Depp Wife Beater

The News

By Ray Pride

November 2, 2020

Hadley Freeman: “Johnny Depp is ‘a wife-beater.’ This is the verdict of the UK courts. Just writing that sentence feels genuinely shocking, and yet, by now perhaps, it should not. For a start, the allegation that he was physically abusive to his ex-wife Amber Heard emerged more than four years ago, after she applied for a temporary restraining order against him following their divorce, citing domestic abuse. It should also not be a shock, given how many other hugely famous men have been accused of abusing women. Sean Connery was alleged to have beaten his first wife and frequently defended hitting women. His death this weekend sparked online arguments about how much the coverage should focus on the professional achievements of a man who repeatedly insisted it was fine to hit women, ‘if the woman is a bitch, or hysterical, or bloody-minded continually,’ as he said in 1965. But Depp is a very different figure from Connery. The latter represented alpha masculinity and aggressive sexuality. No one ever said it explicitly, but Connery’s defenses for beating women fit in, on some level, with his image, and so that side of him was never going to be a problem with his audience. Depp, however, represented something else. He sued the Sun for defamation when it described him as ‘a wife-beater,’ something Connery would never have done, and it’s also why for a certain kind of fan (me), this feels like the death of yet another childhood hero.”

No Responses to “Depp Wife Beater”

Comments are closed.

MCN Commentary & Analysis See All

THB #93: The Batman (no spoilers)

David Poland | March 6, 2022

THB #76: 9 Weeks To Oscar

David Poland | January 26, 2022

THB #73: Netflix Is Chilled

David Poland | January 24, 2022

The News Curated by Ray Pride See All

-30-

May 1, 2022

"Netflix, the great disrupter whose algorithms and direct-to-consumer platform have forced powerful media incumbents to rethink their economic models, now seems to need a big strategy change itself. It got me thinking about the simple idea that my film and TV production company Blumhouse is built on: If you give artists a lot of creative freedom and a little money upfront but a big stake in the movie’s or TV show’s commercial success, more often than not the result will be both commercial (the filmmakers are incentivized to make films that will resonate with audiences) and artistically interesting (creative freedom!). This approach has yielded movies as varied as Get Out (made for $4.5 million, with worldwide box office receipts of more than $250 million), Whiplash (made for $3.3 million, winner of three Academy Awards), The Invisible Man (made for $7 million, earned more than $140 million) and Paranormal Activity (made for $15,000, grossed more than $190 million).From the beginning, the most important strategy I used to persuade artists to work with me was to make radically transparent deals: We usually paid the artists (“participants” in Hollywood lingo) the absolute minimum allowable by union contracts upfront, with the promise of healthy bonuses based on actual box office results—instead of the opaque 'percentage points' that artists are usually offered. Anyone can see box office results immediately, so creators don’t quarrel with the payouts. In fact, when it comes time for an artist to collect a bonus based on box office receipts, I email a video clip of myself dropping the check off at FedEx to the recipient."
Jason Blum Sees Room For "Scrappier" Netflix

The New York Times | April 30, 2022

"As a critic Gavin was entertaining, wry, questioning, sensitive, perceptive"
Critic-Filmmaker Gavin Millar Was 84; Films Include Cream In My Coffee, Dreamchild

April 29, 2022

Disney Executive Geoff Morrell Out After Less Than Four Months

The New York Times | April 29, 2022