The Righteous Gemstones Doesn’t Quite Get a Hallelujah
Adam Devine, John Goodman, and Danny McBride before their flock in The Righteous Gemstones. Photo: HBO
Danny McBride has an affinity for frustrated and unsuccessful men. In Eastbound & Down, the first series he co-created with Jody Hill for HBO, he played Kenny Powers, a disgraced major-league pitcher determined to get another at-bat in the sun.
In Vice Principals, the second McBride-Hill HBO joint, he played Neal Gamby, a high-school administrator who gets passed over for the principal gig and — with help in season one from a fellow irked white man played by Walton Goggins — makes the life of the woman who wins the position a living hell.
With his central role in The Righteous Gemstones, the latest from McBride and Hill, the actor and writer-director has pulled off a frustrated, unsuccessful man hat trick.
In this new, occasionally amusing HBO comedy, which debuts Sunday night, McBride plays Jesse Gemstone, the oldest of three siblings in a family that has turned preaching and praying into big business.
The Gemstones — once led by patriarch Eli (John Goodman) and matriarch Aimee-Leigh, who recently died (she’s played in flashbacks by country star Jennifer Nettles) — has a string of megachurches throughout the South, a ministry that spreads the word of Jesus Christ around the world, and an evangelically solid reputation built on a successful television show that Eli and Aimee-Leigh hosted in the 1980s. What they don’t have, or at least their three children don’t have, is a moral code of any kind. They’re all bullies with a very high-profile pulpit.
Jesse is the most ethically compromised of the bunch. He lies to his wife, insults his siblings and kids at every opportunity, and indulges private habits that involve cocaine and prostitutes. the other characters McBride has played on HBO, he’s basically an asshole.
But un Kenny Powers and Neal Gamby, who engendered empathy given how much they have fallen and failed in life, Jesse hasn’t done any of that. He has a beautiful, loyal wife, three healthy children, a laughably huge home, and an enormous amount of inherited wealth. He’s been given everything and has seemingly done little to deserve it.
There is no good reason for him to be such a dick. But, as a flashback episode makes clear, he was born this way.
The sense of privilege that envelopes Jesse and his immediate family is one of the things that distinguishes The Righteous Gemstones from McBride’s other TV work. Another is the fact that, more so than his two previous comedies, this one is a true ensemble piece.
Jesse certainly stands at the center of the series; in the first episode, a group of blackmailers threatens to ruin his reputation by releasing footage of him snorting lines with a bunch of topless women, a development that gives the plot much of its initial structure.
But Gemstones is primarily interested in the dynamics within this family, which includes Jesse’s younger brother and mortal enemy, Kelvin (Adam Devine); his perpetually marginalized sister, Judy (Edi Patterson of Vice Principals); and, eventually, his untrustworthy uncle, Baby Billy (Goggins), who used to be one half of a successful singing duo with Aimee-Leigh until she married Eli. McBride may have the most screen time by a smidge, but the show is just as concerned about what’s happening with all these other flawed, insecure figures as it is with what’s going on with Jesse.
Jesse, Kelvin, and Judy spend most of their time tearing each other down and doing their best to earn the favor of their father. That’s apparent in the very first, funny scene, where Kelvin and Jesse have joined their dad in Chengdu, China, to assist with a mass 24-hour baptism.
While standing in the middle of a pool and ushering believers into a bonded relationship with God, Jesse and Kelvin start arguing over who’s doing a better job of dunking followers’ heads under the water.
Eventually, their disagreement devolves into a splash fight, and then somehow the wave-pool function gets activated. What was supposed to be a sacred experience turns into total chaos.
That scene announces what the show seeks to do: highlight the massive, absurd gap between the piousness the Gemstones attempt to project, and the pettiness and downright nastiness that infects the entire family.
If The Righteous Gemstones more consistently and successfully highlighted that absurdity, it could be a sharp takedown of the hypocrisy that lurks in a lot of Evangelical Christianity.
But in the first six episodes, the series never aims its arrow directly enough, nor establishes clearly what its target is.
Perhaps because McBride, who wrote and directed the pilot, and Hill are going for something more sprawling than their previous series, the show sometimes meanders too much.
The cast, as is always the case in McBride’s projects, is incredibly strong. McBride, Devine, Patterson, and Goggins all have a sturdy grasp on portraying the kind of people who sweat the small stuff while ignoring the big picture.
Goodman, who acts as more of a straight man as Eli, anchors them with a stern, drawling sense of authority that he never overplays. Given all this talent, it’s surprising that there aren’t more laughs. (That said, McBride is a pro at conveying idiotic indignation, and he gets off some decent lines.
When his oldest son mentions that he saw Vin Diesel in Los Angeles, Jesse can’t help but try to one-up him: “When I was a kid, I met Telly Savalas in a bagel shop.”)
As always, McBride has an undeniably great instinct for unearthing what’s so hilarious about pathetic, insecure grown men. But too often, he directs that instinct toward childish arguments across dinner tables, or what to do about the blackmailers who are just as loathsome and incompetent as Jesse. It’s hard to know whom or what to root for on this show.
It’s tempting to say that it’s hard to invest in the Gemstones because they’re just unlikable. But that’s not quite the problem, and to understand why, one need look no further than Succession, which happens to be the Sunday night lead-in for The Righteous Gemstones.
The Roy siblings in that portrait of corporate nepotism are just as eager to earn daddy’s approval, just as privileged, just as rude to each other, and just as disinterested in ethics as the Gemstone kids.
The difference is that, even when we don’t condone what the Roys are doing — which, by the way, is all the time — we find ourselves rooting for them in spite of this fact.
There’s a subtlety in the writing in Succession that’s missing from The Righteous Gemstones, even though the latter series does pull off some solid twists along the way.
While the dark comedy in Succession cuts with the edge of a just-sharpened knife, The Righteous Gemstones smacks downs with whatever blunt instrument happens to be within arm’s reach.
McBride and Hill’s comedies sometimes take a while to land on the right tone, and maybe that will be the case with this one, too. But for now, it’s a show about a spiritually bankrupt family that hasn’t quite found its own soul.
The Righteous Gemstones Doesn’t Quite Get a Hallelujah
Yesterday imagines a world without the Beatles — but can’t decide whether they mattered
via Tribeca Film Festival
Welcome to Cheat Sheet, our brief breakdown-style reviews of festival films, VR previews, and other special event releases. This review comes from the 2019 Tribeca Film Festival. It has been updated throughout for the film’s wide theatrical release.
Alternate-universe writers love painstakingly tracing how one historical change might rewrite pop music. In The Man in the High Castle, where Japan and Germany won World War II, Nazi censors strangled rock ’n’ roll in its crib.
Wolfenstein, another fantasy about the Axis powers winning World War II, features a Nazi-fied alternative to The Beatles — renamed “Die Kafer,” with their iconic Abbey Road crosswalk photo set against a sinister fascist cityscape.
Danny Boyle and Richard Curtis’s film Yesterday also imagines a world where The Beatles never existed, but it’s indifferent to this kind of world-crafting.
The film is a celebration of the Fab Four that’s more focused on fandom than rock history. Unfortunately, it isn’t particularly focused on anything.
Yesterday is a breezy, moderately funny romantic comedy with an excellent soundtrack — but one that never commits to its characters, themes, or clever premise.
What’s the genre?
Yesterday starts as a high-concept comedy that runs with a single weird idea: an inexplicable event has removed The Beatles (among other things) from history, and seemingly only one man remembers their existence. The filmmakers gradually mix in some mildly cutting satire of the music industry, then settle into a straightforward story about small-town romance and the entirely expected downsides of fame.
What’s it about?
Jack Malik (Himesh Patel) is a struggling musician with a single fan, his manager and childhood friend Ellie (Lily James). After a dismal gig at a local festival, Jack decides to hang up his guitar.
But a mysterious global blackout hits while he’s biking home, and he’s knocked unconscious in the chaos. He wakes up in a world with a few missing pieces. Pepsi exists, but not Coca-Cola. Saturday Night Live is now taped on Thursdays.
And to Jack’s increasing bafflement, nobody has heard of The Beatles.
Seeing a golden opportunity, Jack reboots his career and claims The Beatles’ music as his own. Soon, he’s discovered by local celebrity Ed Sheeran (played by himself), and sought out by a sociopathic but highly capable manager, Mandi (Kate McKinnon).
Hailed as the greatest singer-songwriter of his generation, Jack prepares to release an album, but he’s increasingly consumed by guilt over his deception.
To make things worse, he discovers that Ellie has been in love with him for years, but she can’t leave her life as a schoolteacher to join him in Los Angeles.
Photo: Universal Pictures
What’s it really about?
How individual pieces of art take on cultural and historical significance, and what’s left when that significance is stripped away. After the blackout, Yesterday plays up the contrast between Jack’s reflexive reverence for The Beatles and everyone else’s level-headed skepticism.
His parents interrupt a rendition of “Let It Be” to chat with a neighbor, a friend dismisses “Yesterday” as soppy, and Jack sputters with the incredulous indignation of anybody who’s just had part of their core cultural canon questioned — until someone gently points out that he’s being a bit egotistical about his work.
These moments perfectly capture the feeling of having an aching, inexpressible love for a piece of media that nobody else understands.
And they’re made all the more interesting because Jack isn’t a Beatles superfan, just someone who osmosed the songs alongside billions of other people.
He’s thrust into the role of defending something he’s always taken for granted — and also trying to preserve it, as he puzzles out the lyrics of “Eleanor Rigby” before skipping to the familiar chorus in frustration.
The Beatles’ biggest musical contribution was apparently inspiring Oasis
But Yesterday is a film for Beatles fans, or at the very least, anyone who will enjoy hearing Patel perform a dozen-plus renditions of their greatest hits. So despite some characters’ skepticism, Yesterday’s Beatles songs are imbued with a timeless, mystical power that turns Jack into a celebrity almost overnight.
Strangely enough, though, Yesterday implies that the band was basically artistically irrelevant. Pop music, pop culture, and the record industry seem mostly unchanged in this world — in fact, the film goes its way to confirm that Beatles-influenced bands Coldplay and Radiohead still exist. As far as Yesterday is concerned, The Beatles’ biggest contribution to music was inspiring Oasis.
The filmmakers resist extrapolating from any of the historical changes they’re making, so this suggestion might not be intentional. But it’s an extremely weird take for a Beatles love letter, and it raises needlessly confusing questions about why the band’s songs are so powerful, since characters have apparently been listening to similar music for decades.
Photo: Universal Pictures
Is it good?
Yesterday is well-paced and often funny, especially in its early sections, where it’s exploring Jack’s everyday life and the rules of his new reality.
It uses technology smartphones and search engines in a way that feels natural and makes for more efficient storytelling. McKinnon is a gleefully sharkish antagonist, though she’s lightly sketched.
Patel plays Jack as charmingly hopeful yet pragmatic, and he’s a good performer who can carry the film’s many musical numbers.
‘Yesterday’ is often funny but frustratingly underwritten
But as the film shifts focus to Jack’s relationship with Ellie, his motivations become increasingly unclear.
Ellie isn’t given much personality beyond being a kind and supportive girl next door, and the revelation that she’s had a crush on Jack since high school — and denies it until the worst possible moment — is more sad than sweet.
(It gets even more depressing with the addition of a romantic rival who appears consciously aware of his role as a disposable plot device.) There’s just no reason for these characters to hook up, beyond the hoary assumption that every male-female friendship is secret unrequited love.
Boyle and Curtis are making an alternate-history film that’s not primarily about alternate history, which is a completely valid choice.
But the film’s central romance is badly underwritten, and its slapdash, joke-driven worldbuilding pokes holes in a plot that was fantastical to start with.
Yesterday is a story about the pure and timeless nature of music — but it often comes off as more rote than heartfelt.
What should it be rated?
Some relatively muted sexual situations feel PG-13 material, but we’re talking about a film that’s composed largely of a guy performing crowd-pleasing Beatles songs — it’s mostly as earnest and innocuous as “I Wanna Hold Your Hand.”
How can I actually watch it?
Yesterday is getting a wide theatrical release on June 28th.
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August | 2016 | BlackBook |
The first trailer for “A United Kingdom” is here, starring David Oyelowo and Rosamund Pike in the famous true story of an interracial royal couple in 1948.
The tale follows Seretse Khama, played by Oyelowo, part of the royal family in a former English-African colony that would later become Bostwana, and his marriage to a white British woman named Ruth Williams (Pike).
Directed by Amma Asante (Belle), the film follows the star-crossed love story and the indignant reaction from the press and the world at large.
In the trailer, Oyelowo makes a tearful speech to his kingdom, a plea to his people to let him lead them proudly while also loving the woman he’s married to that’s sure to generate some Oscar buzz.
The movie is adapted from Susan Williams’ Colour Bar by Guy Hibbert and will serve as the opening night film at the BFI London Film Festival. Watch the new trailer below.
Lily-Rose Depp is on the verge of a significant film career. The daughter of Vanessa Paradis and Johnny Depp adds a new role to her resume that transcends her young career. Depp stars alongside America’s sweetheart, Natalie Portman in Planetarium from writer and director, Rebecca Zlotowski.
They play two sisters who supposedly have the ability to communicate with ghosts. When their journey takes them to Paris, they catch the eye of a French film producer.
Planetarium will premiere November 16 at Venice Film Festival. Watch the trailer below:
Goddess of punk, Vivienne Westwood has applied her artistic magnificence to a new medium. The exalted designer lends her vocals and her own rhymes to a new track by Mic Righteous, “Be There x Intellectuals Unite.” Westwood met the rapper at a climate-change march.
“To be honest, when I thought of collaborations, Vivienne wasn’t the first rapper that came to mind!” Mic Righteous told i-D. “But she mentioned she’d written a rap/poem and I didn’t even need to hear it. I knew it would be perfect for this project.”
The track tackles one of Westwood’s ongoing causes, the fight to end fracking. In the past, she’s gone head to head with David Cameron on the issue: she attempted delivering gift-wrapped asbestos to his house and has even driven a tank to one of his residences to raise awareness with a faux “chemical attack.”
Foreplay: Blue is the Warmest Color (2013)
Who would associate Steven Spielberg with dining at the Y? As Jury President at the 2011 Cannes Film Festival, Spielberg awarded the Palm d’Or to this three-hour French lesbian drama in which a schoolgirl crush on a bohemian artist turns into long bouts of bumping uglies and fur pie banquets.
This is not typical Spielbergian family fare—it’s for adults only. But Adele Exarchopolous’ obsession with the blue-haired Lea Seydoux is so sexually explicit that it verges on either porn or a gay marital instruction manual. Director Abedellatif Kechiche’s real-time eroticism would make Hugh Hefner and Larry Flynt blush.
It gives new meaning to “close encounters.”
Press Play: Fast and Furious (2001)
This is the starting line for the popular, ongoing cops-and-robbers series where Vin Diesel and the late Paul Walker turn law-and-order into a bromance of the road. Director Rob Cohen based the chase-movie dynamics on the underground subculture of Southern California drag racing and its ethnically diverse renegades.
Cohen’s emphasis on speed is topped only by the nocturnal dreaminess of the road-race sequences—the cars are lit from underneath the chasis so that the vehicles zoom over the highways multicolored neon electric eels. Bright lights and brotherhood is an unbeatable combination. No wonder the series keeps revving-up.
Playtime: The Verdict (1982)
What is Paul Newman’s finest film performance? There are candidates from his first films in the 1950s, his matinee-idol and rebel dramas in the 1960s to his career renaissance in the ‘70s and ‘80s and his superb character-actor senior citizen cameos in the new millennium.
But even Old Blue Eyes’ most dedicated fans must consider his performance as Frank Galvin, the small-time alcoholic attorney who takes one last chance at redemption in The Verdict, a top contender.
Working with director Sidney Lumet on an original tough-talking screenplay by David Mamet, Newman finds new depths of yearning, struggle and wounded masculine ego in a film that tests America’s court corruption and medical ethics.
Newman’s movie star charisma, social consciousness and serious-acting chops were never better displayed. Co-starring Charlotte Rampling, Lindsay Crouse and James Mason
Indie-pop queen KAYE premiered her latest music video this week, for the grunge-tinged anthem “UUU,” and provided no shortage of fierce looks and voguing for the occasion. Backed by two bespectacled dancers a-la a punkier, more hipster “Single Ladies,” KAYE delivers a powerful sound and look that only makes us more intrigued to see what’s coming next.
The Hawaiin-born singer trained herself in classical piano and guitar before going on to tour with artists St. Vincent, Arctic Monkeys, San Fermin, and alt-J to positive reviews from publications Rolling Stone and The Wall Street Journal.
Her debut EP, Honey, is out now, available on Spotify, and features such notable tracks as “UUU,” the celebratory self-love title track, “Honey.”
Check out KAYE’s other new video, for “Honey,” a shot-for-shot remake of Weezer’s classic 1994 clip for “The Sweater Song,” below.
In the new trailer for The Dressmaker, Kate Winslet plays bocce-ball in couture Dior while puffing a cigarette.
The Oscar-winning actress portrays a fashion designer returning to her small town origins in this latest film from Jocelyn Moorhouse.
In the teaser, armed with nothing but a sewing machine and a pack of Marlboros, Winslet transforms a town of down-on-their-luck villagers into elegant, poised beauties, all while navigating the intricacies of a murky murder case.
That’s not to mention her sustained flirtations with a gratuitously shirtless Liam Hemsworth.
The film has already debuted in Australia, but is set for a US release in theaters everywhere on September 23.
“Moorhouse’s adaptation of Rosalie Ham’s 2000 novel may lead audiences to expect a primmer, more well-behaved movie its title alone,” said Variety’s Justin Chang. “But that doesn’t mean it won’t have them in stitches.”
“A dress can’t change anything,” says frumpy townsperson Gertrude to Kate’s character in the trailer. “Watch and learn, Gert,” she replies. “Watch and learn.”
Erin McLaughlin Instagram
Multiple cities in France have recently banned the burkini, a full body swimsuit popular amongst Muslim women. Following numerous attacks on French soil, officials cited terror risks for the ban. After a woman was recently forced by police to remove a tunic while lounging on a beach in Nice, people have begun to fight these policies.
Protestors in London staged a demonstration on Thursday in front of the French Embassy as the State Council, France’s highest administrative court, was deciding whether or not the ban was legal. The peaceful protest came in the form of a “wear what you want beach party.” Women and children played in a pile of sand with beach toys and towels spread about.
One of the organizers of the protest, Esmat Jeraj, spoke with TIME about the issue:
“The war on terror should never begin in a woman’s wardrobe. The idea that it is happening is absolutely ludicrous and absurd.”
The ban includes any garment that “overtly manifests adherence to a religion at a time when France and places of worship are the target of terrorist attacks.” For Muslim women, this policy perpetuates not only Islamaphobia, but sexism.
“I don’t think they understand that we do it choice … we want to be modest,” Muslim protester Yasmin Basith said. “What the French government is doing is oppressive… I think it is so hypocritical because they are a country that say ‘égalité, fraternité’ but they don’t let women wear what they want.”
Although the protest is gaining traction mostly amongst social media, the ban is met with widespread support. French pollster IFOP found that 64% were in favor of the new restrictions.
Jemima Kirke and Lena Dunham are no strangers to onscreen nudity. The two have frequently appeared naked on Dunham’s HBO brainchild, Girls.
Conviction feminists through and through, they’re now using their bodies for a good cause. They recently posed for the Lonely Girls Project, a photo series featuring inspiring women wearing Lonely Lingerie. With the brand’s body positive image, all photos go unretouched. Instead of objectifying women’s bodies most brands, it celebrates them.
The beautiful photos were captured by Zara Mirkin and Harry Were in Brooklyn. They feature a candid look at the two actresses, looking both comfortable and glamorous in their lingerie.
Great comedy has a way of cutting through the bullshit and occasionally even taking down false idols.
To wit, Natasha Leggero, whose surprise Comedy Central hit series Another Period revolves around a group of absurdly narcissistic turn-of-the-20th-Century Newport poshos.
On top of just being outrageously funny, it is also a biting metaphor for this new (and equally narcissistic) Gilded Age we’re now suffering through, with its gaping income inequalities mirroring those of a century ago.
But as the annual social/cultural debacle/scourge that is Burning Man gets underway this Sunday, we revisit Leggero’s hilariously scathing indictment of said festival from her brilliant 2015 stand up performance at Bimbo’s in San Francisco – which was also a Comedy Central special. What is dubiously held up as some sort bacchanal of free expression in the Nevada desert, is described by the always incisive comedian as basically “a great place to go breast feed your pet ferret.”
Exclusive Premiere: Watch The Trailer Of The Hilarious New Web Series,
No matter how our individual feelings are about the hot-button issue that politics is, everyone remembers the street slogan/meme, «Everybody Sucks 2016.
» Two years ago, tensions were running so high and nerves were so raw that many families, friends, and co-workers across the nation instituted a «politics-free zone» rule so that relationships wouldn't be damaged over holidays and regular get-togethers. Nevertheless, social damage occurred.
Post by post, friends found themselves unfriended. People (including celebrities) threatened to leave the country claiming «political asylum.» Bumper stickers and yard signs alienated neighbors from one another.
Think back to 2016 and just imagine if you could have escaped all of the chaos and started up your very own nation with -minded people. Sounds perfect, right? That's exactly what three fed-up citizens do in the brand-new comedy web series, IndigNation. L.A.
-based sisters, Melissa Harkness, an actress and Marian Harkness, a commercial production professional, have teamed up along with actors Philip Casale and Lyssa Mandel to bring you a web series made up of tiny, «fun-sized» episodes which will each be just a few minutes long.
The web series officially premieres soon on September 25th, next Tuesday but The Talko has the exclusive trailer to share with our readers now.
RELATED: LUCKY 13: THE BEST AND WORST OF NETFLIX COMEDY
The trio of citizens is made up of a hodgepodge of characters such as a rich housewife (Melissa Harkness co-creator and actress of many short films including Rolling Romance, Dial M for Morons), ex-political aide (Philip Casale from popular websites such as Welcome to Hell w/ Vincent Welles, Kevin McDonald's Kevin McDonald Show, and It's the Dean Martin Holiday Show!) and a free-spirited and somewhat goofy humanitarian (Lyssa Mandel, host, and producer of the critically acclaimed podcast The B**** Seat and from films such as High Maintenance, and You Only Die Once).
Together, these three members of a brand-new nation named «Bewenor» (pronounced Be-winner) have to band together in order to create their new homeland including coming up with a flag, constitution and deciding who's going to be President. As you can imagine, madness (and hilarity) ensues.
Don't forget to tune in to IndigNation's , page or Instagram on September 25th to catch the very first mini-episode!
A review is already in and the show's future is looking promising. «The trio's chemistry and comedic timing make for a brilliant series about a new nation's struggle that makes the American political scene look laughable in comparison.»
Join Bewenor next Tuesday for some great laughs!
NEXT: EXCLUSIVE: COMEDIAN AMBER ROLLO ON INCREASING THE FEMINIST FOCUS IN COMEDY
Cara Delevinge Goes Her Way To Rave About Girlfriend Ashley BensonRelated Topics About The Author More About Krissie McMakin
The record-setting GENERATION WEALTH exhibition will open next at Fotografiska Stockholm on March 20th, 2020
Lauren Greenfield’s monograph, GENERATION WEALTH, is a number 1 Best Seller in Germany!
Lauren Greenfield nominated by the WGA (Writers Guild of America) for Best Documentary Screenplay for her film, “The Kingmaker”
New Cities/Theaters added…Watch THE KINGMAKER in US theaters – see showtimes and pick up your tickets here
Variety names THE KINGMAKER one of “The 15 Best Movies of the Fall Film Festivals”
Lauren Greenfield’s new documentary film, “The Kingmaker”, will debut at the 76th Venice Film Festival
Now on the Louisiana Channel – “Lauren Greenfield: A Rigorous View”
Lauren Greenfield’s Girl Culture Films releases its first docuseries, “The Pleasure is Mine” directed by Amy Berg.
Lauren Greenfield announces the launch of GIRL CULTURE FILMS – Watch new company trailer
GENERATION WEALTH is now available in every country that has Amazon Prime
Lauren Greenfield on Topic – How Capitalism Exploits Insecurities
Lauren Greenfield launches Girl Culture Films
“The Pleasure Is Mine” Docuseries (3 episodes), directed by Amy Berg and produced by Girl Culture Films will release this week!
Lauren Greenfield talks GENERATION WEALTH on The Today Show
GENERATION WEALTH monograph is now a bestseller on Amazon in Germany.
It’s Official – GENERATION WEALTH exhibition to open at Deichtorhallen Hamburg on March 30, 2019
Follow the Money (Then Take the Picture) – The New York Times – “America’s foremost visual chronicler of the plutocracy”
Going to SXSW 2019? Don’t miss Lauren Greenfield’s panel, “GIRL CULTURE”, on March 11th at 5pm
Generation Wealth (monograph) is back on Amazon’s Best Seller’s List
Lauren Greenfield/GENERATION WEALTH receives a Writers Guild (WGA) nomination for Best Documentary
Watch GENERATION WEALTH now in the USA, Canada, UK/Ireland, and Australia
Filmmaker Lauren Greenfield looks back at 30 years of chronicling the rich — and predicting our cultural future – New York Times
“These Are the Images of a Society in Extraordinary Decline” – artnet reviews GENERATION WEALTH
GENERATION WEALTH: Highlighting America’s Addiction to Luxury (click to read more)
Going to SXSW 2019? Reserve a seat for the GIRL CULTURE (FILMS) panel now!
“Generation Wealth” documentarian Lauren Greenfield on how the rich are destroying civilization. – Salon
ArtSpace is now offering a (signed) special limited edition book and print of “Generation Wealth”
Buy the best-selling monograph, GENERATION WEALTH, before it sells out! Also available in the UK/Ireland here!
GENERATION WEALTH is a best-selling monograph (Phaidon) for the second year in a row!
GENERATION WEALTH exhibition at Fotomuseum gets a 5-star review from leading Dutch newspaper, de Volkskrant
Lauren Greenfield is awarded the prestigious 2018 Spirit of Independence Award by LA Film Festival
Nobel Peace Center sets attendance record for GENERATION WEALTH by attracting over 120,000 visitors!
TimeOut – “‘Queen of Versailles’ director Lauren Greenfield offers more tough truths about society’s obsession with money.”
Thrillist names GENERATION WEALTH the 8th Best Documentary of 2018.
GENERATION WEALTH receives Best Book Award from Communication Arts 2018
The New York Times – Lauren Greenfield is “America’s foremost visual chronicler of the plutocracy”
GENERATION WEALTH is named a Docsology 2018 Award Winner
Library Journal – “This body of work is extraordinary, fascinating and an almost anthropological look at the ways in which wealth and status are displayed.”
Los Angeles Review of Books – Lauren Greenfield has built a brilliant career both capturing and critiquing the conspicuous consumption of the 1% and wanna-be one-percenters
LARB Radio Hour: The Poverty of Wealth with Lauren Greenfield
The Economist – ““Generation Wealth” portrays shallow desires across an enormous spectrum.”
Artnet – ‘These Are the Images of a Society in Extraordinary Decline’
Variety – Lauren Greenfield on How ‘Generation Wealth’ Perfectly Foreshadows the Trump Era
Fast Company – “Generation Wealth” examines the new (and depressing) American Dream
Thrillist names GENERATION WEALTH the 8th Best Documentary of 2018.
Greenfield has created a comprehensive cautionary tale about a culture heading straight for the cliff’s edge – Michigan Live
Anne Anlin Cheng – “This tale of plenty is a rehearsal of incompletion on many levels.” (LARB film review of Generation Wealth)
The Daily Beast – The Dangerous Kardashian Effect and the Profound Impact of the Superficial
Lauren Greenfield on NBC – “I think our desire to consume has consumed us.”
Watch Lauren Greenfield and Chris Hedges discuss GENERATION WEALTH and “The Cult of Self”
ART REVIEWS, BOOK REVIEWS, & PRESS COVERAGE – BookForum, Library Journal, WNYC/Money Talking, Creative Review, Financial Times, The Times (UK), New York Review of Books, New York Times, artnet, Wall Street Journal, The New Yorker, Art in America, Artsy, ArtForum (Phaidon monograph/NY exhibit review), Aperture, Brooklyn Rail, Blouinartinfo, Goodreads, Refinery29, Observer, CNN, Money Magazine, L’Obs, New York Magazine, NY Post, Metro USA, untapped cities, Observer, Quartz, Glam, Aftenposten, De Standaard, National Geographic Germany, Focus Magazine, ArtForum (LA exhibit), Professional Photography (UK), The New York Times Creative Review gives GENERATION WEALTH its Special Award for “Photography Book of the Year” “This body of work is extraordinary, fascinating, and an almost anthropological look at the ways in which wealth and status are displayed.” – Library Journal NY REVIEW OF BOOKS – “At its best, Greenfield’s work provides a shocking, rigorous, and needed visual language for society’s worst excesses. A decade ago, to visit this world might have seemed cultural anthropology. It might even have been an optional exercise. Today, in the age of Donald, Melania, and the Mnuchins, it is a necessary, even captivating, task—if, at times, a repulsive one.” “Undeniably one of the most memorable photography shows of the year.” – Collector Daily’s 3 3 Stars review Listen to Lauren Greenfield on WNYC Radio, talking about GENERATION WEALTH and “The Influence of Affluence”. “Generation Wealth” monograph (Phaidon) takes the top spot in The Times’ (UK) “Best Photography Books of 2017”
ARCHIVED NEWS – Latest news on Lauren Greenfield here and here BUY – The Generation Wealth book (Phaidon Press) is now available in bookstores and e-tailers worldwide.
SOCIAL MEDIA – Follow Lauren Greenfield on , on Instagram, on WEB
Learn more about Lauren Greenfield on her personal website, and on INSTITUTE
All matters relating to editorial licensing of GENERATION WEALTH – email@example.com All others matters relating to the GENERATION WEALTH project – firstname.lastname@example.org All press matters relating to the GENERATION WEALTH monograph – Kate Greenberg for Phaidon North America, and Orla Houston-Jibo for all of Phaidon’s international territories.