northern Lights!

    The second-last shot of the ad shows the three of them, in profile, transported to Norway, staring up at the dark, northern sky, and all those swirls and flashes of shimmering green light. You see, mom, this is your reward for all those late hours and all your success

    You’re not assuaging guilt; you’ve earned this. Gosh darn it, Julie (or Grace, or Maya), you’re a good mom. The song’s words are the only other dialogue besides “Thanks, Mom.” At conclusion, the lyrics blend into the voice of the Scottish actor Ewan McGregor.

    “You were made to dream about it for years,” he tells the audience. “We were made to help you book it in minutes.”

    The ad was directed by Hiro Murai, Expedia said. The website campaignlive.com reported that the ad was created by Yo Umeda and Michael McCommon.

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    Joe Lapointe

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  • Inside Ewan McGregor’s Enchanting Take on ‘A Gentleman in Moscow’

    Inside Ewan McGregor’s Enchanting Take on ‘A Gentleman in Moscow’

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    During rehearsal, Miller also brought in a movement coach, a key figure in McGregor’s delicate but rigorous physical performance. “We did these extreme exercises of being very, very old and then very young, and thinking about our characters in different stages of their life,” he says. “I spent a lot of time, in his countly days at the beginning, being very upright in his amazing clothes and the way he moves. As I get older, all of that drops away and it becomes more loose—and so in a way, he de-ages physically.” Being able to shoot roughly chronologically allowed McGregor to sink deeper and deeper into the part. He didn’t initially realize the root of his profound investment in both the role and the story’s unique portrait of fatherhood. “In a loose way, he adopts somebody—and I am close to that,” he says. “I have an adopted daughter, and I almost didn’t notice the similarities until we were shooting it…. I felt very, very connected to the count.”

    Another development deeper into filming: the romantic arc between the count and Anna, played by McGregor and Winstead—who are married in real life. In one early scene, Anna chides the count for tidying her room without permission—and snubs him for literal years. “To be in love and married to somebody, and then to get to play all those cold shoulder scenes, was just hilarious,” McGregor says. Near the shoot’s end, as the relationship took a tragic turn, the pair found the emotional intensity of their scenes following them home. “You just have to see what she’s done with this role—she’s such a brilliant actor, and the way Anna ages is absolutely heartbreaking at the end,” McGregor says. “We have a scene where we have to part, and we just were an absolute mess [after filming].”

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    David Canfield

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  • Twitter’s blue check: Vital verification or status symbol?

    Twitter’s blue check: Vital verification or status symbol?

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    The story of Twitter’s blue checkmarks — a simple verification system that’s come to be viewed as an elite status symbol — began with some high-profile impersonations, just as the site began taking off in 2008 and ’09.

    Celebrities who saw their likeness spoofed included Kanye West, now Ye, the basketball star Shaquille O’Neil and the actor Ewan McGregor, who was also impersonated on a wildly popular website called … MySpace.

    Then, in June 2009, St. Louis Cardinals manager Tony La Russa sued Twitter, claiming that a fake account, using his name to make light of drunken driving and two Cardinals pitchers who died, damaged his reputation and caused emotional distress.

    LaRussa eventually dropped his lawsuit. But in June of that year, Twitter’s then-CEO Biz Stone introduced a verification system to sort out authentic accounts from impostors. The benefit would be to the holders of the accounts, but also to everyone else on Twitter. They could be sure, if they saw the blue check next to a name, that what they were reading was authentic.

    Fast-forward to 2022. Twitter’s new owner and ruler, billionaire Elon Musk, wants to turn this verification system into a revenue source for the company he paid $44 billion to purchase. It’s a 180-degree turn from the stance he took earlier this year, before his buyout closed, when he said he wanted to “verify all humans” on Twitter.

    After floating the idea of charging users $20 a month for the “blue check” and some extra features, he appeared to quickly scale it back in a Twitter exchange with author Stephen King, who posted “If that gets instituted, I’m gone like Enron.”

    “We need to pay the bills somehow! Twitter cannot rely entirely on advertisers. How about $8?” Musk replied.

    Whatever the price, the idea of a paid verification system is raising some complex questions and concerns — beyond the customary cheers and jeers that have accompanied Musk’s every move since he took ownership of the social media company last week.

    “Tapping into Twitter users to make more money may be the right strategy, but verification isn’t the right feature to charge for,” said Insider Intelligence analyst Jasmine Enberg. “Verification is intended to ensure the integrity of accounts and conversations on the platform, rather than a premium feature meant to elevate the experience. There is a growing appetite among some social users to pay for features that add value to their experiences.”

    Instead of charging for authentication, though, Enberg said Musk should be looking at adding features to Twitter that get people to use it more and help them grow their follower base and find a way to make money from those.

    “Turning users into customers isn’t an easy sell, and the value exchange has to be right in order for it to pay off,” she said.

    Twitter already has a subscription plan, Twitter Blue, that for $5 a month lets users access extra features, such as the ability to undo a tweet and read ad-free articles. Musk’s plan, as it appears from his tweets, seems to be expanding it to charge more money for more features — including the verification badge — and spread it to more users.

    “Of roughly 300,000 verified accounts on Twitter we would estimate only about 25% would go down this path ultimately and pay the $8 per month fee,” Wedbush analyst Daniel Ives said.

    That would mean only $7.2 million a year in extra revenue for Twitter — not enough to move the dial for a company whose last reported quarterly revenue was $1.18 billion.

    Ives expects Musk to first go after users who already have the check to charge them to keep it, then likely introduce other tiered pricing plans for other accounts.

    “The problem is with many athletes and celebrities willing to lose their coveted blue check and refusing to pay the monthly fee it would be an ominous black eye moment for Musk on his first strategic move with Twitter,” he said.

    While Musk’s exact plans are not clear, experts are raising concerns about the consequences of having a paid verification system that leaves anyone unwilling to pay vulnerable to impersonation — and anyone who does pay the ability to have their Twitter presence boosted by the platform’s algorithms.

    While many verified users on Twitter are famous, there are also community activists, journalists at small newspapers and outlets inside and outside of the U.S. — and regular people who simply find themselves in the news. For this subset, $8 a month may not be worth it, no matter how many memes Musk posts about the cost of a cup of coffee.

    The idea behind verification — which other social networks later copied — was to ensure that public figures, politicians and businesses were who they say they are. It began small at first, as things do when tech companies test out new features and functions.

    “The experiment will begin with public officials, public agencies, famous artists, athletes, and other well known individuals at risk of impersonation,” Stone wrote in 2009. He suggested that those who can’t be immediately verified put their official website in their Twitter bio to show that they are who they say they are.

    Business accounts — such as brand pages for Coca-Cola or McDonald’s — were not included in the initial verification system, nor were rank-and-file journalists. Those were added later, as misinformation from fake sites and accounts became a bigger problem on social media.

    While the “blue check” (which is actually a white checkmark in a blue frame, or black checkmark in a white frame if you are using Twitter in dark mode) has come to be viewed in some circles as an elite status symbol for the rich and famous, its purpose has always been to ensure that the people and accounts tweeting are who they say they are. As such, it benefited Twitter as much — if not more — as it benefitted the accounts that were verified, by clamping down on impersonations.

    Kelly McBride, an expert on journalism ethics for the Poynter Institute think tank, said she suspected the blue check would become less valuable if people know that it could be bought. Currently, it signifies a person with a particular position or public stature whose identity has been verified.

    “Twitter may end up being a similar story,” she said. “It may become less valuable to journalists. And that wouldn’t be a bad thing.”

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    Associated Media Writer David Bauder in New York contributed to this story.

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    This story has been updated to correct the spelling of actor McGregor’s first name. It’s Ewan, not Evan.

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