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Sea Bottom Aging Bottles Are A Strange New Trend In The Wine World – Robb Report

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Ocean Fathoms


Last Saturday morning Two very different ships departing from the port of Santa Barbara both headed for the same destination over a mile by the shore. Guests aboard an 85-foot custom catamaran with etched crystal windows and polished double wide wood bars were a mix of preppy-style locals wearing a limited edition Athleisle collaboration and a well-heeled LA type. Another ship, a commercial fishing boat, carried a team of divers and equipment in thick wetsuits.

The person who led the dive team was founder Emmanuel Le Azareto, along with Jordan Andrio and Todd Han. Ocean FathamsThe California company last year aged 1,800 bottles of Santa Ynez Sangiovese’s cache in 2016 about 70 feet below the sea floor. After being recovered, guests aboard the catamaran were invited to an unusual tasting, comparing bottles of the same vintage. Some were traditionally aged bottles, and others were lying in the dark, cold water that Ocean Fathoms calls “nature’s perfect basement”.

Retrieved a bottle of Ocean Fathoms wine that was submerged in water.

Lara Casta Ognia

This phenomenon essentially occurred after the first shipwreck, but most recently caught the attention of the wine world in 2010 with the discovery of an almost 200-year-old shipwreck in the Baltic Sea containing hundreds of bottles of champagne. Many were sold at auctions and sold at record prices. Sell ​​a bottle of Veuve Clicquot Acker Merrall & Condit Went for $43,630. And wines aged in the sea still remain new calling cards, but they are not without precedent. Inspired by the 2014 shipwreck wine tasting, Veuve Clicquot Sea cellar The program stores various champagnes about 130 feet down the coast of the Baltic Sea in special containers called the Aland Vault. Recently, a coastal Patagonian winery Wapisa, In Argentina, I brought 1,500 Magnums of Malbec Blend.

Of course the obvious question is “but how do they Does it taste good?”Wapisa owner Patricia Ortiz describes submerged wine as “a rounder, more elegant, plus fresh fruit” wine. Azzaretto, who first sank the bottle in 2015, was equally convinced that, like Ocean Fathoms partner Rajat Parr, his first experience with sea-aged wines was equally convinced by sommelier and winemaker Rajat Parr, who sold bottles of 1907 Heidsieck Monopole Gout Americain. Do it. Shipwreck, $4,700 when he worked at restaurant Michael Mina in San Francisco. “The acidity was well preserved,” he recalls, and overall the wine was surprisingly vibrant.

Wine expert and author Mark Oldman admits that he was skeptical when he was invited to a marine aging cube at Leclerc Briant in Épernay, France. “I wasn’t sure it would have a different personality than any other champagne, but it was,” he added, that the wine’s rich “life force” persuaded several bottles to be taken to the United States.

Wapisa wine

Undersea collection of Wapisa wine.

Photo courtesy: Wapisa

And the consensus between guests attending the Santa Barbara event at Ocean Fathoms Was The difference: wines aged in the sea looked brighter and more fruity. This is most likely due to a lack of oxidation. This is because oxygen does not seep into bottles stored on the seabed. Over time, the aroma of fresh fruit is closer to the baked character. Azzaretto also believes that the hydrostatic pressure created by constantly moving water has a beneficial effect on wine.

However, aging in water is expensive and difficult. Ocean Fathoms ultimately retrieved the wine for a Santa Barbara gathering, but the “big revelation” moment of raising a cage at sea was hampered by a big wave. But the process used by Wapisa, Ocean Fathoms, Veuve Clicquot, etc., of course, is much better than one alternative. Think of it as a way to experience so-called “wreck” wines, excluding shipwrecks.





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Action, out-kick takeover highlights the craze for sports betting

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Action, out-kick takeover highlights the craze for sports betting


As the United States soon enters its fourth year as a country where sports betting takes place, Anymore With national bans, publishers with the sports betting industry are becoming increasingly attractive M&A candidates.

You can just look at last week’s deal making activity. Denmark-based sports betting media group Better Collective Consent to acquisition $240 million Action Network, Fox Announcement It took over the conservative sports news site Outkick for an undisclosed amount.

A little different, but still notable, the 5-year-old subscription-based sports site The Athletic, which publishes sports betting content on relevant tracks, is still looking for a merger partner, WSJ. Declaration Last Thursday. The sports pub is said to see NYT as a major candidate for a merger.

It is clear why digital sports betting content is increasing in value. More states legalizing sports betting will help drive new readers to gambling content entities (e.g. The Action Network). Then you have a larger pool that could potentially generate affiliate commissions (by recommending bettors to the sportsbook).

As the legalization of sports betting increases, the number of US consumers willing to pay monthly subscriptions to sports betting content has increased.

21 states and DC as of May 7th permit Single game sports betting through retail and/or online sportsbooks according to the American Games Association (AGA).

Legalized sports betting has long encouraged trading in the media space. Thin size What is likely to support this interest in the illegal gambling market is the fact that the pandemic has not completely undermined the growth of legalized sports betting.

Seven of the 11 states that offered legitimate sports betting in 2019 and 2020 saw a year-over-year increase (YoY) from last year’s bets under the AGA.

Meanwhile, online gambling advertising spending on local TV commercials has reached nearly $155 million in the first quarter of this year from around $11 million in early 2019. Nielsen.

This momentum has already emerged before last week through the media company-sports betting corporation partnership. DraftKings acheive VSiN, a Las Vegas-based sports betting media company, launched in late March, and Dish Network and DraftKings earlier this month. partner A deal that allows certain Dish viewers to start betting on the TV screen.

These deals are based on the idea that legitimate U.S. sports betting activity will continue to grow in the future. However, this growth in gambling can be better tracked by things like gambling app usage and betting amount rather than linear TV sports viewership.

For example, the average audience for NBA and NHL games declined 27% and 8% between 2019 and 2021, respectively, VIP analysis Recently melt.

While big matches are broadcast nationwide, the downgrade shouldn’t be associated too much with sports betting as betting is not legal in all states. However, the decline still means that legalized bets may not be the rating savior. Some hoped Can it be.

Meanwhile, a recent VIP analysis of Sensor Tower data showed that usage of the nation’s largest sports betting app surged during AFC/NFC Championship Week and Super Bowl Week.

Perhaps that’s why we’ve seen more sports leagues accept sports betting lately. View UFC-DraftKings in March deal and Recent statement NFL Commissioner Roger Goodell described sports bettors.

Leagues and sportsbooks will become more common as more states legalize sports betting. By 2023, up to 37 states can offer legalized sports betting. project Eilers & Krejcik.

However, a notable obstacle to accelerating sports betting activity is ensuring convenience by doing things like activating mobile betting in states where betting is legal.

Despite this seemingly obvious path to boosting gambling revenue, lawmakers in certain states may oppose making sports betting as widely accessible as possible. Contribute to Gambling addiction Among young adults.

The future for the US sports betting environment is one of the main focuses: Variety Intelligence Platform’s latest white paper “Sports Betting”. This white paper is VIP’s third in-depth sports betting focused survey that analyzes the impact of sports betting legalization and how media companies capitalize.

Read the full text of the special report





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Julia Louis-Dreyfus on Missing Playing Selina Meyer in’Veep’

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Julia Louis-Dreyfus on Missing Playing Selina Meyer in'Veep'


Julia Louis-Dreyfus is one of six creative leaders in comedy. VarietyThe power of women in 2021. Click here for more information.

For 30 years, Julia Louis-Dreyfus has created an Emmy-winning character, a landmark of women in popular culture. Her Elaine Benes from “Seinfeld” is your terrible old friend. Her Selina Meyer in “Veep” definitely to be. Louis-Dreyfus was a political activist, especially as Joe Biden’s deputy ahead of the 2020 elections. “It surprised me,” she said in a recent Zoom interview. And as of January 2020, she has earned the status of a tycoon by signing a multi-year overall contract with Apple. Under the terms of the contract she will of course produce, but most of them are looking for great material for herself, she says. In both comedy and drama, the latter has done less over the years. “A great idea isn’t a simple fruit. I’m like one of those pigs looking for truffles,” he adds with a smile.

Sophy Holland for Variety

Surprisingly, Louis-Dreyfus appeared in Disney Plus’s’The Falcon and the Winter Soldier’ ​​as Contessa Valentina Allegra de Fontaine, a Marvel comic book super villain often known as Madame Hydra. It was the strict secret that ignited the Internet, which sparked enthusiastic speculation about the future of Louis-Dreyfus’ high-heeled (and high-heeled) character. no It was made to walk” was the first line to steal her scene. Will the audience be able to see Louis-Dreyfus in “Black Widow” in the Marvel-Disney Plus series “Secret Invasion”? Or is it possible to see the symbolic character elsewhere where it can logically appear? Under the complete Marvel confidentiality agreement, she only said, “I always wanted to do Contessa and the Marvel Cinematic Universe made it possible.” No, she can’t provide more detailed information.

Since March of last year, Louis-Dreyfus has been “in motion” with a focus on family well-being. Particularly focused on keeping her 92-year-old mother-in-law “safe and happy”. She reads a lot with an eye for development and enjoyment, and every week at the CAA, she meets with team members who “try to find tireless material” for her. She is the French spy thriller “The Bureau” (“Oh, my God, it was so Good”) To inspire her, she relied on the New York Times Cooking app to cook countless dinners (“Lord Jesus, do I love this app”). If reading, cooking, and watching TV sound like regular COVID-closing activities, the year of Louis-Dreyfus included campaigns and fundraising for Biden, Democrats denying votes, and the Georgia US Senate Finals “full-time part-time job,” she said. “I think the Republican Party has lost its mind. This is no longer Reagan’s party.”

Breast cancer survivor Louis-Dreyfus was diagnosed in September 2017 when she tried to start filming the last season of “Veep,” which she pushed until the end of treatment. Her decisive response to the COVID treatment was “immediately”. . “Oh,” she remembers thinking. “I could see this get me.”

“I had no arrogance about this. When you face your death in the way that cancer takes you there-I strangely found the same plague.”

Experienced with cancer changed Louis-Dreyfus’ perspective, and now at the age of 60, she is rethinking the rest of her life. What I want to do with my 34-year-old husband, Brad Hall (“Travel”), and where she wants — she says “near my kids” about her son (now in her 20s). But what she calls “life is short” doesn’t apply to her work. By the way, she was vaccinated and is ready to resume. “I’m just thinking about a project with real meat in the bones,” she says. “Here’s a pretty high standard.”

Asked if he would potentially rethink his past role, Louis-Dreyfus said, “Do you know who I miss? I miss playing Selina Meyer.” Yes, “actor, writer, crew-everyone” was lost. She speaks of the HBO comedy that ended in 2019 after seven seasons. But most of the time she misses how “interesting” Selina is. “It was so inexperienced in her damn mind to play that character. It’s just freed! It was all about her self, and she had no interest in other humans.”

The series finale of “Veep” ended at Selina’s funeral. But if she wants to get the gang back together, there are certainly decades between me. Will it?

“Yes! Doing more’Veep’ will be a great joy,” says Louis-Dreyfus, “and who knows, we will someday.”


Styling: Cristina Ehrlich/The Only Agency; Makeup: Fiona Stiles/ A-Frame Agency; Hair: Aviva Perea/A-Frame Agency/R+Co Bleu; Lead image, dress: Monique Lhuillier; Bra: Agent Provocateur; Shoes: Aquazzura; Jewelry: Irene Neuwirth; Cover, top, vest and pants: Zimmerman; Rings: Ana Khouri and Irene Neuwirth</code?





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Maya Rudolph, Burnout, Beyoncé and comedy career

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Maya Rudolph, Burnout, Beyoncé and comedy career


Maya Rudolph is one of six creative leaders in the comedy segment. VarietyThe power of women in 2021. Click here for more information.

As a child, Maya Rudolph created a makeshift stage to satisfy her performance itching, setting a girl’s musical in the living room as a child and playing, believing in the empty corners of her mother’s recording studio. But about 40 years later, she has become truly overwhelming with so many platforms to choose from.

“Before I thought about quarantine, I felt very exhausted,” she admits. “I’ve been doing weirdly well in the middle of the renovation work and I think I’m still there. I am not ashamed to admit that I want to go a little slower.”

Prior to the pandemic, Rudolph received a firm reservation. She once again starred “SNL” in the role of then Senator Kamala Harris, and who played Goofy’s Almighty Jury in “The Good Place”, she was voted one of the show’s most memorable guest stars. . Her flexible voice has become commonplace in the wide animation world. Particularly in Netflix’s “Big Mouth” portraying a delightful and filthy “hormone monster”, demonstrating her ability to change a single phrase (eg “bubble bath”). As a sweet dessert (eg “bwuuuuhbble bayaaaath”).

Sophy Holland for Variety

All three of these roles were nominated for Rudolf Emmy and won the first two titles in 2020. (The only reason she lost a third was because she was nominated twice in the same category.) But the constant flow of duty exhausted and burned her. As often as possible, with her own passion for being part of as much work as possible. “I was saying’yes’ to everything,” she sighed. “It took a toll and I was tired.” So when the opportunity came for her to brake, she thankfully did so.

At her home in Los Angeles a week after hosting the second “SNL”, Rudolph is contemplating this potential turning point in her life and career. “What makes me feel happy, what makes me unhappy, and how do I set those boundaries?” She explains. On a macro level, it could mean she does fewer projects, even if she loves everyone involved. On a smaller and more immediate level it could mean wearing what she wants.

“Hills and I are already out, but now we have gone a different way. It’s okay for me,” laughs Rudolph. “And I no longer have a waist. My thighs haven’t seen my trouser legs for a year. I will be Elaine Stritch and wear a shirt.”

With Zoom, Rudolph already seems to be completely satisfied with this spirit. Her peculiar voice has been turned down from 11 o’clock, she blinks into the zoom camera through her clean glasses, and her puppy Daisy is curling her knees. And while her floral coveralls aren’t the crunchy white button-downs that Stritch became famous for, Rudolph is inspired by brass broads like her for sticking to herself, but the expectations are cursed.

Take Rudolph’s comedy idol Madeleine Kahn. She is a funny woman full of power, arm-to-arm with impeccable charm along with the ability to make every line stand out. Grown up with the Mel Brooks movie, Rudolph will watch in awe how Kahn surpasses everyone else as a film noir heroine coming up from a clean Cadillac in a hasty empress, weary wife, and matching jumpsuit. As Rudolph put it, you didn’t have to know exactly what Kahn mimicked in order to know that Rudolph was “a beautiful woman who does a pleasant job.” Later, as she got to know more comedians like Catherine O’Hara, Gilda Radner and Jan Hooks, she realized that this comedian’s niche was her ideal. “I’ve been seeing these glamorous and hilarious women I’ve ever wanted to be, whether I’m enlightened or not, and that’s the ultimate combination of perfection for me,” she says. “They can do anything.”

And once again, Rudolph has partially turned into a less compelling comedy, such as many of the scenes from “The Bridesmaid” that made the movie so striking 10 (!) years ago. While her infamous “Poop on the street“The moments were mostly stressful. you Get on your knees in a wedding dress across the crowded lane. She fondly remembers the setting of everyone who sweats from food poisoning before all hell is released. “What’s coming, everyone knows they have to hide it, and it’s constantly scattered on everyone in the multi-level intimidation stage. It was a really fun slow burn,” she recalls with a laugh. (Along with “the bridesmaid”, most of all, Rudolph remembers laughing.)

She grew up with a keen eye for what makes performers great. Especially because of her childhood, she saw her mother, singer Minnie Riperton, dazzle the crowd on tour. She wanted to do the same, seeing musicians break through sets with wit and wit. “And then I see something fun like a movie or a comedian and I think I want to be that way too,” she adds. “It wasn’t really visible to understand what it was, but it was a bit of a magical trait.” She came to worship the indescribable connection between music and comedy: the two creative forces that define her life. “Oddly enough, it’s the same language,” she explains. “If you do both well, you can’t really learn. Whether you are good to them or not.”

Rudolph will have a musical comedy opportunity like never before with his role as the juicy villain in “Disenchanted”, the highly anticipated sequel to Disney’s “Enchanted”. Amy Adams appears as a wide-eyed princess sailing modern New York. In a follow-up call the day after reading the table, Rudolph erupted about the lively “school play” atmosphere of the film and the delicious delights of acting as a villain in a “Dynasty” class camp. (“It’s really dramatic!”)

“If it was 15 years ago and someone asked me if I wanted to be a bad person, I would have answered’Oh, I don’t know’,” she says. “But I’ve found that the funniest thing I can do over the years is when you play The Most.” She also talked about how happy it was to find out that director Adam Shankman approached her for her role and knew exactly why he wanted her. “It’s great to be in a job where I feel like I can tell myself a lot of what I’ve done, so I don’t have to explain who I am or what I do.”

As anyone who has seen her performance for a while will know, Rudolph’s comedy is musical in nature. Whether it’s Beyoncé, Bronx mom, or a dizzying game show host, all of her characters talk to a contagious and uniquely bizarre guy while Rudolph’s wraps up her lines. In particular, her Beyonce impression was almost second nature. Rudolph, an avid fan, says when Beyonce’s time to imitate himself “when talking about a friend, and when speaking, speak in their voices what they said.”

Rudolph’s technique of distorting a word into a cascade of surprisingly strange sounds is second to none. She doesn’t have to make funny jokes. So, it’s not surprising to learn that Rudolph is the most comfortable in the voiceover booth. She has been able to experiment since serving the “SNL” on the commentary she needed that week. “Perhaps what I feel most about is not the camera or the musician, but a mix of the two,” she mutters. It’s also thrilling that she can step out of her body and be anything without limits. In “Big Mouth”, for example, she describes everything from hormonal monsters to school principals to dirty pillows. “It really feels like a free place,” she says of her prolific voiceover work. “You are not limited to anything made up of males, females, humans, animals, monsters, etc. It’s a place I feel very comfortable with.”

It is inevitable that Rudolph spends his life as a comedy and as a person contradicting the categorization. “Neither white, nor black, not mixed, but a special mix of my own Jews, big nosed mottled… I have always identified myself as being very unique and not belonging to any club.” She says. Although scrutiny has gone under her skin, now she reminds herself that other people’s attempts to label herself say more about herself than she does. “People really try to figure out who you are and what you are. them It’s comfortable.” She claims to be as powerful as the power that can be gained through conversation. “It has nothing to do with me.”

And that’s also where she ultimately comes to the old question of what it’s like to be a woman in a comedy. She harassed her in “SNL” and reappeared when “The Bridesmaid” dared to notice a funny woman who didn’t have a qualifying round. Very few men). When asked if the conversation has changed at all since then, she is on the lookout in a way that makes it clear how many times she had to go down the path she was truly frustrating. “As opposed to systematically thinking about my gender to be fun or not, I feel it’s my duty to keep doing what I do my best,” Rudolph shrugs. “I don’t care about that stuff.”

As Daisy climbs from her lap, Rudolph sighs and adjusts her glasses. It seems as if she’s making sure she can see enough of the next point. “It’s fun, because the moment you step into the conversation, you feel that the conversation can exist. This remaining conversation won’t die.” She rolls her eyes, pokes her eyebrows and releases the ghost of a smile. “Actually we had a great party and someone came in and said,’Wait, this is Girls‘party!’ And it’s like’uh, what are you talking about? It’s just a party. ‘”

The problem of women’s power in 2020 Variety I spoke with several women in the entertainment industry who use their voices for a worthy cause. Click here for more information.


Styling: Rebecca Grice/Forward Artists; Makeup: Pati Dubroff/Forward Artists/Chanel; Hair: John D/Virtue Labs; Manicure: Thuy Nguyen/A-Frame Agency/OPI; Lead image, dress: Oscar De La Renta; Necklace: foundrae; Earrings: Ana Khouri; Cover, dress: Valentino; Earrings: Ana Khouri





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