Hollywood
Etihad Airways & Universal Pictures unveil ‘Fast & Furious’ plane
MUMBAI: Etihad Airways and Universal Pictures unveiled the luxury Fast & Furious 777 airliner at Los Angeles International Airport (LAX). Actor/producer Vin Diesel was on hand as Etihad Airways Flight 171 arrived from Abu Dhabi to kick off the global junket and world premiere of Furious 7. The film arrives in theaters on 3 April.
Representing a welcome first for the franchise, the Fast & Furious 777 will fly the direct route between Abu Dhabi and Los Angeles, which Etihad Airways opened in June 2014. The airline is also a sponsor of the Furious 7 world premiere, which takes place in Los Angeles on 1 April.
As the United Arab Emirates offered an opportunity to inject striking elements and locales into the series’ mythology, Abu Dhabi became a key location for the Furious 7 production. Over the course of two weeks in April 2014, the team lensed in areas outside Abu Dhabi in the Liwa Desert, as well as in the city center at such locations as the Sheikh Zayed Grand Mosque, Emirates Palace hotel, the Yas Marina F1 race circuit and the Etihad Towers. Considering Abu Dhabi’s striking skyline—one accentuated with stunning architectural achievements—aerial shots of the skyscrapers were mandatory.
“Etihad Airways is one of the fastest-growing airlines in the world with a strong history of culture and innovation and a commitment to reimagining the travel experience for our guests. We are pleased to work together with Universal, an organization that shares that same spirit of innovation and reimagination when it comes to the world of entertainment, to unveil our newly-decaled Boeing 777 aircraft in support of the Fast & Furious franchise and Furious 7, which premieres next month and highlights our airline’s home of Abu Dhabi,” said Etihad Airways chief commercial officer Peter Baumgartner.
“When we began filming The Fast and the Furious in 2000, if you told me that we would one day have our logo on a wide-body jet, I would have said you were crazy. We are so honored that Etihad has partnered with us to support this very personal film, and we thank the people of the United Arab Emirates for all the kindness and graciousness they showed throughout production,” said producer Neal H. Moritz, who has shepherded all seven films in the series.
The Fast & Furious decal will remain on the plane for the next four to six months.
Hollywood
Did the ballet and opera controversy cost Timothée Chalamet his Oscar?
The actor’s ‘dying art forms’ comments may have danced away his Oscar chances.
LOS ANGELES: Last night, the 98th Academy Awards delivered a performance that wasn’t in the script, as Michael B. Jordan clinched the Best Actor statue, leaving Timothée Chalamet’s widely predicted win to pirouette away into the night. While Chalamet was long considered the frontrunner for his starring turn in Marty Supreme, many are whispering that a singular, ill-timed performance, not on screen but on the campaign trail, may have rewritten the finale.
For months, the narrative surrounding the race had a singular star, Chalamet, the critics’ darling and the bookies’ bet. However, the closing numbers saw a dramatic plot twist. Chalamet found himself upstaged not just by his fellow nominees but by the ghost of public opinion, following remarks he made during a Variety and CNN actor-on-actor conversation in February.
What started as a breezy discussion turned distinctly frosty when Chalamet, the conversation’s designated trendsetter, took aim at some classical institutions. “I don’t want to be working in ballet or opera, where no one is interested anymore,” he said, before branding them “dying art forms.”
The backlash was swift and, unfortunately for Chalamet’s campaign, star-studded. For the film industry, an establishment that often fancies itself as the glamorous custodian of the high arts, the actor’s comments didn’t just strike a bum note. They sounded like a discordant symphony. Academy heavyweights, including Jamie Lee Curtis, Whoopi Goldberg and Steven Spielberg, publicly voiced their disapproval. Spielberg himself countered that the “cinematic experience” and classical performance are bound by a similar dedication to audience engagement, effectively suggesting that Chalamet’s view was perhaps a bit too modern for its own good.
The conversation quickly became a media maelstrom. In a masterstroke of high-culture clapback, renowned ballerina Misty Copeland didn’t just issue a statement. The Academy even choreographed a surprise performance by her for the ceremony itself, a powerful, wordless rebuttal that many saw as a direct riposte to Chalamet’s dismissive claims. Even regional arts institutions joined the choreography. The Seattle Opera offered a cheeky “TIMOTHEE” discount, granting a 14 percent markdown to prove that people do, in fact, care.
Did this cultural counterpoint truly cost Chalamet his win? While some industry insiders argue that Michael B. Jordan’s complex dual performance in Sinners, a performance that also swept the SAG Awards, had simply built up too much momentum, the timing of Chalamet’s comments was undeniably poor. Coming as final Oscar voting began, they arguably soured his narrative and made a vote for him feel, to some, like a vote against artistic unity.
Even the ceremony itself wasn’t finished with the narrative. Host Conan O’Brien, whose sharp tongue is a celebrated feature of these galas, didn’t miss a beat. “Security is extremely tight tonight,” O’Brien jibed during his opening monologue, glancing toward the front row. “I’m told there are concerns about attacks from both the opera and ballet communities. They’re just mad you left out jazz!”
The laughter that followed was pointed, a final public curtain call for a controversy that Chalamet likely wished had closed weeks ago. Whether it was a case of genuine peer disapproval, a sudden surge in support for Jordan’s powerhouse performance, or simply a case of poor footwork on the campaign stage, the ballet and opera debacle has now cemented its place in Oscar history. Chalamet’s experience serves as a clear memo to future contenders. Even when you are the headline act, a solo performance can still fall flat if you forget to play to the entire house.
