![]() The format opened doors for women and minorities in TV as stations used news teams and marketing gimmicks to win over viewers by presenting one big happy family on air. That began to change, though, with the advent of the “Eyewitness News” format pioneered by WABC-TV in New York City and many others. The Newseum pulled together stories of women who broke down barriers in television, including a Kansas City news anchor who sued her station after she was demoted for being “too old” and “too unattractive.” In 1972, only 11 percent of news anchors were women. From left: Paul Rudd as Brian Fantana, David Koechner as Champ Kind, Christina Applegate as Veronica Corningstone, Steve Carell as Brick Tamland and Will Ferrell as Ron Burgandy in 2006’s “Anchorman.”įor each detail from the movie, there’s also a dose of reality. There’s also a replica of the “Anchorman” news desk. Costumes in the exhibit include those worn by Veronica Corningstone, the ambitious reporter played by Christina Applegate. ![]() In addition to Burgundy’s suit, displayed in a revolving case, the museum also exhibits his flute, mustache brush and a reporter’s “Sex Panther” cologne. The movie gets that right, though in a very over-the-top way, and we wanted to show the reality behind the humor.” “There really was a time in news history when men owned the anchor chair and women were a novelty in the newsroom. “In any parody, there’s a kernel of truth, right?” said Cathy Trost, the Newseum’s vice president of exhibits. ![]() The museum about news and the First Amendment has opened “Anchorman: The Exhibit,” featuring costumes and props from Will Ferrell’s 2004 movie “Anchorman: The Legend of Ron Burgundy.” The story of a fictional news team’s sexist reaction to the arrival of an ambitious female reporter was a parody of real tumult in the 1970s TV business.įor the exhibition created with Paramount Pictures, Newseum curators paired more than 60 costumes and props from the movie with real stories about TV news and the struggle for women to achieve equality in the newsroom. WASHINGTON - While Dorothy’s ruby slippers from “The Wizard of Oz” are prize artifacts at the Smithsonian, Ron Burgundy’s burgundy “Anchorman” suit might turn out to be the most popular item at the Newseum. Why Will Ferrell cut off 'Anchorman' director Adam McKay: He 'f - ked up'Īnd.cut! How audiences helped forever change these movies we love 23 after a theatrical run beginning in November.'Anchorman' star busted for another DUI: reportĮlon Musk compares teleprompter-loving Biden to 'Anchorman' Ron Burgundy While Netflix often gives its most prominent films several weeks in select theaters before streaming, the streamer and exhibitors discussed a wider release for “Glass Onion.” Currently, that’s not expected Netflix will stream the film beginning Dec. That’s put particular focus on the release of “Glass Onion,” a likely box-office success if it were released widely in theaters, at a time when the film industry is grappling with the equilibrium between streaming and theaters. After “Knives Out” became one of 2019’s biggest hits, grossing $311 million worldwide against a $40 million budget, Netflix swooped in to pay $450 million for two sequels. That will strike many viewers as either fitting or ironic considering that “Glass Onion,” unlike “Knives Out,” is a movie for Netflix, a self-styled Hollywood disrupter that over the past decade has radically altered the movie business. In the film, Bron considers his inner circle a gang of “disrupters.” Johnson juggles themes of truth and stupidity with echoes of today’s American politics, and also takes a satirical approach to tech moguls. The film, set in early 2020, starts with characters in masks and Daniel Craig’s Benoit Blanc in lockdown - soaking in his bathtub, mostly - and hungry for a new case. ![]() If “Knives Out” bridged a long-ago movie world - a cocktail of eccentric murder suspects hounded by a colorful sleuth - with contemporary issues of class and ethnicity, “Glass Onion” had the task of collapsing pre-pandemic moviegoing with today’s still unfolding recovery. “It’s surreal,” said Johnson, the 48-year-old director of “The Last Jedi” and “Looper,” in an interview ahead of the premiere of “Glass Onion.” “It’s so strange thinking of the 30 years that have gone by in the three years since we played a movie at Toronto.” The “Knives Out” films almost perfectly bookend the last three pandemic years the original “Knives Out” had premiered in the same theatre almost exactly three years prior, where Johnson’s modern spin on a retro genre more or less blew the roof off. The roar of the crowd made it clear that, yes, they, too, could hardly wait. “Are you guys ready to have a good time?” yelled Johnson.
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