“We are coming forward to tell our own stories of abuse, neglect and discrimination in the hope of driving change.” Seventy-one Canadian gymnasts sent a letter to Sport Canada on Thursday demanding an independent investigation into the “toxic culture and abuse” in the sport and action to ensure the next generation of gymnasts do not experience physical and mental trauma.
Kosar, 30, retired as a rhythmic gymnast, CBC said. She spoke publicly about a practice when she was 18, in which she and her teammates ran five hours longer than they were supposed to. Several of her teammates collapsed from exhaustion, but the coach kept playing music and beckoning them to “do it again.” Kosar did not name the woman, but said she still works for Gymnastics Canada, a sport that has been flooded with hundreds of similar complaints. “Gymnastics is a sport that starts at a very young age,” kosar said. “The athletes spend more time with their coaches than their parents do. When you grow up in a toxic environment, the atmosphere has a lasting effect on your life.”
Kim Shore, a former board member of Gymnastics Canada, says she has received more than 100 phone calls and emails from parents of athletes in the past five years. One coach was accused of “slapping” athletes in the face and even pulling their hair during practice. The coach also verbally abused the girls, calling them “fat, stupid and ugly.”
In addition to the abuse, Canadian gymnastics has been engulfed by a sexual abuse scandal. The country’s former women’s gymnastics coach Dave Brubeck was accused of sexually assaulting a young competitor. Although he was acquitted of sexual assault and exploitation in a criminal trial in 2019, Gymnastics Canada suspended him for life in 2021 after conducting an internal investigation.
Canadian athletes in bobsleigh, rowing, rugby, track and field, synchronized swimming, wrestling and women’s soccer have come forward to share their stories after gymnasts spoke out. More than 80 bobsledders have called for the resignation of the sport’s acting chief executive, arguing it is riddled with a “toxic culture”. The fact that the scandal is being carried out across multiple sports shows there is a serious problem in Canadian sport, said Michael Koehler, director general of The Montreal-based Global Athlete Organization.
The ideal Oscar nominee would be an above-average film that pursues true art and is suitable to be seen on the big screen, with famous stars, lively filming and a memorable soundtrack. This year’s nominees include actors, directors and classic Hollywood themes. Yet almost no one went to the cinema to see it.
True, this is still a year affected by COVID-19, but technological change accelerated by an unusual crisis is also a good time to illustrate where we are now: we are witnessing not just the decline of the Oscars, but the end of cinema. That doesn’t mean movies will disappear. The full two-hour story will continue to be shown on the big screen for entertainment. It was the end of the film industry, the popular art form of big-screen entertainment at the heart of America, the primary cradle of American celebrity, the primary space coveted by American actors and screenwriters.
You have to make movies to be famous
For decades, the small screen has grown in influence without displacing the big screen from its cultural dominance. The TV shows of the 1960s and 1970s were very successful, but also very easy to discard. Videotapes create a different way to combine with successful films, but their main purpose in generating revenue is to finance the next Tom Cruise or Julia Roberts movie.
There are plenty of American TV stars, but for true glory 1 to become a true celebrity or receive eternal artistic acclaim, you still have to put your work in a movie theater, create a single, complete, larger-than-life piece of art, and watch critics and audiences react.
The late 1990s were the twilight years of this cultural order. Computer-generated special effects were just coming of age, heralding a new era of cinema. Titanic’s best picture win in 1998 was a triumph for the entire film industry. Classic, pro-lywood movies ushered in the age of special effects, bringing Americans to theaters and experiences they couldn’t get in the living room.
Movie tradition gives way to Marvel mania
What happens next is complicated, with many different forces at work, but also simple because they all have the same effect — ultimately knocking the movie off its pedestal. The most notable of these changes are the creative breakthroughs in television, starting with HBO in the “Sopranos” era, which allowed small-screen entertainment to compete with movies as a stage for high-level acting, writing, and directing.
While globalization has broadened the market for Hollywood films, global audiences have also pushed the industry toward simpler storytelling styles, more cross-lingual and cross-cultural, with less complexity and specificity and cultural connotations. The Internet, laptops and smartphones have made entertainment personal and more timely, expanding Hollywood’s potential audience and making people accustomed to small screens, solitary viewing and discontinuous viewing, as opposed to the communitarianism of cinema.
Special effects opened up spectacular backdrops and brought to the big screen stories that had long been out of the picture. But the effects-driven blockbusters emphasize a fan culture more than their 1980s predecessors, keeping studio audiences relatively fixed at the expense of traditionalism at the expense of jedi or Marvel-crazed fandom.
Great films gain strength in concentration
Over time, these forces converged on Hollywood in two directions. One direction is to rely on superhero movies and their spin-offs, and the other is to continue content production to meet the needs of home entertainment and streaming platforms. On these platforms, there is little difference between a movie and a show in the general sense of the word, in terms of casting, directing or promotion.
Under these pressures, the role that film once played in American culture ceased to exist. The Internet has replaced the cinema as an adult pastime. Given the wide range of entertainment options, it is unlikely that a few blockbuster films will provide a common cultural language. Movie stars also seem less and less likely to become transcendent or iconic figures. Genres that once built a strong sense of identity between actors and audiences — the faux hero, the epic, the kitschy comedy, the romantic — have all declined rapidly.
Television entertainment products are still different from what movies used to be, and the biggest reason is that stories told on the small screen give up some of their artistic power. First, they give up the expansive power inherent in the moviegoing experience. Not just the over-the-top performances, but the immersive elements of cinematography, from photography to music to sound editing, that are intrinsically less important when experienced on a smaller screen.
Second, the show that dominates our time has given up the power it gained in “enrichment.” That measure is why the greatest films are more complete than almost any long-form series, giving viewers a self-contained experience that they are fully engaged in.