SAG-AFTRA and studios reach deal on new film and TV contract

Hollywood's largest union representing actors and other performers has secured a new film and TV contract that will provide modest pay hikes for its approximately 165,000 members.

SAG-AFTRA and the Alliance of Motion Picture and Television Producers announced Friday that they have reached an agreement on a new three-year film and TV contract to replace one that expired midnight June 30 and was extended three times, 24 hours each.

The talks mark the first time the union has bargained on a film and TV contract since the Screen Actors Guild merged with its smaller rival union, the American Federation of Television and Radio Artists, two years ago.  In addition to actors, AFTRA also represented recording artists, disc jockeys, broadcast journalists and dancers.

Proponents of the merger argued that combining the disparate groups into a single entity would give them more clout in negotiations with the studios, which had contentious relations with the Screen Actors Guild in the past. SAG nearly went on strike in 2008.

Terms of the new agreement will be presented to the SAG-AFTRA national board of directors at its July 12 meeting.

The agreement, which is subject to approval by the union's members, brings uniformity to TV contracts, bringing them under a single master contract to replace separate agreements that existed before the two former rival unions combined in 2012.

That had been one of the chief goals of the negotiations, which began May 5 and were expected to wrap in mid-June, following similar deals reached earlier this year by unions representing writers and directors.

However, the talks took longer than anticipated mainly because of complications surrounding creating a single master contract.

SAG-AFTRA President Ken Howard, who was the union's first elected president and a strong proponent of the merger, led the talks. SAG-AFTRA National Executive Director David White was the union's chief negotiator.

In February, White was considered a leading candidate to be director of the NBA Players Assn., but the players union is still conducting its search. In the meantime, White has committed to remain with SAG-AFTRA until the negotiations are finalized.

Follow @rverrier for news about the business of entertainment

Copyright © 2014, Los Angeles Times

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SAG-AFTRA and studios reach deal on new film and TV contract

Hollywood's largest union representing actors and other performers has secured a new film and TV contract that will provide modest pay hikes for its approximately 165,000 members.

SAG-AFTRA and the Alliance of Motion Picture and Television Producers announced Friday that they have reached an agreement on a new three-year film and TV contract to replace one that expired midnight June 30 and was extended three times, 24 hours each.

The talks mark the first time the union has bargained on a film and TV contract since the Screen Actors Guild merged with its smaller rival union, the American Federation of Television and Radio Artists, two years ago.  In addition to actors, AFTRA also represented recording artists, disc jockeys, broadcast journalists and dancers.

Proponents of the merger argued that combining the disparate groups into a single entity would give them more clout in negotiations with the studios, which had contentious relations with the Screen Actors Guild in the past. SAG nearly went on strike in 2008.

Terms of the new agreement will be presented to the SAG-AFTRA national board of directors at its July 12 meeting.

The agreement, which is subject to approval by the union's members, brings uniformity to TV contracts, bringing them under a single master contract to replace separate agreements that existed before the two former rival unions combined in 2012.

That had been one of the chief goals of the negotiations, which began May 5 and were expected to wrap in mid-June, following similar deals reached earlier this year by unions representing writers and directors.

However, the talks took longer than anticipated mainly because of complications surrounding creating a single master contract.

SAG-AFTRA President Ken Howard, who was the union's first elected president and a strong proponent of the merger, led the talks. SAG-AFTRA National Executive Director David White was the union's chief negotiator.

In February, White was considered a leading candidate to be director of the NBA Players Assn., but the players union is still conducting its search. In the meantime, White has committed to remain with SAG-AFTRA until the negotiations are finalized.

Follow @rverrier for news about the business of entertainment

Copyright © 2014, Los Angeles Times

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SAG-AFTRA and studios reach deal on new film and TV contract

Hollywood's largest union representing actors and other performers has secured a new film and TV contract that will provide modest pay hikes for its approximately 165,000 members.

SAG-AFTRA and the Alliance of Motion Picture and Television Producers announced Friday that they have reached an agreement on a new three-year film and TV contract to replace one that expired midnight June 30 and was extended three times, 24 hours each.

The talks mark the first time the union has bargained on a film and TV contract since the Screen Actors Guild merged with its smaller rival union, the American Federation of Television and Radio Artists, two years ago.  In addition to actors, AFTRA also represented recording artists, disc jockeys, broadcast journalists and dancers.

Proponents of the merger argued that combining the disparate groups into a single entity would give them more clout in negotiations with the studios, which had contentious relations with the Screen Actors Guild in the past. SAG nearly went on strike in 2008.

Terms of the new agreement will be presented to the SAG-AFTRA national board of directors at its July 12 meeting.

The agreement, which is subject to approval by the union's members, brings uniformity to TV contracts, bringing them under a single master contract to replace separate agreements that existed before the two former rival unions combined in 2012.

That had been one of the chief goals of the negotiations, which began May 5 and were expected to wrap in mid-June, following similar deals reached earlier this year by unions representing writers and directors.

However, the talks took longer than anticipated mainly because of complications surrounding creating a single master contract.

SAG-AFTRA President Ken Howard, who was the union's first elected president and a strong proponent of the merger, led the talks. SAG-AFTRA National Executive Director David White was the union's chief negotiator.

In February, White was considered a leading candidate to be director of the NBA Players Assn., but the players union is still conducting its search. In the meantime, White has committed to remain with SAG-AFTRA until the negotiations are finalized.

Follow @rverrier for news about the business of entertainment

Copyright © 2014, Los Angeles Times

23.50 | 0 komentar | Read More

SAG-AFTRA and studios reach deal on new film and TV contract

Hollywood's largest union representing actors and other performers has secured a new film and TV contract that will provide modest pay hikes for its approximately 165,000 members.

SAG-AFTRA and the Alliance of Motion Picture and Television Producers announced Friday that they have reached an agreement on a new three-year film and TV contract to replace one that expired midnight June 30 and was extended three times, 24 hours each.

The talks mark the first time the union has bargained on a film and TV contract since the Screen Actors Guild merged with its smaller rival union, the American Federation of Television and Radio Artists, two years ago.  In addition to actors, AFTRA also represented recording artists, disc jockeys, broadcast journalists and dancers.

Proponents of the merger argued that combining the disparate groups into a single entity would give them more clout in negotiations with the studios, which had contentious relations with the Screen Actors Guild in the past. SAG nearly went on strike in 2008.

Terms of the new agreement will be presented to the SAG-AFTRA national board of directors at its July 12 meeting.

The agreement, which is subject to approval by the union's members, brings uniformity to TV contracts, bringing them under a single master contract to replace separate agreements that existed before the two former rival unions combined in 2012.

That had been one of the chief goals of the negotiations, which began May 5 and were expected to wrap in mid-June, following similar deals reached earlier this year by unions representing writers and directors.

However, the talks took longer than anticipated mainly because of complications surrounding creating a single master contract.

SAG-AFTRA President Ken Howard, who was the union's first elected president and a strong proponent of the merger, led the talks. SAG-AFTRA National Executive Director David White was the union's chief negotiator.

In February, White was considered a leading candidate to be director of the NBA Players Assn., but the players union is still conducting its search. In the meantime, White has committed to remain with SAG-AFTRA until the negotiations are finalized.

Follow @rverrier for news about the business of entertainment

Copyright © 2014, Los Angeles Times

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Anime Expo: ‘Sailor Moon’ voice Linda Ballantyne on the series

Anime Expo is celebrating classic and new "Sailor Moon" this year by hosting multiple events. (© Naoko Takeuchi / PNP, Toei Animation / VIZ Media)

She came to the world's attention as a 14-year-old klutz who encounters a talking black cat with a magical brooch. The cat's brooch transformed Usagi Tsukino, or Serena to U.S. audiences, into the manga heroine Sailor Moon, one of the most recognizable of all anime icons.

More than 20 years after Naoko Takeuchi created Sailor Moon and her fellow Sailor Senshi, she's not only appeared on countless lunch boxes and notebooks, her red-bowed schoolgirl's uniform with the thigh-high miniskirt remains one of the most recognizable costumes at gatherings like this year's Anime Expo. The annual convention celebrating Japanese animation and pop culture kicks off Thursday at the Los Angeles Convention Center. Saturday will be the expo's "Sailor Moon Day."

Planned events include the premiere of the new series "Sailor Moon Crystal" as well as a panel where the first two newly produced dubbed episodes of the original animated "Sailor Moon" series will premiere.

"Great stories are universal and 'Sailor Moon' was so revolutionary, not only because it features a strong team of girls, but because the characters are all so unique. Everyone can find a character in the series they identify with," said Charlene Ingram, senior manager of animation marketing at VIZ Media, which is releasing a new, uncut version of the original series with a brand-new English-voiced cast.

"We know many people grew up with the edited versions of the story," Ingram said. "We believe seeing 'Sailor Moon' as it was originally envisioned not only brings back those happy nostalgia memories, but shows the story in a deeper, more meaningful light."

VIZ has worked closely with Japan to ensure authenticity in the new production.

"It had been our dream, and even duty, to offer the long-awaited uncut English version of the legendary 'Sailor Moon' series to fans in the U.S.," said Masayuki Endo, general manager of Toei Animation Inc., the Japanese studio that produces "Sailor Moon." "We have taken care to be close to the original manga of 'Sailor Moon' at this time, so it is also interesting to find how different the previous edited and new uncut versions are."

While Saturday's events will mark the premiere of the new animated Sailor Moon series "Sailor Moon Crystal" and celebrate VIZ Media's recent acquisition of the anime franchise, Anime Expo will also be holding a panel featuring cast members of the original English production on Friday.

Linda Ballantyne was the voice of Sailor Moon for the "Sailor Moon S" and "Sailor Moon SuperS" arcs during the series' original run. (Courtesy of Linda Ballantyne)

Linda Ballantyne was the voice of Sailor Moon during the third and fourth seasons of the series' original run. In an interview, she spoke about her time as the titular heroine Sailor Moon.

Were you aware of the series beforehand?

Oh yeah. Are you kidding? It's "Sailor Moon." Of course I had. My nieces were really big fans of "Sailor Moon" so I would go over there and I would baby-sit for them and they'd be watching "Sailor Moon" … I'd be watching with them and I'd be going, "I can do that voice, you know. I can do that voice," and they would be like "Shut up, Aunt Linda, and just watch the show."

How was it to take over for Terri Hawkes, who established the character in English?

It was really hard. The immediate thing in my mind was the two Barneys in the "Flintstones." I remember watching the "Flintstones" and the Barney voices changed and I was like … they can't change the voice of Barney! He's established!

I was suddenly in my own mind saying, "Oh my God. I'm the new Barney."

So I went in there and they literally played me the recording of Terri doing Sailor Moon and said, "OK, imitate that." And I did. I'm a bit of a mimic in real life. But I had my ideas of what I wanted Sailor Moon to be.

I really fought with it for a long time. I'd come home crying some nights and say [to my husband], "This is so frustrating because all they're doing is making me yell. And that's not what this character should be.

Then one day it just clicked and I went, "I know exactly what I have to do! I have to make this my own."

The teenage years are just such an amazing time. [Teens] want so desperately to be an adult and yet they've still got that childish nature that they want to hold onto because it's fun. So that's what I wanted her to be. I just wanted her to have a lot more fun and just be a goofy teenager. That's when the character really started to change.

What do you think it is about "Sailor Moon" that specifically connects with the audience?

I don't think it's just Sailor Moon. I think it's all five of the main characters because they're all so different.

I've been doing a lot of conventions, meeting fans, and they have no problem saying, "Mercury was my favorite," "Jupiter was my favorite," "Sailor Moon was my favorite." There was something for everybody. Everybody could relate.

Some people have come saying they were from a tiny town and they didn't have any friends.

They would watch Sailor Moon and say, "This is what I want in a friendship," and then they found that later on in life. To this day friends still come to these conventions and they're like, "We bonded over Sailor Moon because she was Mars and I was Moon."

VIZ Media, the company that has acquired exclusive North American rights to "Sailor Moon," is releasing a new, uncut version of the original series with a brand-new English-voiced cast. (Toei Animation)

Other than Sailor Moon, did you have a favorite character in the series?

Well, I could tell you but then I would have to shoot that character because it would go straight to her head. No, I'm kidding.

There are two I really like. I really like Jupiter, because I love how sporty and how tough she was. She was a tomboy and that's definitely who I was growing up.

I also really liked Mars because she's kind of bitchy. I guess I'm maybe a little bit bitchy myself.

Is there a moment in the series that you remember because it was a particularly fun scene to play?

One was when Serena got drunk. She was just the happiest drunk … and she was speaking French. She thought she was speaking French, anyways.

I also hated and loved at the same time when Rini — when Mini-Moon and Sailor Moon switched ages. So suddenly Sailor Moon was a lot younger and Rini was suddenly older, and I got to go in to record with Stephanie Beard, who was Mini-Moon. We got to record together, which I didn't usually get to do, and she was suddenly this teenage version of the character she had been playing.

Can you talk about your fan base?

It is amazing. They just pour their hearts out to you. Everybody gives you hugs. Everybody.

We have people who say, "You are my childhood." Then we'll have a little tiny kid come over to the table and she'll be looking at me with wide eyes and I'll be like, "You're a Sailor Moon fan? How old are you?"

And she's like 6 six years old.

I'm like "I love it! How did you get into 'Sailor Moon?' "

And then behind her will be her mother, who's dressed up as Sailor Moon and says, "I think maybe I got her into it." It's so perfect. I love it.

Many fans dress up as "Sailor Moon" characters at conventions. (© Naoko Takeuchi / PNP, Toei Animation / VIZ Media)

How are the cosplayers at these conventions?

Oh my God. Unbelievable. They're so amazing. All of them. Every single one puts so much love into their costumes and everything they do.

What exactly is going to be happening at your Anime Expo event on Friday?

What we usually do is we open up the floor to the audience and say, "We know you have questions so don't be shy because fortune favors the bold and ask the questions that you've always wondered."

That's always really interesting because I get to hear the stories from the other guys who did stuff and all the funny stories they have.

But for this particular one, Terri Hawkes is going to be there. And I am like, "Ah! I want to hear what she has to say!" I want to hear all of her stories because I didn't get to do that part. That was a whole other thing. We're going to have completely different versions of things, I'm sure.

Is it weird to watch a "Sailor Moon" with a voice that's not yours?

No, because that's what I knew. It's almost more weird for me to watch my own because I'm really hard on myself.

There are so many things I would change. I think it's easier for me to listen to Terri and Tracey [Moore] than it is to listen to myself.

What do you think makes your Sailor Moon different from that of the other actresses?

Well, I think that mine was more goofy. She just didn't take herself as seriously in real life. She's just a goofball.

I think that maybe Terri's was a little bit more serious. She was a little bit more sturdy with herself.

I think that mine wasn't. I was just more flighty…. Until of course the world needed to be saved.

Are you going to participate in other "Sailor Moon Day" activities?

Are you kidding? Of course I'm gonna go to this stuff. I want to see all of this stuff. I want to see the buzz. I want to see how people react to it. I want to see it all. So yeah, I'm really excited about it.

– Tracy Brown | @tracycbrown | @LATHeroComplex

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China box office grows 22% in first half of 2014

China's box office grew more than 22% in the first half of 2014, to $2.2 billion, and U.S. titles such as "Transformers: Age of Extinction" and "X-Men: Days of Future Past" helped imported films grab more than half of all ticket sales in the world's second-biggest movie market.

The top-grossing movie so far this year on the mainland is the domestic production "The Monkey King," which racked up $168.5 million over the Chinese new year winter holiday, but Captain America, Spider-Man and other U.S. superheroes have proved formidable challengers in recent months. Foreign films snared 51.4% of the total box office through June 30, figures compiled by Shanghai-based industry consulting firm Artisan Gateway showed Tuesday.

"A strong Chinese-language film season in the first quarter is now complemented by the tentpole imports of summer," said Rance Pow, president of Artisan Gateway, who also noted that Hollywood studios are having increasing success securing simultaneous releases for their movies in China. In the first half of 2014, eight Hollywood films debuted in China the same day as they opened in the U.S., compared with just three in the first half of 2013.

"Transformers: Age of Extinction," one of those day-and-date releases, looks to be on pace to shatter China's all-time box-office record, held by "Avatar." In 2010, director James Cameron's film took in 1.39 billion renminbi, or about $224 million at today's exchange rates. Since launching Friday, Paramount Pictures' fourth installment in the Transformers series has earned $111.3 million -- about as much as in the U.S. -- and set new records for China's best opening day and biggest three-day opening weekend.

"X-Men" from 20thCentury Fox and Marvel's "Captain America: The Winter Soldier" both surpassed $115 million on the mainland, while Sony's "The Amazing Spider-Man 2" took in $94 million.

The balance between imported and domestic productions is closely watched and politically sensitive in China, where the government limits the number of foreign films shown in the country each year and their release dates are controlled by the state-run China Film Group.

So far, 34 imported films have been shown in China in 2014, but July and August have typically been largely off-limits to big foreign movies, and the release calendar for the next two months shows no major Hollywood titles on tap.

"Striking a balance on box office remains important. They're trying to allow in the best foreign content but not allow it to dominate," said Chen Shaofeng, deputy director of the Institute for Cultural Industries at Peking University.

"The ideal is not lower than 50-50; if domestic films generate too little revenue, that will seem like a cultural imbalance and could generate backlash from the public and the industry."

But some theater chains are starting to chafe at efforts to manipulate the market. On the eve of the release of "Transformers," a top regulator implored cinemas not to give over "excessive" numbers of screens to the Hollywood juggernaut, but many went ahead and devoted 60% or even 70% of their auditoriums to the film.

In a sign of good news for China's film industry, local movies look to be showing broader range this year. Although the big-budget 3-D "Monkey King" topped the charts, it was followed by the reality kids TV show adaptation "Dad, Where Are We Going?" which was produced for about $5 million and earned $112 million, Artisan said.

Director Zhang Yimou's post-Cultural Revolution drama "Coming Home" set records for an art-house film in China, with $47.2 million. The animated "Boonie Bears: To the Rescue" earned about $39 million, more than "Rio 2."

Strong revenue for U.S. imports is being driven in part by 3-D premiums. All the top American imports have been available in the enhanced format, but only two of the top-10 Chinese earners were released in 3-D. Under China's quota import system, 14 slots are reserved for 3-D films.

The mainland movie market is now No. 2 in the world and is growing rapidly, but it still remains substantially behind the U.S.-Canada market despite China's much larger population. In 2013, the mainland Chinese box office rose about 27% to $3.6 billion, while the U.S.-Canada market was up just 1% to $10.9 billion. China's blistering pace of growth in recent years has prompted American studios to seek a range of partnerships and tie-ups on the mainland to grab a piece of the expanding pie.  

But how much further China's box office will grow is the subject of fierce debate.

The country has been adding screens at a rapid clip and now has about 20,000 -- about half the number in the U.S. and Canada.

"At the current rate of cinema screen growth of 18 screens per day, China can reach screen-count parity with the U.S. market within about three years," Pow said. "However, average ticket prices in China -- $5.65 -- still lag the U.S. market -- $8.13 ... . So global box-office parity is still some distance away."

Chen said he believes that this year's China box office will reach about $4.2 billion but that growth will soon start to slow and receipts will peak within a few years at about $5.6 billion. Theater occupancy, he said, remains a serious problem, with on average only about 15% of all available seats being sold.

"The question is how to increase efficiency and attract more moviegoers," he said, noting that chains may have to offer more discounts to lure audiences.

Chen predicted that regulators will attempt to keep import restrictions in place for the "foreseeable future," but said restrictions could be eased if box-office growth starts to slow substantially.

"If domestic films don't keep pace and stay competitive," he said, authorities "may allow more foreign content into the country to allow box office to continue to grow."

Tommy Yang in the Times' Beijing bureau contributed to this report.

Copyright © 2014, Los Angeles Times

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Pro-democracy marchers fill streets in Hong Kong

Braving heat and rain showers, and hoisting signs with slogans such as "Universal suffrage!" marchers filled the streets of Hong Kong on Tuesday to press for greater democracy in the semi-autonomous Chinese territory.

Demonstrators packed Victoria Park in the early afternoon, then marched along a predetermined route toward the city's financial district. As night fell, some crowds were still in the streets, and a group primarily composed of students was beginning a sit-in on Chater Road. Others were headed to protest in front of the office of the city's unpopular chief executive.

The march was orderly, though tensions between police and demonstrators rose and fell throughout the afternoon as officers accused the protesters of moving too slowly, and participants said authorities were causing bottlenecks by refusing to open up more routes of passage.

Hong Kong, a former British territory, returned to Chinese rule on July 1, 1997; under rules governing the handover, the region of more than 7 million is supposed to enjoy significant civil liberties, as well as the latitude to largely manage its own affairs for decades to come. In 2017, residents are to be allowed to vote directly for the city's chief executive.

Beijing authorities have pledged that a direct vote will occur, but many locals fear that only candidates acceptable to China's Communist rulers will be allowed onto the ballot. In a 10-day nonbinding referendum that ended Sunday in the city, nearly 800,000 people cast ballots indicating their desire for a system that would allow for open nominations.

Officials in Beijing have condemned the referendum as illegal, issuing a white paper in June that emphasized Hong Kong was firmly under the control of the central government.

The document landed with a thud in Hong Kong, with some political analysts saying it backfired and drove people to polling stations last week. On Tuesday, a number of marchers carried signs saying, "We don't need a White Paper, return my right to vote."

In an allusion to the French revolution, others periodically broke out into renditions of the song, "Do You Hear the People Sing?" from the musical "Les Miserables."

Since the handover, July 1 has been an annual day for rallies in Hong Kong, and estimating the crowds has long been a contentious affair. Police put the turnout at 92,000, but organizers said the crowds numbered more than 500,000.

Organizers of the day's rally and march sought to keep crowds pumped up late into the night. Johnson Yeung Ching-yin of the Civil Human Rights Front, told a crowd after 9 p.m. that Hong Kong did not need to take orders from the "dictatorship thousands of miles away," the South China Morning Post reported.

China's state-run media did not devote attention to the demonstrations. The official New China news agency instead ran an article noting that officials in Hong Kong had held a ceremony commemorating the 17th anniversary of the July 1, 1997, handover.

The article quoted a man, identified only as Mr. Wang, a local resident, as saying, "Today is a good day in Hong Kong. I hope Hong Kong continues to get better and better."

Tommy Yang in The Times' Beijing bureau contributed to this report.

For news from Asia, follow @JulieMakLAT on Twitter

Copyright © 2014, Los Angeles Times

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Maria Sharapova ousted at Wimbledon by Angelique Kerber

A decade ago, 17-year-old Maria Sharapova won the first of her five major tennis titles here at Wimbledon. On Tuesday, her hopes for the ultimate 10-year-anniversary present went awry.

Sharapova, seeded fifth, ran into a determined German named Angelique Kerber, seeded ninth, who outlasted her in a 2-hour, 37-minute drama play on Center Court.

Kerber won, 7-6 (4), 4-6, 6-4. When Sharapova's final ground stroke drifted long, Kerber threw her hands in the air and told the first TV interviewer she met that "this is unbelievable."

She said she had done it, despite Sharapova's incredible grit and unwillingness to yield, by "believing in my game."

Sharapova's Wimbledon record of 41-11 put her third among active players with Wimbledon victories, behind Venus and Serena Williams, with 73 and 72, respectively.

She has won all four majors at least once, and made it twice at this year's French Open.

Sharapova put herself deep in a hole in the final game, making three mistakes to start and then having to fight back. With each match point saved the drama built, and Sharapova never backed down, still going for depth and the lines with each shot.

In that game, there were six game points for Kerber (match points), two game points for Sharapova and four deuces.

The drama was not lost on Kerber, whose best Grand Slam tournament finishes have been semifinals at the 2011 U.S. Open and the 2012 Wimbledon.

"It was just a great match," Kerber said. "I think the people really enjoyed it out there."

Copyright © 2014, Los Angeles Times

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Maria Sharapova ousted at Wimbledon by Angelique Kerber

A decade ago, 17-year-old Maria Sharapova won the first of her five major tennis titles here at Wimbledon. On Tuesday, her hopes for the ultimate 10-year-anniversary present went awry.

Sharapova, seeded fifth, ran into a determined German named Angelique Kerber, seeded ninth, who outlasted her in a 2-hour, 37-minute drama play on Center Court.

Kerber won, 7-6 (4), 4-6, 6-4. When Sharapova's final ground stroke drifted long, Kerber threw her hands in the air and told the first TV interviewer she met that "this is unbelievable."

She said she had done it, despite Sharapova's incredible grit and unwillingness to yield, by "believing in my game."

Sharapova's Wimbledon record of 41-11 put her third among active players with Wimbledon victories, behind Venus and Serena Williams, with 73 and 72, respectively.

She has won all four majors at least once, and made it twice at this year's French Open.

Sharapova put herself deep in a hole in the final game, making three mistakes to start and then having to fight back. With each match point saved the drama built, and Sharapova never backed down, still going for depth and the lines with each shot.

In that game, there were six game points for Kerber (match points), two game points for Sharapova and four deuces.

The drama was not lost on Kerber, whose best Grand Slam tournament finishes have been semifinals at the 2011 U.S. Open and the 2012 Wimbledon.

"It was just a great match," Kerber said. "I think the people really enjoyed it out there."

Copyright © 2014, Los Angeles Times

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Gisele Bundchen shaves her head for Balenciaga's latest campaign?

Brazilian supermodel Gisele Bundchen can be seen rocking a slicked buzz cut in Balenciaga's latest fall campaign. 

So, did the 33-year-old cut it all off? Or is the new hairdo a wig? The verdict, please: Bundchen's luscious, wavy, highlighted, flowy hair -- too much? OK, all of her hair is still there. Just hidden under a wig.

"So fun to transform for the new @balenciaga by @alwxanderwang shoot by @skstudly," Bundchen tweeted on Monday with an image from the campaign. 

In the five black-and-white photos the fashion house has released so far, Bundchen models distinct looks amid a backdrop of shattered glass. Crisp suits and thigh-high boots evoke the mood.  

"This is how I see Gisele for Balenciaga; strong, powerful, mysterious and uncompromising," Balenciaga artistic director Alexander Wang told Style.com.

Then there's the hair.

"The funny thing was that Gisele had to come in three hours before call time just to put the bald cap on," Wang said. "We had to wrap the hair very, very flat to her head, put the bald cap on, and then paint the bald cap to the exact same skin color as Gisele. It was basically like putting her into what you usually see on sets like 'X-Men.'"

The look is certainly darker than Bundchen's first ad campaign for Balenciaga in spring/summer 2011. Less edgy, more punk and quirky. And when Bundchen strutted her stuff down the brand's runway that year, she did it in chunky flats. That move was echoed through the entire collection: None of the models wore heels down the runway during the show.

Bundchen returned to Balenciaga's catwalk in February for the Fall 2014 show in Paris. It was a rare catwalk appearance for 2013's highest-earning supermodel: She's been doing the print ad campaigns instead. Bundchen's Instagram offers a taste of her work for sexy, colorful label Emilio Pucci and casual, cool brand Isabel Marant.

The Victoria's Secret Angel has been gracing magazine covers too. A scroll through Mrs. Tom Brady's Twitter feed reveals a shot of her July 2014 Elle Russia cover and July 2014 Elle Turkey cover. There's also her June 2014 Elle Belgium, Elle South Africa, Elle France and Elle Sweden various covers. 

Closer to home, Bundchen may be especially proud of her June 2014 Vogue Brazil cover, a Mario Testino picture of the model and Brazilian soccer player Neymar da Silva Santos Jr. On Instagram, Bundchen shared the cover and wrote, "Vai Brasil!!! @voguebrasilGo Brazil!!! @voguebrasil cover."

With the World Cup in full swing, the mother of two isn't afraid to show some love for her home team. She and her family, clad in Brazil national football jerseys, have been cheering for the host team. The team has advanced to quarterfinals and plays Colombia on Friday. "Goooooooool!!!!," the supermodel wrote on Twitter as a game was in session.

With a bevy of ad campaigns and magazine covers to promote this month, Bundchen's scored quite a few goals herself.

Copyright © 2014, Los Angeles Times

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