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Cold, Dark, and Happy

Years of state rankings have begun to paint a picture of an idyllic healthiest place to live.

Mendenhall glacier, Juneau, Alaska Sean Lema/Shutterstock
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“Alaskans are the best in the nation in terms of exercise,” explained Dan Witters, a research director at the polling agency Gallup, in making the case that Alaska is the nation’s new bastion of well-being. “Which just goes to show you that you don’t need year-round good weather to demonstrate good exercise habits.”

Even if I remain unconvinced on that front, the fact that people manage to exercise more in Alaska than people in any other state—somehow—is just one of the many metrics that landed the state the number-one spot in a massive study of health and well-being across America, released this week.

Alaskans also reported the lowest stress levels of any population in the country over the past year, and the state had the lowest rate of diabetes. Maybe most surprisingly, despite the cold and darkness, Alaskans also had the second lowest rate of depression diagnoses in the country.

Witters, who oversaw the 2014 Gallup-Healthways study of 176,702 Americans, seemed to find genuine excitement in the ascension of Alaska—more than once calling it “really neat” and suggesting that it is a model that other states would do well to emulate. Indeed, the state’s victory is a realization of longer-term trends, Witters explained, that he has been measuring and observing in Alaska for a while now.

The state has actually been in the top 10 multiple times since the first annual well-being rankings in 2008—Hawaii and Colorado are the only states to have made the top 10 every year—though Alaska has never before been number one. Other rural, colder states seem to score highly in well-being, too: South Dakota, Wyoming, Montana, Nebraska, and Utah all made the top ten.


2014 Well-Being Rankings

Gallup/Healthways

These rankings have made little news in past years, in part because they are based entirely on self-reported surveys, which scientists are quick to dismiss. (Maybe Alaskans don’t actually exercise more; they’re just part of a statewide culture of lying about exercising. Maybe they don’t have diagnoses of depression because doctors aren’t recognizing symptoms, or people don’t feel comfortable talking about it in a telesurvey. Et cetera.) But seven years and 2.1 million surveys in, the longitudinal trends seem too substantial to dismiss outright. And if people are lying, Witters concedes, at least they are most likely lying in the same ways regularly.

Gallup’s methodology has been consistent for years, which lends some credence to trends. In the case of obesity, for example, national rates have been on the rise, from 25.5 percent of the population in 2008 to 27.7 percent in 2014. So that number may not be exact, but it is likely that the rate is indeed increasing.

“There’s no clinical in-home measurement,” said Witters—obesity questions are part of a phone interview, in which a researcher asks people their height and weight. “We accept the response at face value.” From those numbers, an algorithm calculates body mass index (which is far from perfect as a measure of obesity, but still widely used). Comparing Gallup’s findings to measurements from the Centers for Disease Control and Prevention (CDC), the obesity rates are probably actually worse than what Gallup reports today. CDC tracks and maps diseases and conditions, and the Robert Wood Johnson Foundation keeps county health rankings, but the Gallup index is unique as a progressive measure of the quality-of-life factors that influence health. Since Gallup partnered with the well-being-improvement company Healthways in 2006 to create a more comprehensive definition of well-being and track it, the index has begun to fill a niche in psychometrics that inform health in the most fundamental ways.

In the Gallup index, people are scored in five categories, of which physical health is only one. There is also purpose (liking what they do each day, being motivated to achieve goals), social status (having supportive relationships and love in one’s life), financial status (having minimal economic stress), community (feeling safe, and having pride in one’s community).

And in community involvement, Alaska leads the nation, too. There, for example, the survey asks people whether they’ve received recognition in the last year for helping to improve their community. “That’s a tough nut to crack nationally,” Witters said. But among Alaskans, 28 percent say they have—which is actually the best rate in the country. They are also, despite (because of?) the bear population, fifth in the country in terms of feeling safe and secure.

“Another really good one that I love about Alaska, within the purpose element, is learning something new and interesting every day,” Witters explained, “which is an important psychological need.” That metric is a reason that college towns tend to score highly on the well-being index. And there, too, Alaska is number one in the nation, with 72 percent of residents feeling daily intellectual stimulation.

The state is held in stark contrast to the opposite end of the spectrum, the cases of Kentucky and West Virginia. If nothing else, the two states attest to the validity of the ranking system in that there is consistency in its results: The pair has managed to hold down spots 49 and 50 for six consecutive years.

“Kentucky and West Virginia are really in bad shape,” said Witters. There diagnoses of depression are perennially among the highest in the nation, as are stress levels and high blood pressure. Nearly a third of West Virginians smoke tobacco, compared to 19 percent of people nationwide.

Behind those disheartening numbers is another particularly important metric: having someone in your life who encourages you to be healthy. There West Virginia also ranks last in the country. “That is a really good leverage point that they could take advantage of, that cultural change of encouraging accountability to one another,” said Witters, when I asked them how West Virginia could learn from Alaska. “It’s about having someone who has fundamental expectations of you, in how you live your life.”

Even for all their shortcomings, these rankings are fodder for growth and improvement, and they only stand to become more so. In places, the index is already being used by policy makers and businesses, with an eye to bringing programming and investment to their states. In Iowa, for example, governor Terry Branstad boasted on his website in 2013 when Iowa moved from number 16 to number nine, taking that as evidence of success in his Healthiest State Initiative. The program is actually predicated entirely on the Gallup well-being rankings, explicitly aiming to take Iowa to the top spot by 2016.

The state can get there, Branstad believes, through a variety of public-health programs. Focus Five, for example, imposes a handful of goals for individual citizens that specifically address areas where the state has performed poorly. One of the five is “increasing the number of Iowans who feel their boss treats them like a partner at work.” Another program, Get Your Bib On, encourages Iowans to visit the dentist.

Apart from seeking glory or avoiding shaming, motivation for improvement can also come from bald financial arguments. These well-being factors are interdependent, but also influence healthcare spending, notes Janet Calhoun, a senior vice president at Healthways. She frequently invokes the rejoinder that communities with high well-being scores spend less money on healthcare, and their people are more productive overall. The argument, then, is that there can be significant regional economic return when communities invest in improving the wellbeing of a population. And similarly in the private sector, Calhoun said, “When employers invest in improving the well-being of their work force, they have a healthier bottom line for their business.”

“These metrics don’t move a lot if you’re not addressing them,” Witters said. “Until there are statewide initiatives that are meant to address these basic problems in places like Kentucky and West Virginia, they’re going to be stuck at the bottom.”

Ben Aaron VRP

 
[from New York Live website]

Ben Aaron is currently a reporter for WNBC’s New York Live. His first introduction into entertainment began at a young age when he hosted his own public access show from his basement. His passion for the various facets of show business continued to grow and he had his first on-air radio job by age 18. Aaron’s career in radio segued into a career as on-air reporter for programs all over the country from Tucson to Boston to Los Angeles and other cities. In 2009, Aaron joined WNBC and in addition to hosting New York Live, he is responsible for writing, editing and producing daily segments on lifestyle topics. His on-camera feature reporting work with WNBC has earned him 3 New York Emmy® Awards. Aaron has also served as a contributor for Extra, Meredith and the 4th hour of Today. Aaron holds a Bachelor of Arts degree in radio from Emerson College and resides in New York with his wife.

Facebook: (83.9K likes) https://www.facebook.com/benaarontv/
Instagram: (61.3K followers) https://www.instagram.com/benaarontv/?hl=en
Twitter: (10.6K followers) https://twitter.com/ben_aaron?lang=en
Most Viewed YouTube Videos:
“Dance Walking Fitness Ben Aaron. Time to Dance Walk Baby”  |  3.4M views
“Ben Sumo Wrestles The The World’s Heaviest Athlete” [sic]  |  2.6M views
“Ben Aaron NBC talks to old friends. Very old”  |  431K views

Cathy Konrad VRP

 
Cathy Konrad is an American film producer who has produced eighteen feature films including critically acclaimed films such as Golden Globe-winner Walk The Line, 3:10 to Yuma, Girl, Interrupted, Kids and the Scream trilogy.

 

Agent: WME
Manager: Management 360
About Tree Line Film:
8749 Sunset Blvd, Unit A, West Hollywood, CA 90069  |  310.659.9030
Producer: Cathy Konrad
Creative Executive: Zak Salehipour
Tree Line Film Filmography:
Untitled Joe Namath Project
Juliet
Three Little Words
The Gunslinger
Cyclops
The Wild One Hundreds
Zoo (TV) 2015
Vegas (TV 2012 – 2013
Knight and Day 2010
3:10 to Yuma 2007
Men in Trees (TV) 2006 – 2008
Walk the Line 2005
Filmography:
Cyclops Producer
Juliet Producer
Just Another Love Story Executive Producer
The Gunslinger Producer
The Wild One Hundreds Producer
Three Little Words Producer
Untitled Joe Namath Project Producer
Zoo (TV) Executive Producer 2015 – 2016
Scream: The TV Series (TV) Executive Producer 2015
Vegas (TV) Executive Producer 2012 – 2013
Scream 4 Executive Producer 2011
Knight Producer 2010
3:10 to Yuma Producer 2007
Men in Trees (TV) Executive Producer 2006 – 2008
Walk the Line Producer 2005
Identity Producer 2003
The Sweetest Thing Producer 2002
Kate & Leopold Producer 2001
Lift Executive Producer 2001
Scream 3 Producer 2000
Girl, Interrupted Producer 1999
Teaching Mrs. Tingle Producer 1999
Wide Awake Producer 1998
Scream 2 Producer 1997
Cop Land Producer 1997
Scream Producer 1996
Citizen Ruth Producer 1996
Beautiful Girls Executive Producer 1996
Things to Do in Denver When You’re Dead Co-Producer 1995
Kids Co-Producer 1995
In the Media:

‘Scream’ Producer Cathy Konrad Signs First-Look Deal With Fisher Stevens’ Insurgent Media  |  Hollywood Reporter  |  August 5, 2016
Veteran film and TV producer Cathy Konrad — behind the first three Scream titles and its recent TV adaptation for MTV — has signed a first-look deal with Insurgent Media, the production house headed by Oscar-winning multi-hyphenate Fisher Stevens.

Announced on Friday, the first project to be developed under the deal is Cicada 3301, an espionage TV thriller based on the real-life global code-breaking phenomenon that has, since 2012, posted puzzles online with the reported aim of recruit “highly intelligent individuals.” Konrad will produce alongside Ezna Sands and Ashley Richardson for Insurgent Media.

“I have been fortunate in my career to work with partners who share my taste and passion for both genre and character stories,” said Konrad. “While working with the Insurgent team, it has become clear, very quickly, that we share a similar aesthetic and sensibility for storytelling, and that we are in sync with regards to the talent we want to be in business with and support creatively.”

Insurgent, based in New York and Los Angeles, was behind the 2014 Netflix environmental documentary Mission Blue.

Weinsteins Pay to Settle Producer Cathy Konrad’s ‘Scream 4’ Lawsuit (Exclusive)  |  Hollywood Reporter  |  April 5, 2011
Scream 4 will hit theaters April 15 without the specter of a lawsuit hovering over the horror sequel. Distributor the Weinstein Co. has paid to settle a $3 million claim filed by producer Cathy Konrad, who alleged she was booted from the fourth installment of the franchise after it was developed behind her back.

Terms of the settlement, which was reached a few months ago but has gone unreported until now, have not been disclosed. However, sources tell THR that Konrad is getting a cash payment from TWC and a very small portion of the back end on the film.

We broke the news last May that Konrad and her Cat Entertainment had sued in Los Angeles Superior Court claiming she was responsible for the development of the lucrative Scream franchise and was entitled to a first opportunity to produce any sequels on the same financial terms as Scream 3, for which she received $550,000 pay-or-play plus $100,000 bonuses for domestic boxoffice targets of $75 million, $100 million, $110 million and $125 million.

Konrad claimed she had planned to be involved in the fourth film, directed by Wes Craven, but she learned from media reports that TWC was planning to restart the horror series and release another installment in 2011 without including her.

The suit alleged that the Weinsteins booted her based on the “false pretext” that her producing services were to be exclusive to the project, which she says was not a requirement on Scream 3. She claimed that the Weinsteins actually excluded her to lower costs and to hire Craven’s wife instead of Konrad.TWC attorney Bert Fieldsdenied the allegations at the time.

Fields and Konrad’s attorney declined to comment on the settlement.

Together Alone The Epidemic of Gay Loneliness

“I used to get so excited when the meth was all gone.”

This is my friend Jeremy.

“When you have it,” he says, “you have to keep using it. When it’s gone, it’s like, ‘Oh good, I can go back to my life now.’ I would stay up all weekend and go to these sex parties and then feel like shit until Wednesday. About two years ago I switched to cocaine because I could work the next day.”

Jeremy is telling me this from a hospital bed, six stories above Seattle. He won’t tell me the exact circumstances of the overdose, only that a stranger called an ambulance and he woke up here.

Jeremy is not the friend I was expecting to have this conversation with. Until a few weeks ago, I had no idea he used anything heavier than martinis. He is trim, intelligent, gluten-free, the kind of guy who wears a work shirt no matter what day of the week it is. The first time we met, three years ago, he asked me if I knew a good place to do CrossFit. Today, when I ask him how the hospital’s been so far, the first thing he says is that there’s no Wi-Fi, he’s way behind on work emails.

“The drugs were a combination of boredom and loneliness,” he says. “I used to come home from work exhausted on a Friday night and it’s like, ‘Now what?’ So I would dial out to get some meth delivered and check the Internet to see if there were any parties happening. It was either that or watch a movie by myself.”

1.That’s not his real name. Only a few of the names of the gay men in this article are real.

Jeremy[1] is not my only gay friend who’s struggling. There’s Malcolm, who barely leaves the house except for work because his anxiety is so bad. There’s Jared, whose depression and body dysmorphia have steadily shrunk his social life down to me, the gym and Internet hookups. And there was Christian, the second guy I ever kissed, who killed himself at 32, two weeks after his boyfriend broke up with him. Christian went to a party store, rented a helium tank, started inhaling it, then texted his ex and told him to come over, to make sure he’d find the body.

For years I’ve noticed the divergence between my straight friends and my gay friends. While one half of my social circle has disappeared into relationships, kids and suburbs, the other has struggled through isolation and anxiety, hard drugs and risky sex.

None of this fits the narrative I have been told, the one I have told myself. Like me, Jeremy did not grow up bullied by his peers or rejected by his family. He can’t remember ever being called a faggot. He was raised in a West Coast suburb by a lesbian mom. “She came out to me when I was 12,” he says. “And told me two sentences later that she knew I was gay. I barely knew at that point.”

This is a picture of me and my family when I was 9. My parents still claim that they had no idea I was gay. They’re sweet.

Jeremy and I are 34. In our lifetime, the gay community has made more progress on legal and social acceptance than any other demographic group in history. As recently as my own adolescence, gay marriage was a distant aspiration, something newspapers still put in scare quotes. Now, it’s been enshrined in law by the Supreme Court. Public support for gay marriage has climbed from 27 percent in 1996 to 61 percent in 2016. In pop culture, we’ve gone from “Cruising” to “Queer Eye” to “Moonlight.” Gay characters these days are so commonplace they’re even allowed to have flaws.

Still, even as we celebrate the scale and speed of this change, the rates of depression, loneliness and substance abuse in the gay community remain stuck in the same place they’ve been for decades. Gay people are now, depending on the study, between 2 and 10 times more likely than straight people to take their own lives. We’re twice as likely to have a major depressive episode. And just like the last epidemic we lived through, the trauma appears to be concentrated among men. In a survey of gay men who recently arrived in New York City, three-quarters suffered from anxiety or depression, abused drugs or alcohol or were having risky sex—or some combination of the three. Despite all the talk of our “chosen families,” gay men have fewer close friends than straight people or gay women. In a survey of care-providers at HIV clinics, one respondent told researchers: “It’s not a question of them not knowing how to save their lives. It’s a question of them knowing if their lives are worth saving.”

I’m not going to pretend to be objective about any of this. I’m a perpetually single gay guy who was raised in a bright blue city by PFLAG parents. I’ve never known anyone who died of AIDS, I’ve never experienced direct discrimination and I came out of the closet into a world where marriage, a picket fence and a golden retriever were not just feasible, but expected. I’ve also been in and out of therapy more times than I’ve downloaded and deleted Grindr.

“Marriage equality and the changes in legal status were an improvement for some gay men,” says Christopher Stults, a researcher at New York University who studies the differences in mental health between gay and straight men. “But for a lot of other people, it was a letdown. Like, we have this legal status, and yet there’s still something unfulfilled.”

This feeling of emptiness, it turns out, is not just an American phenomenon. In the Netherlands, where gay marriage has been legal since 2001, gay men remain three times more likely to suffer from a mood disorder than straight men, and 10 times more likely to engage in “suicidal self-harm.” In Sweden, which has had civil unions since 1995 and full marriage since 2009, men married to men have triple the suicide rate of men married to women.

All of these unbearable statistics lead to the same conclusion: It is still dangerously alienating to go through life as a man attracted to other men. The good news, though, is that epidemiologists and social scientists are closer than ever to understanding all the reasons why.

Whether we recognize it or not, our bodies
bring the closet with us into adulthood.
T

Travis Salway, a researcher with the BC Centre for Disease Control in Vancouver, has spent the last five years trying to figure out why gay men keep killing themselves.

“The defining feature of gay men used to be the loneliness of the closet,” he says. “But now you’ve got millions of gay men who have come out of the closet and they still feel the same isolation.”

We’re having lunch at a hole-in-the-wall noodle bar. It’s November, and he arrives wearing jeans, galoshes and a wedding ring.

“Gay-married, huh?” I say.

“Monogamous even,” he says. “I think they’re gonna give us the key to the city.”

Salway grew up in Celina, Ohio, a rusting factory town of maybe 10,000 people, the kind of place, he says, where marriage competed with college for the 21-year-olds. He got bullied for being gay before he even knew he was. “I was effeminate and I was in choir,” he says. “That was enough.” So he got careful. He had a girlfriend through most of high school, and tried to avoid boys—both romantically and platonically—until he could get out of there.

By the late 2000s, he was a social worker and epidemiologist and, like me, was struck by the growing distance between his straight and gay friends. He started to wonder if the story he had always heard about gay men and mental health was incomplete.

When the disparity first came to light in the ’50s and ’60s, doctors thought it was a symptom of homosexuality itself, just one of many manifestations of what was, at the time, known as “sexual inversion.” As the gay rights movement gained steam, though, homosexuality disappeared from the DSM and the explanation shifted to trauma. Gay men were being kicked out of their own families, their love lives were illegal. Of course they had alarming rates of suicide and depression. “That was the idea I had, too,” Salway says, “that gay suicide was a product of a bygone era, or it was concentrated among adolescents who didn’t see any other way out.”

And then he looked at the data. The problem wasn’t just suicide, it wasn’t just afflicting teenagers and it wasn’t just happening in areas stained by homophobia. He found that gay men everywhere, at every age, have higher rates of cardiovascular disease, cancer, incontinence, erectile dysfunction,⁠ allergies and asthma—you name it, we got it. In Canada, Salway eventually discovered, more gay men were dying from suicide than from AIDS, and had been for years. (This might be the case in the U.S. too, he says, but no one has bothered to study it.)

“We see gay men who have never been sexually or physically assaulted with similar post-traumatic stress symptoms to people who have been in combat situations or who have been raped,” says Alex Keuroghlian, a psychiatrist at the Fenway Institute’s Center for Population Research in LGBT Health.

Gay men are, as Keuroghlian puts it, “primed to expect rejection.” We’re constantly scanning social situations for ways we may not fit into them. We struggle to assert ourselves. We replay our social failures on a loop.

The weirdest thing about these symptoms, though, is that most of us don’t see them as symptoms at all. Since he looked into the data, Salway has started interviewing gay men who attempted suicide and survived.

“When you ask them why they tried to kill themselves,” he says, “most of them don’t mention anything at all about being gay.” Instead, he says, they tell him they’re having relationship problems, career problems, money problems. “They don’t feel like their sexuality is the most salient aspect of their lives. And yet, they’re an order of magnitude more likely to kill themselves.”

The term researchers use to explain this phenomenon is “minority stress.” In its most direct form, it’s pretty simple: Being a member of a marginalized group requires extra effort. When you’re the only woman at a business meeting, or the only black guy in your college dorm, you have to think on a level that members of the majority don’t. If you stand up to your boss, or fail to, are you playing into stereotypes of women in the workplace? If you don’t ace a test, will people think it’s because of your race? Even if you don’t experience overt stigma, considering these possibilities takes its toll over time.

For gay people, the effect is magnified by the fact that our minority status is hidden. Not only do we have to do all this extra work and answer all these internal questions when we’re 12, but we also have to do it without being able to talk to our friends or parents about it.

John Pachankis, a stress researcher at Yale, says the real damage gets done in the five or so years between realizing your sexuality and starting to tell other people. Even relatively small stressors in this period have an outsized effect—not because they’re directly traumatic, but because we start to expect them. “No one has to call you queer for you to adjust your behavior to avoid being called that,” Salway says.

James, now a mostly-out 20-year-old, tells me that in seventh grade, when he was a closeted 12-year-old, a female classmate asked him what he thought about another girl. “Well, she looks like a man,” he said, without thinking, “so yeah, maybe I would have sex with her.”

Immediately, he says, he panicked. “I was like, did anyone catch that? Did they tell anyone else I said it that way?”

This is how I spent my adolescence, too: being careful, slipping up, stressing out, overcompensating. Once, at a water park, one of my middle-school friends caught me staring at him as we waited for a slide. “Dude, did you just check me out?” he said. I managed to deflect—something like “Sorry, you’re not my type”—then I spent weeks afterward worried about what he was thinking about me. But he never brought it up. All the bullying took place in my head.

“The trauma for gay men is the prolonged nature of it,” says William Elder, a sexual trauma researcher and psychologist. “If you experience one traumatic event, you have the kind of PTSD that can be resolved in four to six months of therapy. But if you experience years and years of small stressors—little things where you think, Was that because of my sexuality?—that can be even worse.”

Or, as Elder puts it, being in the closet is like someone having someone punch you lightly on the arm, over and over. At first, it’s annoying. After a while, it’s infuriating. Eventually, it’s all you can think about.

And then the stress of dealing with it every day begins to build up in your body.

Growing up gay, it seems, is bad for you in many of the same ways as growing up in extreme poverty. A 2015 study found that gay people produce less cortisol, the hormone that regulates stress. Their systems were so activated, so constantly, in adolescence that they ended up sluggish as grownups, says Katie McLaughlin, one of the study’s co-authors. In 2014, researchers compared straight and gay teenagers on cardiovascular risk. They found that the gay kids didn’t have a greater number of “stressful life events” (i.e. straight people have problems, too), but the ones they did experience inflicted more harm on their nervous systems.

Annesa Flentje, a stress researcher at the University of California, San Francisco, specializes in the effect of minority stress on gene expression. All those little punches combine with our adaptations to them, she says, and become “automatic ways of thinking that never get challenged or turned off, even 30 years later.” Whether we recognize it or not, our bodies bring the closet with us into adulthood. “We don’t have the tools to process stress as kids, and we don’t recognize it as trauma as adults,” says John, a former consultant who quit his job two years ago to make pottery and lead adventure tours in the Adirondacks. “Our gut reaction is to deal with things now the way we did as children.”

Even Salway, who has devoted his career to understanding minority stress, says that there are days when he feels uncomfortable walking around Vancouver with his partner. No one’s ever attacked them, but they’ve had a few assholes yell slurs at them in public. That doesn’t have to happen very many times before you start expecting it, before your heart starts beating a little faster when you see a car approaching.

But minority stress doesn’t fully explain why gay men have such a wide array of health problems. Because while the first round of damage happens before we come out of the closet, the second, and maybe more severe, comes afterward.

“You go from your mom’s house to a gay club where a lot of people are on drugs
and it’s like, this is my community? It’s like
the fucking jungle.”
N

No one ever told Adam not to act effeminate. But he, like me, like most of us, learned it somehow.

“I never worried about my family being homophobic,” he says. “I used to do this thing where I would wrap a blanket around myself like a dress and dance around in the backyard. My parents thought it was cute, so they took a video and showed it to my grandparents. When they all watched the tape, I hid behind the couch because I was so ashamed. I must have been six or seven.”

By the time he got to high school, Adam had learned to manage his mannerisms so well that no one suspected him of being gay. But still, he says, “I couldn’t trust anyone because I had this thing I was holding. I had to operate in the world as a lone agent.”

He came out at 16, then graduated, then moved to San Francisco and started working in HIV prevention. But the feeling of distance from other people didn’t go away. So he treated it, he says, “with lots and lots of sex. It’s our most accessible resource in the gay community. You convince yourself that if you’re having sex with someone, you’re having an intimate moment. That ended up being a crutch.”

He worked long hours. He would come home exhausted, smoke a little weed, pour a glass of red wine, then start scanning the hookup apps for someone to invite over. Sometimes it would be two or three guys in a row. “As soon as I closed the door on the last guy, I’d think, That didn’t hit the spot, then I’d find another one.”

It went on like this for years. Last Thanksgiving, he was back home to visit his parents and felt a compulsive need to have sex because he was so stressed out. When he finally found a guy nearby who was willing to hook up, he ran to his parents’ room and started rifling through their drawers to see if they had any Viagra.

“So that was the rock-bottom moment?” I ask.

“That was the third or fourth, yeah,” he says.

Adam’s now in a 12-step program for sex addiction. It’s been six weeks since he’s had sex. Before this, the longest he had ever gone was three or four days.

“There are people who have lots of sex because it’s fun, and that’s fine. But I kept trying to wring it out like a rag to get something out of it that wasn’t in there—social support, or companionship. It was a way of not dealing with my own life. And I kept denying it was a problem because I had always told myself, ‘I’ve come out, I moved to San Francisco, I’m done, I did what I had to do as a gay person.’”

For decades, this is what psychologists thought, too: that the key stages in identity formation for gay men all led up to coming out, that once we were finally comfortable with ourselves, we could begin building a life within a community of people who’d gone through the same thing. But over the last 10 years, what researchers have discovered is that the struggle to fit in only grows more intense. A study published in 2015 found that rates of anxiety and depression were higher in men who had recently come out than in men who were still closeted.

“It’s like you emerge from the closet expecting to be this butterfly and the gay community just slaps the idealism out of you,” Adam says. When he first started coming out, he says, “I went to West Hollywood because I thought that’s where my people were. But it was really horrifying. It’s made by gay adults, and it’s not welcoming for gay kids. You go from your mom’s house to a gay club where a lot of people are on drugs and it’s like, this is my community? It’s like the fucking jungle.”

“I came out when I was 17, and I didn’t see a place for myself in the gay scene,” says Paul, a software developer. “I wanted to fall in love like I saw straight people do in movies. But I just felt like a piece of meat. It got so bad that I used to go to the grocery store that was 40 minutes away instead of the one that was 10 minutes away just because I was so afraid to walk down the gay street.”

The word I hear from Paul, from everyone, is “re-traumatized.” You grow up with this loneliness, accumulating all this baggage, and then you arrive in the Castro or Chelsea or Boystown thinking you’ll finally be accepted for who you are. And then you realize that everyone else here has baggage, too. All of a sudden it’s not your gayness that gets you rejected. It’s your weight, or your income, or your race. “The bullied kids of our youth,” Paul says, “grew up and became bullies themselves.”

“Gay men in particular are just not very nice to each other,” says John, the adventure tour guide. “In pop culture, drag queens are known for their takedowns and it’s all ha ha ha. But that meanness is almost pathological. All of us were deeply confused or lying to ourselves for a good chunk of our adolescence. But it’s not comfortable for us to show that to other people. So we show other people what the world shows us, which is nastiness.”

Every gay man I know carries around a mental portfolio of all the shitty things other gay men have said and done to him. I arrived to a date once and the guy immediately stood up, said I was shorter than I looked in my pictures and left. Alex, a fitness instructor in Seattle, was told by a guy on his swim team, “I’ll ignore your face if you fuck me without a condom.” Martin, a Brit living in Portland, has gained maybe 10 pounds since he moved there and got a Grindr message—on Christmas Day—that said: “You used to be so sexy. It’s a shame you messed it up.”

For other minority groups, living in a community with people like them is linked to lower rates of anxiety and depression. It helps to be close to people who instinctively understand you. But for us, the effect is the opposite. Several studies have found that living in gay neighborhoods predicts higher rates of risky sex and meth use and less time spent on other community activities like volunteering or playing sports. A 2009 study suggested that gay men who were more linked to the gay community were less satisfied with their own romantic relationships.

“Gay and bisexual men talk about the gay community as a significant source of stress in their lives,” Pachankis says. The fundamental reason for this, he says, is that “in-group discrimination” does more harm to your psyche than getting rejected by members of the majority. It’s easy to ignore, roll your eyes and put a middle finger up to straight people who don’t like you because, whatever, you don’t need their approval anyway. Rejection from other gay people, though, feels like losing your only way of making friends and finding love. Being pushed away from your own people hurts more because you need them more.

The researchers I spoke to explained that gay guys inflict this kind of damage on each other for two main reasons. The first, and the one I heard most frequently, is that gay men are shitty to each other because, basically, we’re men.

“The challenges of masculinity get magnified in a community of men,” Pachankis says. “Masculinity is precarious. It has to be constantly enacted or defended or collected. We see this in studies: You can threaten masculinity among men and then look at the dumb things they do. They show more aggressive posturing, they start taking financial risks, they want to punch things.”

This helps explain the pervasive stigma against feminine guys in the gay community. According to Dane Whicker, a clinical psychologist and researcher at Duke, most gay men report that they want to date someone masculine, and that they wished they acted more masculine themselves. Maybe that’s because, historically, masculine men have been more able to blend into straight society. Or maybe it’s internalized homophobia: Feminine gay men are still stereotyped as bottoms, the receptive partner in anal sex.

A two-year longitudinal study found that the longer gay men were out of the closet, the more likely they were to become versatile or tops. Researchers say this kind of training, deliberately trying to appear more masculine and taking on a different sex role, is just one of the ways gay men pressure each other to attain “sexual capital,” the equivalent of going to the gym or plucking our eyebrows.

“The only reason I started working out was so I would seem like a feasible top,” Martin says. When he first came out, he was convinced that he was too skinny, too effeminate, that bottoms would think he was one of them. “So I started faking all this hyper-masculine behavior. My boyfriend noticed recently that I still lower my voice an octave whenever I order drinks. That’s a remnant of my first few years out of the closet, when I thought I had to speak in this Christian Bale Batman voice to get dates.”

Grant, a 21-year-old who grew up on Long Island and now lives in Hell’s Kitchen, says he used to be self-conscious about the way he stood—hands on hips, one leg slightly cocked like a Rockette. So, his sophomore year, he started watching his male teachers for their default positions, deliberately standing with his feet wide, his arms at his sides.

These masculinity norms exert a toll on everyone, even their perpetrators. Feminine gay men are at higher risk of suicide, loneliness and mental illness. Masculine gay men, for their part, are more anxious, have more risky sex and use drugs and tobacco with greater frequency. One study investigating why living in the gay community increases depression found that the effect only showed up in masculine gay guys.

The second reason the gay community acts as a unique stressor on its members is not about why we reject each other, but how.

In the last 10 years, traditional gay spaces—bars, nightclubs, bathhouses—have begun to disappear, and have been replaced by social media. At least 70 percent of gay men now use hookup apps like Grindr and Scruff to meet each other. In 2000, around 20 percent of gay couples met online. By 2010, that was up to 70 percent. Meanwhile, the share of gay couples who met through friends dropped from 30 percent to 12 percent.

Usually when you hear about the shocking primacy of hookup apps in gay life—Grindr, the most popular, says its average user spends 90 minutes per day on it—it’s in some panicked media story about murderers or homophobes trawling them for victims, or about the troubling “chemsex” scenes that have sprung up in London and New York. And yes, those are problems. But the real effect of the apps is quieter, less remarked-upon and, in a way, more profound: For many of us, they have become the primary way we interact with other gay people.

“It’s so much easier to meet someone for a hookup on Grindr than it is to go to a bar by yourself,” Adam says. “Especially if you’ve just moved to a new city, it’s so easy to let the dating apps become your social life. It’s harder to look for social situations where you might have to make more of an effort.”

“I have moments when I want to feel desired and so I get on Grindr,” Paul says. “I upload a shirtless picture and I start getting these messages telling me I’m hot. It feels good in the moment, but nothing ever comes of it, and those messages stop coming after a few days. It feels like I’m scratching an itch, but it’s scabies. It’s just going to spread.”

The worst thing about the apps, though, and why they’re relevant to the health disparity between gay and straight men, is not just that we use them a lot. It is that they are almost perfectly designed to underline our negative beliefs about ourselves. In interviews that Elder, the post-traumatic stress researcher, conducted with gay men in 2015, he found that 90 percent said they wanted a partner who was tall, young, white, muscular and masculine. For the vast majority of us who barely meet one of those criteria, much less all five, the hookup apps merely provide an efficient way to feel ugly.

Paul says he’s “electrified waiting for rejection” as soon as he opens them. John, the former consultant, is 27, 6-foot-1 and has a six-pack you can see through his wool sweater. And even he says most of his messages don’t get replies, that he spends probably 10 hours talking to people on the app for every one hour he spends meeting for coffee or a hookup.

It’s worse for gay men of color. Vincent, who runs counseling sessions with black and Latino men through the San Francisco Department of Public Health, says the apps give racial minorities two forms of feedback: Rejected (“Sorry, I’m not into black guys”) and fetishized (“Hi, I’m really into black guys.”) Paihan, a Taiwanese immigrant in Seattle, shows me his Grindr inbox. It is, like mine, mostly hellos he has sent out to no reply. One of the few messages he received just says, “Asiiiaaaan.”

None of this is new, of course. Walt Odets, a psychologist who’s been writing about social isolation since the 1980s, says that gay men used to be troubled by the bathhouses in the same way they are troubled by Grindr now. The difference he sees in his younger patients is that “if someone rejected you at a bathhouse, you could still have a conversation afterwards. Maybe you end up with a friend out of it, or at least something that becomes a positive social experience. On the apps, you just get ignored if someone doesn’t perceive you as a sexual or romantic conquest.” The gay men I interviewed talked about the dating apps the same way straight people talk about Comcast: It sucks, but what are you gonna do? “You have to use the apps in smaller cities,” says Michael Moore, a psychologist at Yale. “They serve the purpose of a gay bar. But the downside is that they put all this prejudice out there.”

What the apps reinforce, or perhaps simply accelerate, is the adult version of what Pachankis calls the Best Little Boy in the World Hypothesis. As kids, growing up in the closet makes us more likely to concentrate our self-worth into whatever the outside world wants us to be—good at sports, good at school, whatever. As adults, the social norms in our own community pressure us to concentrate our self-worth even further—into our looks, our masculinity, our sexual performance. But then, even if we manage to compete there, even if we attain whatever masc-dom-top ideal we’re looking for, all we’ve really done is condition ourselves to be devastated when we inevitably lose it.

“We often live our lives through the eyes of others,” says Alan Downs, a psychologist and the author of The Velvet Rage, a book about gay men’s struggle with shame and social validation. “We want to have man after man, more muscles, more status, whatever brings us fleeting validation. Then we wake up at 40, exhausted, and we wonder, Is that all there is? And then the depression comes.”

In Shirley MacLaine’s New Movie, She Has ‘The Last Word’

Shirley MacLaine agrees that she’s played a lot of sharp-tongued, difficult-to-be-around women, and that’s true of her latest role in the movie, The Last Word. In her latest role, she’s a woman obsessed with designing her own obituary. MacLaine talks about how she approaches acting and dodges what she wants written in her own obituary.

ARI SHAPIRO, HOST:

The movie “The Last Word” opens with a series of photographs. We see a baby then a little redheaded girl becoming an ingenue and, ultimately, a sprightly woman in her 80s. These are all pictures of Shirley MacLaine. She plays a character obsessed with designing her obituary.

(SOUNDBITE OF FILM, “THE LAST WORD”)

SHIRLEY MACLAINE: (As Harriet) These are obituaries from newspapers all over the country. I want you to read them and see what other obituary writers are doing.

AMANDA SEYFRIED: (As Anne) Wow. I’m sorry you don’t like what I wrote, but that’s that was just me reading about your life.

MACLAINE: (As Harriet) My life is not over yet.

SHAPIRO: So when this grande dame of Hollywood came into our studios, I had to ask, where do you want your obituary to begin?

MACLAINE: Probably, The New York Times (laughter).

SHAPIRO: (Laughter) Front page, lead story.

MACLAINE: Well, I don’t know. What would mine say? I don’t know.

SHAPIRO: Shirley MacLaine told me when she does live question and answer events at theaters around the country, people almost never want to know about her Hollywood roles.

MACLAINE: No. They ask about reincarnation and UFOs and how to find one’s center and how to meditate. It’s all about the stuff in my books.

SHAPIRO: How could they not ask about – I don’t know – “Terms Of Endearment,” “Steel Magnolias,” your years with the Rat Pack or on and on and on – “Sweet Charity,” going all the way back to Broadway.

MACLAINE: Ari, can I call you that?

SHAPIRO: Please.

MACLAINE: They’re interested in themselves. And they come to the different places that I speak to learn about themselves not me. I consider that a great compliment.

SHAPIRO: It’s funny. I read an article about this movie that described this as your first major film role since last year. (Laughter) And I just thought, you know, a lot of actors in their 30s and 40s are not making a movie every year. You are 82 and easily could have retired long ago if you wanted to. You keep up this incredible pace.

MACLAINE: Well, I do have energy. I’m healthy. I’m having a good time. I’m too interested in everything. I could sit and watch people all day. And I remember I used to do that when Warren and I were kids.

SHAPIRO: Warren Beatty, your brother.

MACLAINE: Oh, really?

SHAPIRO: I’m just letting some listeners know who might not be informed (laughter).

MACLAINE: (Laughter).

SHAPIRO: So the two of you would sit and watch people? Describe this for me.

MACLAINE: Well, my dad would visit some kind of – above a store place. I never knew what it was up there. He was certainly not into drugs. We would be left in the car with mother. I’m talking for hours, it seemed. So I learned to be very observant about human behavior, body movement, rhythm, what people are thinking, feeling and expressing really early. And it’s never left me.

SHAPIRO: I’ve read a few interviews where you said, you don’t know how to act. You can’t act. You don’t know anything about acting.

MACLAINE: Haven’t got a clue.

SHAPIRO: When I look at your just litany of awards of roles of standout films, what do you mean when you say that?

MACLAINE: Listen, really, I don’t know how. I’m not interested in learning how. I like to be in the present of the idea that occurs to me. And you can’t plan that. You can’t make a study out of that. I’m not sure how I do it. I wish I could help people understand it, so they could do it themselves. The closest I’ve come to is, I have no past and no future in my thinking at that moment and just do what seems right for the character if we’re talking about character.

And by the way, having a dancer’s mentality, I don’t want to leave anybody out. So I don’t make plans that would leave out the other actors, leave out the director, leave out whoever else – the DP for goodness sakes who wants me to do some standing up because he doesn’t have to move the lights, you know?

SHAPIRO: That’s the director of photography, yeah.

MACLAINE: Really?

SHAPIRO: Just letting listeners know. I know you know the term. I’m just filling listeners in (laughter).

MACLAINE: OK, Air, really? (Laughter). And so I just live in the present, basically, I guess is my answer to all that.

SHAPIRO: You referred to yourself as a dancer just then, and I know that throughout your career you’ve always thought of yourself as a dancer first. In real terms when you’re making a film, what does that mean that you see yourself primarily as a dancer?

MACLAINE: How she moves, how she sits – physical decisions to make about her expression relating to her body.

SHAPIRO: Her meaning the character you’re playing?

MACLAINE: And then the other thing is my discipline. I have a work ethic of a dancer. I’m not a diva. I try not to keep people waiting. I think my – I mean, don’t do any research on this but think my extension of kept them waiting is maybe five and a half minutes.

SHAPIRO: You were about 15 minutes early for this interview.

MACLAINE: That’s early. We’re talking late here. And I don’t do that. I can’t stand thinking that people are expecting me, and they have other things to do.

SHAPIRO: So when you talk about bringing a dancer’s physicality to a particular role, can you give me an example of how the physicality of one character that people might be familiar with you having played is different from another one?

MACLAINE: OK. Let’s take Ginny in “Some Came Running” – one of my favorite characters by the way. She was this woman who always wanted to please Frank Sinatra – Dean Martin and them. And so she would sit with pigeon-toed kind of look.

(SOUNDBITE OF FILM, “SOME CAME RUNNING”)

MACLAINE: (As Ginny Moorehead) I’d do anything. Ask me.

FRANK SINATRA: (As Dave Hirsh) Would you – would you clean up the place for me?

MACLAINE: (As Ginny Moorehead) Oh, could I?

MACLAINE: My character Aurora in “Terms Of Endearment” would never sit in a pigeon-toed fashion because she’s always displaying outside.

MACLAINE: (As Aurora Greenway) It’s time for her shot, you understand? Do something. All she has to do is hold on until 10, and it’s past 10. She’s in pain. My daughter’s in pain. Give her the shot, you understand me?

UNIDENTIFIED WOMAN: (As character) You’re going to behave.

MACLAINE: (Aurora Greenway) Give my daughter the shot.

MACLAINE: But every character has a kind of body swish to me because I was educated in dancing.

SHAPIRO: Your character in this film “The Last Word” is sharp-tongued, difficult to be around. One could say the same of the character you played in “Steel Magnolias” and the character you played in “Terms Of Endearment.” These are some of your best-known roles. Do you think there’s a pattern here?

MACLAINE: (Laughter) Yeah.

SHAPIRO: Well?

MACLAINE: I think I am myself sharped tongue. And they are written in penetratingly in that direction.

SHAPIRO: Well, we began by asking what you want your obituary to say.

MACLAINE: Ari (laughter). Why does this make me laugh? Why am I laughing? Because you think I’m going to die, and that isn’t going to happen.

SHAPIRO: No because the whole film is about a woman thinking of and designing how she wants to be remembered. You spent how many months inhabiting this character who is single-mindedly obsessed over her legacy?

MACLAINE: Yeah. Well, isn’t this fascinating? OK, that’s what I was doing. When I am the person who doesn’t believe anybody ever dies, so what’s the point of writing an obituary?

SHAPIRO: And yet, you know they will be written.

MACLAINE: Sure. I could say, listen, I didn’t really die, so beware. I’m watching (laughter).

SHAPIRO: Beware, she’s watching – is that the first line?

MACLAINE: (Laughter) You want to make a headline here, babe. I know, but I don’t.

SHAPIRO: (Laughter).

MACLAINE: Let think about this. It’s a good question. Nobody’s asked me this. Let me think about it, and I’ll get back to you in another life, how’s that?

SHAPIRO: In another life? Shirley MacLaine, it’s been an absolute joy. Thank you.

MACLAINE: Thank you.

(SOUNDBITE OF WHITE ARROWS SONG, “WE CAN’T EVER DIE”)

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Jeffrey Katzenberg’s Next Act With WndrCo: Reinventing TV for Mobile

Jeffrey Katzenberg’s Next Act With WndrCo:

ROB LATOUR/REX SHUTTERSTOCK

Ex-CEO of DreamWorks Animation also reveals Netflix committed $1.5B to studio for original TV content

Jeffrey Katzenberg says he feels like he’s in his 20s again — starting a brand-new venture, WndrCo, built around media and technology.

The co-founder and former CEO of DreamWorks Animation, speaking at an event Thursday in New York hosted by Hearst, said it’s actually the sixth time he’s started over in his career, citing his CV at Paramount, Walt Disney Studios, DreamWorks SKG and DWA. “One of the things that has happened for me is that whatever came next was better than what I had before,” Katzenberg said. “You shouldn’t be fearful of starting over.”

WndrCo has raised nearly $600 million, according to an SEC filing earlier this year, and plans to raise more than $700 million, according to a source familiar with the company. Katzenberg started the venture after he left DreamWorks Animation last summer with the sale of the studio to Comcast, after mulling over what he would do if he were 25 years old again. (He’s 66.)

Katzenberg didn’t say exactly what the company plans to do with that cash. But he said the biggest opportunity he sees right now is creating “new TV” — content specifically built from the ground up for mobile screens.

“I believe there is going to be an enterprise 10 years from now that will be as big as the television business is today… but it’s going to be delivered to you in a mobile experience, in chapters,” said Katzenberg, who was interviewed by Hearst Magazines president David Carey.

In the Q&A, Katzenberg also revealed that Netflix, which first signed its deal for original content with DWA in 2013, had committed to spend $1.5 billion on the partnership that ultimately encompassed 15 TV series with a minimum of 78 episodes each.

“They made a bet on us nobody ever has done,” he said. “[Netflix chief content officer] Ted Sarandos made a billion and half commitment to DreamWorks kind of on faith… It was the biggest order in the history of the TV business, and it was gamechanging for DreamWorks.”

Today, though, Netflix’s posture has changed and they have adopted more “stressful” business practices, Katzenberg added. “They’ve really become the dominant content buyers, so it’s become a different business model for them.”

Netflix now is near top of the pyramid in terms of high-cost TV production, according to Katzenberg. For its priciest shows like “House of Cards” and “The Crown,” Netflix spends upwards of $200,000 per minute, or $10 million for a 45-minute episode, he said. Top primetime broadcast TV shows spend $100,000-$125,000 per minute, he estimated, while “Game of Thrones” can run into the neighborhood of $300,000 per minute.

Meanwhile, mobile video content today as it exists on YouTube costs an average of under $100 a minute to produce, Katzenberg claimed. And, he added, the only reason it’s even that much is because professionally produced music videos account for a good chunk of the content mix.

There’s a white-space opportunity between those two spheres, according to Katzenberg. He said a few companies have been successful at producing mobile-oriented original video for a few thousand dollars per minute — citing Vice Media, BuzzFeed and AwesomenessTV, which is majority-owned DreamWorks Animation. (Not coincidentally, as Katzenberg pointed out in deference to his hosts, Hearst has ownership stakes in all three.)

What if, he posited, “The Bachelor” were scripted and built to be watched in eight-minute chapters on a phone instead of in an hour-long format for TV? “My belief is if you offer something great, [consumers] will value it,” Katzenberg said.

Actually, AwesomenessTV was building something exactly around that concept in a joint venture with Verizon — code-named “Made for Mobile,” its mission was to develop premium, TV-quality content for smartphones. But following Katzenberg’s exit from DWA, the two companies earlier this year killed the division, which had been headed by former ABC exec Samie Falvey. Last week, AwesomenessTV founder and CEO Brian Robbins announced he would be leaving the company, but says he hasn’t made a decision about what he’s doing next.

TV built for mobile seems like an inevitability to Katzenberg, who pointed out that teens and young adults are just as happy to watch entertainment on their smartphones as on a big-screen HDTV. Worldwide, 3 billion people are carrying around devices that in just a few years have embedded technology to let them take incredible, professional-looking photographs. “Video is about to go through the same level and rate of innovation,” he predicted.

Investors certainly seem to have bought into the mobile-video vision of Snap, which executed a dramatically successful IPO Thursday that gives the Snapchat-app maker a valuation of around $34 billion. Asked to do word-association with Snapchat, Katzenberg responded: “Innovative, exciting, playful.”

About his new company’s name, pronounced “Wonder Co,” Katzenberg said in what seemed like a practiced quip, “I spent 20 some-odd years dreaming, now I’m full of wonder.” He then deadpanned: “We don’t have enough capital yet for vowels.”

On WndrCo’s SEC filing, the two other officers listed are Ann Daly, previously president of DreamWorks Animation, and Sujay Jaswa, the former CFO of Dropbox.

Prior to inking the $3.8 billion sale to Comcast, Katzenberg noted that he had no intentions of selling DreamWorks Animation. He’d been planning to take the company private and sign on as CEO for another 10 years. “I felt passing the baton to Comcast, particularly them in this moment in time, was going to be better for [DWA’s employees], better for the company and great for what we had created over those two decades,” he said.

In his professional life, Katzenberg said his overriding goal has always been to exceed the expectations of the customer. And he’s carried that ethos into his personal life. He and his wife, Marilyn, have been married for 44 years and he still tries to find ways of surprising her (he said her birthday is coming up and he wants something special in store). “I dare you to be married for 44 years and exceed anyone’s expectations,” Katzenberg said with a smile.

Katzenberg, who campaigned for Hillary Clinton, shied from weighing in on President Trump: “I’m just not sure what this presidency and administration means yet,” he said, before adding, “Can we go for an hour without saying the ‘T-word’?”

Carey asked Katzenberg his thoughts about the royal snafu at the Oscars this past Sunday, when “La La Land” was mistakenly announced as best-picture winner, whereas “Moonlight” was the rightful recipient. The error was traced to one of the PriceWaterhouseCoopers accountants managing the envelopes.

“That’s live TV,” Katzenberg said. He praised host Jimmy Kimmel as “incredibly on target” and said the telecast was beautifully produced — which unfortunately ended extremely awkwardly.

“As troubling as it must have been in the moment,” Katzenberg said, “I don’t think there’s been a more talked-about Oscars.”

‘The Last Word’ Review: Shirley MacLaine In Total Control & At Her Best

As I say in my video review above, MacLaine rides though this movie with supreme confidence and a complete understanding of just who her character, Harriet Lauler, really is. It was a role written with her in mind and she doesn’t disappoint. This is a woman who needs to be in charge of every aspect of her life as we quickly see in her interactions with her gardner, housekeeper, hair stylist, ex-husband, estranged daughter, and so on. So it is only natural she would want to also control things even after she has left the earth.

Following a near-death episode in which she “accidentally” swallows too many sleeping pills mixed with a glass of wine, she stumbles on to the Obituary section of the fading local newspaper, the Bristol Gazette — an entity she helped a lot when she was a big-shot advertising executive. Meeting with the paper’s editor (Tom Everett Scott), she uses her clout to get him to assign their obituary writer Anne (Amanda Seyfried) to do the job. After her initial research can’t turn up anyone on the list of 100 names Harriet supplied who has anything good to say about the woman (including the local priest!), she delivers the bad news, but Harriet won’t take no for answer. She does her own research and comes up with the four key qualities that make a great obit and proceeds, with Anne in tow, to go out and do some perfunctory good deeds to provide the copy.

Along the way they are joined by a young girl, Brenda (AnnJewel Lee), and it all turns into a much more life-enriching experience than either woman ever expected as three generations end up inadvertently giving one another the meaning of what a life well-lived can really be. A sequence where Harriet even becomes a late-in-life drive-time DJ with a strong knowledge of music, and love for The Kinks, is especially welcome.

If Harriet’s transition from crotchety to warm-hearted is somewhat predictable, it is all in the playing here, and MacLaine and Seyfried play nicely indeed off each other. Newcomer Lee is a delight, and there are effective scenes with Philip Baker Hall as Harriet’s ex, and Anne Heche (giving as good as she gets) as the estranged daughter. Thomas Sadoski also does fine as the radio station manager they encounter, someone who Harriet thinks could be just the guy Anne needs at the moment. Director Mark Pellington keeps things movie at a strong pace and Stuart Ross Fink’s debut screenplay gives these actors enough to work with to make this a solid spring entry that should have strong appeal to older audiences still not willing to go gently into that good night.

But in the end this is all about Harriet, and with MacLaine in charge things are right with the world. I particularly loved the title sequence which is supposed to represent Lauler’s life in photos, but really also show us how far we have come with MacLaine herself and what a life she has had. Producers are Kirk D’Amico, Anne-Marie MacKay, and Pellington. Bleecker Street opens the film in limited release Friday.

Do you plan to see The Last Word? Let us know what you think.

Josh Berman VRP

Josh Berman

 
 

Josh Berman is a writer and producer for television. He was an executive producer on the TV show CSI: Crime Scene Investigation and consulting producer on Bones.

Agent: CAA

Filmography:
Daytime Divas (TV) Executive Producer 2017
Notorious (TV) Executive Producer 2016
The Blacklist (TV) Consulting Producer 2014 – 2015
Drop Dead Diva (TV) Executive Producer 2009 – 2014
The Mob Doctor (TV) Executive Producer 2012 – 2013
Bones (TV) Consulting Producer 2007 – 2011
Criminal Behavior (TV) Executive Producer 2011
Vanished (TV) Executive Producer 2006
CSI (TV) Co-Executive Producer 2000 – 2006
Killer Instinct (TV) Writer 2005 – 2006
In the Media:
‘Drop Dead Diva’ Creator Set to Debut New Show, ‘Notorious’  |  NBCNews  |  Sept 22, 2016
When Josh Berman was a law student, he found himself craving a creative outlet. So eventually, he ended up spending his days writing legal briefs and his nights writing TV scripts.

“I basically realized a TV script is almost structured like a legal brief in some ways and yet you have all the creative elements. You don’t have to stick to the rules,” Berman told NBC OUT.

Berman, who has written and produced hit television shows including “Bones,” “CSI” and “Drop Dead Diva,” is ready to debut his latest project — ABC’s new drama “Notorious.” And once again, he’ll be able to mix his legal background and his creative cravings.

“Notorious,” which Berman created with Allie Hagan, examines the relationship between the media and criminal law, giving viewers a behind-the-scenes look at the intersection. The drama centers on a television producer and an attorney — characters based on “Larry King Live” producer Wendy Walker and defense attorney Mark Geragos.

To Berman, meeting Walker and Geragos made it clear “Notorious” was his next project. “Once I heard their stories, I realized it opened up a whole new world of stories in me and I left that meeting knowing I had to write ‘Notorious.'”

In a television landscape full of crime procedurals, Berman sees “Notorious” as an opportunity to add something special, because it is not from the perspective of those at the crime scene.

“This show gives viewers a behind-the-scenes look at a real life case, and ‘Notorious’ is inspired by real stories, and if you are a news geek, crime junkie or legal junkie you will see similar types of stories told in a very different and grounded way,” Berman told NBC OUT.

Piper Perabo and Daniel Sunjata were chosen to lead the cast as TV producer Julia George and defense attorney Jake Gregorian, respectively.

“Daniel Sunjata was the first choice for the role,” Berman said. “He is the perfect combination of head and heart.”

“When we cast the role of Julia we did not know Piper Perabo was available. I really wanted to work with her and we kept telling people we wanted a ‘Piper Perabo type’ and sure enough she read the script and wanted to do it,” he added.

The cast is rounded out by Kate Jennings Grant, Ryan Guzman, Aimee Teegarden, Sepideh Moafi, J. August Richards and Kevin Zegers.

“All of our actors really popped on screen and they tested really well,” Berman said. “The fun now is we have an entire series to allow the actors to shine.”

One thing viewers can look forward to is the relationship between Teegarden and Guzman’s characters. Teegarden’s character is an employee at Jake’s firm, while Guzman plays the newest hire on Julia’s team who is out to prove himself.

“They have incredible chemistry together, they like each other so much in real life and it is a joy to write for them,” Berman added.

As a gay man, Berman believes LGBTQ storytelling is important and has included LGBTQ storylines in past productions — something he will continue on “Notorious.”

“There is an LGBTQ character among our cast, and it is not obvious in the pilot, and it is something that may come out in an unexpected way over the course of the first season,” Berman explained.

“Notorious” will premiere September 22 and Berman is excited to see how it is received. “It is going to subvert expectations, keep people on the edge of their seats and it is a new way to tell stories that will engage the viewer,” he concluded.

Josh Berman Inks New Overall Deal At Sony  |  Deadline  |  Apr 22, 2014

EXCLUSIVE: Josh Berman tenure at Sony Pictures Television will be crossing the decade mark with a fourth consecutive overall deal. Under the new, three-year pact, Berman continues as executive producer and showrunner of Sony TV’s Lifetime series Dead Drop Diva. He created the dramedy, now in its sixth and final season, under his first overall pact at the studio. He also will continue to develop projects for network and cable. Berman began his career as a junior writer on the first season of CBS’ CSI. He remained on the long-running procedural for six years, rising to executive producer. He went on to create the Fox drama Vanished and spent four years on the network’s veteran procedural Bones. While at Sony TV, Berman, repped by CAA and attorney Ken Richman, also co-created and executive produced the Fox drama Mob Doctor.

Anya Reiss VRP

Anya Reiss is a British playwright. She is the youngest writer to have a play staged in London and is a graduate of the Royal Court’s Young Writers Programme.
Agent: Giles Smart (United Agents – UK)
Filmography:
EastEnders (TV) Writer 2014 – 2016
Eleanor (Short) Writer 2015
Drama:
Uncle Vanya (adaptation)
Spring Awakening (adaptation)
Three Sisters (adaptation)
Forty Five Minutes
The Seagull (adaptation)
The Acid Test
Spur of the Moment

Royal Viking Entertainment VRP

Royal Viking Entertainment 

Royal Viking Entertainment is a production company based in Los Angeles. They are producing the upcoming movie Mayhem, which is currently in post-production. 

1619 N La Brea Avenue, #534, Los Angeles, CA 90028  |  323-999-4453
Producer: Sean Sorensen (CAA, Jon Levin)
Filmography:
Mayhem 2017
Sean Sorensen in the Media:
Interview with Sean Sorensen  |  The Science & Entertainment Exchange  |  Feb 6, 2013
Have you ever heard of Sealand? Hollywood writer and producer Sean Sorensen sure has! Sean chats with us this week about what other great ideas he has up his sleeve and his advice for making it in Hollywood.
Tell us about your background. Where are you from, and what did you want to do when you grew up?
I grew up in Orange County, California. I wanted to be an astronaut until I realized how much math was involved.
What was your first job in Hollywood and how did you get it?
I optioned the life rights to the family that founded Sealand, the smallest country in the world. I sold the story to Warner Bros. in 2003, wrote the script, and was hired as executive producer. That movie never got made, but I learned a ton from that experience.
What advice do you have for the next generation of young adults who want to break into the business?
I would tell them they have better luck breaking into a bank. But so what – if you are passionate about it, make it happen. Napoleon said, “If you commence to take Vienna, take Vienna.” I think getting ahead in this business requires an absolute narrow-mindedness. Throw away Plan B. Turn thought into action. Become the mantra, “this is going to happen,” and do everything it takes to realize your dreams.
Can you give us some insight into the creative process? What is the most difficult part of your job?
A surprising and frustrating percentage of my day is reminding other people to do what they said they were going to do, but I am pretty sure that is true with every business. Everyone’s creative process is different; just find out what works for you and assume that’s the right way to do it.
What does a typical work day look like?
I am super light-sensitive, so I get up around 6:30 or 7:00 a.m. and immediately read a script and answer e-mails. So by the time I am in the office, I have already got a good head start on my day. The rest of the day is calls, meetings, e-mails, writing treatments, and, of course, reminding people to do what they said they were going to do.
How did you become involved with The Exchange? What are your thoughts about the program? Do you have a most memorable moment?
I met Rick Loverd during a lunch with writer Max Borenstein at Comic-Con 2012 and The Exchange has quickly become one of my favorite things of the year! My favorite moment has to be brainstorming ideas with Dr. Todd Coleman and Dr. Ricardo Gil de Costa for this television series we sold a few months ago. Todd and Ricardo are so genial, brilliant, and just downright cool … not to mention they made significant contributions to the scientific integrity of our show.
Other highlights of The Exchange include touring the nuclear submarine USS Albuquerque and the missile destroyer USS Stockdale with the U.S. Navy in San Diego, as well as visiting the Scripps Institution of Oceanography and Dr. Coleman and Dr. De Costa’s laboratories at Salk Institute.
There has also been meetings with 4-star generals, panels with astronauts … basically, anything The Exchange does is super awesome and I feel lucky to be included.
What memory or experience stands out as a turning point early in your career?
Obviously, selling my first project was a big deal because suddenly, I was not just dreaming anymore. But segueing a few years later from screenwriter to executive was a major turning point. The writing process is typically so isolated and sedentary whereas producing allows me to showcase some of my natural abilities … like weeping, shouting, and begging.
What were your favorite movies and television shows when you were growing up?
I saw Star Wars when I was five years old and remember leaving the theater wanting to be Han Solo. Shortly thereafter, my mother married a religious zealot and, for the most part, radio, television, and movies became forbidden. Of course, that only made me want them more and here we are.
Is there anything that we should have asked, but did not? Anything else you would like to add?
Years ago, my beloved grandfather cut down a holly tree on his property. As a woodworking hobbyist, he intended to carve the holly wood into a set of chess pieces. The gnarled twisted stump laid in his front yard as he regaled me with his vivid dreams for this amazing chess set. He saw this chess set so clearly in his mind. For more than a dozen years, he made measurements, sketches, and plans, but never got around to carving the chess pieces. Eventually, he passed away and one of my first actions upon his death was to heft that stump into the garbage.
Thought is nothing. Action is everything.