Before the tragic incident that resulted in the death of the film’s cinematographer, actor Alec Baldwin was allegedly assured that the gun he was handed on set was not loaded.
Details of Events Leading Up to Shooting
An affidavit alleges that actor Alec Baldwin was rehearsing a scene that involved him pointing a gun at the camera when he misfired the weapon last week, killing the production’s cinematographer, Halyna Hutchins, and injuring director Joel Souza.
Multiple outlets obtained the affidavit from the Santa Fe County Sheriff’s Office on Sunday. The document details the alleged events that resulted in Thursday’s tragedy on the set of “Rust.” Souza told investigators that during a firearms safety announcement, he heard the prop weapon referred to as a “cold gun,” a term that means the gun is not loaded.
According to Souza, the guns on set were usually checked by two people: armorer Hannah Guttierrez-Reed and assistant director Dave Halls. Halls was in charge of giving the guns to actors, though sources said both Guttierrez-Reed and Halls did so at various times.
The affidavit said that Halls handed the gun to Baldwin while announcing it as a “cold gun.” Investigators say investigators that Halls got the revolver from a tray set up by Gutierrez-Reed.
Souza said the crew had spent part of the day preparing for a scene in a church and later left to take a lunch break at another location. He said he was unsure if the firearm had been checked again after returning from lunch.
When the accident happened. Souza said he heard what “sounded like a whip and then loud pop.” He first noticed Hutchins grabbing her midsection and stumbling back before realizing he had been hit in the shoulder.
The incident came after six camera crew workers reportedly walked off the set in protest of unfair and unsafe working conditions. According to the affidavit, a replacement crew had quickly been hired, but production on the day of the accident was off to a late start because of related issues. Regarding general on-set behavior, Souza claimed that “everyone was getting along” and that there had been “no altercations” to his knowledge.
The affidavit’s walkout claim backed up previous reporting from The Los Angeles Times. Sources from the set of “Rust” told the outlet on Friday that half a dozen workers left the set because they were frustrated by safety issues, long hours, long commutes, and a long wait for their paychecks.
Safety Issues on Set of “Rust”
According to the report, standard industry safety protocols “were not strictly followed,” and at least one worker complained specifically about gun safety. Some sources told The Times that there had already been at least two accidental discharges of a prop gun. Around a week before the fatal accident, Baldwin’s stunt double allegedly fired two rounds after being told a gun was cold.
“There should have been an investigation into what happened,” one source told the outlet. “There were no safety meetings. There was no assurance that it wouldn’t happen again. All they wanted to do was rush, rush, rush.”
Another source told The Times that “corners were being cut” on set.
The report also claimed that Hutchins was among those advocating for her team to have safer work conditions.
Rust Movie Productions released a statement saying safety “is the top priority of Rust Productions and everyone associated with the company.”
“Though we were not made aware of any official complaints concerning weapon or prop safety on set, we will be conducting an internal review of our procedures while production is shut down,” the statement continued.
Baldwin, for his part, sent his condolences to Hutchins’ family on Friday. At the time, he said he was cooperating with the ongoing investigation.
Vigils have been held in New Mexico and Hollywood to honor Hutchins. The American Film Institute also made a memorial scholarship in her name.
See what others are saying: (Los Angeles Times) (The New York Times) (The Hollywood Reporter)
YouTube Removes Age Restriction From Nicki Minaj Video After Singer Calls Company a “Bogus Platform”
Even though her video can now be viewed by all YouTuber users, Minaj made it clear she was upset that the age-gate tanked its view count in the first 24 hours.
Nicki Minaj Vs. YouTube
Nicki Minaj called out YouTube on Monday after the platform age-restricted her new music video for “Likkle Miss Remix” featuring Skeng.
By age-restricting a video, YouTube blocks users who are under 18 or not logged into a Google account from viewing the content.
Minaj’s video features close-up shots of people in skimpy outfits twerking, but several videos on YouTube with similar imagery have not been gated. Cardi B and Megan Thee Stallion’s “WAP” video is available for everyone, as is Minaj’s own “Anaconda” video.
In a since-deleted Instagram post, Minaj accused YouTube of being inconsistent and playing favorites.
“They restricted my fucking video but have things a million fucking times worse on their BOGUS FKNG PLATFORM,” she wrote in a post that included a screenshot of YouTube’s age-restriction notice. “This is what they do to keep you from winning while doing ads for another ppl and posting fake fkng stats. Because the same ppl who run YouTube are in bed with a certain record label and mngmnt company.”
Minaj further alleged that YouTube’s actions were done to prevent her from getting a significant number of views in the video’s first 24 hours, which is often the most crucial timeframe for a video’s success. She continued to assert that the Google-owned company has a bias toward certain music labels.
YouTube Walks Back Restriction
“How long have yall been playing the numbers game to lie & pretend ppl r doing ‘good’ when they r not?!?!!” Minaj continued in another post. “How much ad space did these duds purchase to be promoted on my channel in the last 5 years?!??!!!!”
Later on Monday, YouTube removed the restriction from Minaj’s video, per Variety. The company said the content in it did not violate its rules and guidelines.
While Minaj ended up deleting her Instagram posts calling YouTube out, she made it clear she was still frustrated by the debacle.
“FUCK THEM DUDS,” she tweeted. “THEY CANT GIVE US BACK OUR FIRST 24 HOURS CAN THEY?!?!!!”
As of Monday afternoon, her video had been viewed over one million times.
See what others are saying: (Variety) (The Independent) (Billboard)
“Don’t Worry Darling” Tops the Box Office Amid Bad Press
Audiences are already giving the film higher praise than critics did.
Young Women Flock to “Don’t Worry Darling”
Weeks of controversies and rumors did not prevent “Don’t Worry Darling” from finding victory at the box office, with the Olivia Wilde-directed thriller debuting at number one over the weekend and raking in $19.2 million.
Wilde also acted in the mid-century mystery, which starrs Florence Pugh, Harry Styles, Chris Pine, and Gemma Chan.
Women led ticket sales for the picture, comprising 66% of the audience, according to several reports. At least partially due to the appeal of Styles, crowds also skewed young, with over half under the age of 25.
Overseas, the film made over $10 million, bringing its total for the weekend to $30 million. That number is especially impressive since the R-rated drama had a budget of $35 million.
“Don’t Worry Darling” had been plagued with weeks of rumors about behind-the-scenes drama leading up to its release. Among other bouts of gossip, many online speculated that Pugh and Wilde had riffs on set, leading to Pugh’s refusal to promote the project. One report alleged the two got into a screaming match, but sources on set denied it.
Wilde and Shia LeBeouf, who was originally cast in the picture, also got into a public he-said-she-said about whether he quit the film or was fired.
The drama hit a boiling point during its premiere at the Venice Film Festival when Twitter users circulated a video they claimed showed Styles spiting on Pine, though both parties have denied that allegation.
A Film Riddled With Rumors
Furthering the bad press were the bad reviews. Critics largely panned the film, sticking it with a 38% on Rotten Tomatoes. After this first weekend, moviegoers seem to have a more favorable outlook, as it has a 79% audience score as of Monday.
Jeff Goldstein, the distribution chief for Warner Bros., told the Associated Press that “the background noise” caused by these controversies “had a neutral impact” on its box office haul. The studio released a statement saying it was pleased with the movie’s earnings.
Some analysts believe that, if anything, the online gossip and fodder may have aided the film’s box office performance.
In a tweet recapping the weekend’s box office, Paul Dergarabedian, a senior media analyst at Comscore, said the “drama sparked a huge wave of interest.”
See what others are saying: (Associated Press) (Box Office Mojo) (New York Times)
Senators Introduce Legislation Requiring Radios to Pay Royalties to Artists
Sen. Padilla argued the bill is necessary to give artists the “dignity and respect they deserve.”
The American Music Fairness Act
Sens. Alex Padilla (D-CA) and Marsha Blackburn (R-TN) introduced the American Music Fairness Act to the Senate on Thursday, a bill that would require radio stations to pay royalties to performers and rights holders.
The bill was previously introduced to the House last year. According to a release, the United States is the only democratic country where artists are not compensated for their music’s use on AM or FM radio. While songwriters and publishers receive payment, these stations have never been required to give a slice of the pie to performers and copyright holders.
On streaming and satellite radio, however, both groups receive royalty payments.
In a statement, Padilla said it is time the country starts treating “our musical artists with the dignity and respect they deserve for the music they produce and we enjoy every day.”
“California’s artists have played a pivotal role in enriching and diversifying our country’s music scene,” he added. “That is why passing the American Music Fairness Act is so important.”
“From Beale Street to Music Row to the hills of East Tennessee, the Volunteer State’s songwriters have undeniably made their mark,” Blackburn echoed. “Tennessee’s creators deserve to be compensated for their work. This legislation will ensure that they receive fair payment and can keep the great hits coming.”
The American Music Fairness Act would require terrestrial radio broadcasters to pay royalties to music creators when their songs are played. It would also protect smaller stations that either make less than $1.5 million in annual revenue or who have a parent company that makes less than $10 million in annual revenue by letting them play unlimited music for under $500 a year.
The bill would also require other countries to pay American artists for the use of their work.
Support From Major Music Groups
The legislation is endorsed by a number of groups, including the Recording Academy, SAG-AFTRA, and the American Federation of Musicians.
If passed, the bill could move a lot of money into the pockets of performers. According to the Recording Academy, when American music gets international airplay, other countries collect royalties for American artists, amounting to around $200 million every year. However, they “never pay those royalties because the U.S. does not reciprocate with our own performance right.”
Fran Drescher, President of SAG-AFTRA, argues that the money belongs to the artists.
“Broadcast companies profit from advertising sales because of the creative content musicians and singers record. It stands to reason that the performers who create the content deserve to be compensated just as songwriters are now,” Drescher said in a statement. “The reason it’s called the American Music Fairness Act is because the current situation is wholly unfair and it’s up to Congress to make it fair NOW!”
Last year, Representatives Steve Womack (R-AR) and Kathy Castor (D-FL) introduced the Local Radio Freedom Act, a bill with essentially the opposite agenda. It aims to reserve radio’s royalty-free status. The American Music Fairness Act is being viewed as a counter-response to this bill.