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‘The Voyeurs’ Is Unabashedly Horny, A Welcome Change From The Sexlessness of Modern Millennial Movies

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The first shot of The Voyeurs zeroes in on Pippa (Sydney Sweeney), as the camera observes her in the gap of a dressing-room curtain. As she appears to become aware that she’s being watched as she’s undressing, she looks reproachfully toward the audience while pulling the curtain shut. A bit on the nose, perhaps, but in a cinematic landscape so deprived of Brian De Palma-style post-Hitchcockian winking voyeurism, maybe more movies should be aiming to stimulate other body parts besides the boring old heart or brain?

The Voyeurs isn’t just De Palma-esque; it’s a full-on erotic thriller, recalling movies like De Palma’s Body Double and Dressed to Kill, as well as less distinguished titles like 1993’s Sliver, with which it shares a fixation on urban surveillance. Pippa and Thomas (Justice Smith) are a couple who moves into a beautiful new apartment building and become fascinated with another couple, whose lives (sex and otherwise) unfold in full view across the street from them. Pippa becomes significantly more fascinated than Thomas does, though it’s hard to tell if she’s more attracted to amorous (some might say sleazy) photographer Seb (Ben Hardy) or the possibly distressed model Julia (Natasha Liu Bordizzo). Anyway, twists ensue, many of them erotic.

These types of movies have fallen out of fashion, as so many subgenres do—but it’s hard not to read their particular absence as a commentary on the utter sexlessness of so many mainstream movies (*cough* MARVEL *cough*). Despite fewer content restrictions than ever (no one will be checking IDs before you stream the decidedly R-rated Voyeurs on Amazon Prime this weekend), movie studios are cautious about heavily sexualized stories or characters. And there are some signs audiences like it this way, or at least have come to understand it as a standard: Every few months, sometimes even more often, someone goes viral on Twitter for opining how unnecessary it is for any movie to include basically any kind of sex scene. As far as anyone can tell, these tweets are rarely authored by your grandparents. They often seem to come from genuine twentysomethings, perhaps chucking sexuality out with the male gaze that has often informed them.

This possible generation gap may actually be a niche issue amplified by the Very Online, but it’s one that Michael Mohan, the writer-director of The Voyeurs, seems to be aware of nonetheless. Compared to vintage erotic thrillers, Mohan’s movie is striking for focusing on characters who read much younger than typical ‘80s or ‘90s protagonists. Justice Smith and Sydney Sweeney aren’t vastly younger than, say, Kathleen Turner in Body Heat or Melanie Griffith in Body Double, but they read that way thanks to the actors’ past work. Sweeney is known primarily for teenage or teenage-adjacent roles so far; though she often plays characters who are forward or provocative, as she did on Everything Sucks!, the short-lived ‘90s-based coming-of-age dramedy also shepherded by Mohan, she’s mostly kept pace with her real-life age. Smith has played some nominal adults in blockbusters like Jurassic World: Fallen Kingdom and Detective Pikachu, but these are exactly the kind of big-studio projects that are essentially kids’ movies with a few dark moments to placate adults. They barely have romance, let alone any hints of sex.

Sydney Sweeney stars in The Voyeurs
Photo: Bertrand Calmeau / Amazon Studios

The movie’s characterization of Pippa and Thomas accentuates their late-Millennial, borderline-Gen-Z vibes. They come across as faintly disbelieving that they belong in a nice Montreal apartment, their romantic banter is dorky and self-deprecating, and they ask Siri about open relationships at brunch. Even their mismatched voices drive home their lack of forceful adultness: There’s a built-in hesitancy to Sweeney’s Drew Barrymore-ish lilt, while Smith’s deeper voice contrasts with his character’s sheepish attitudes (“that’s some good content,” he deadpans about seeing the neighbors across the way having sex). A distance forms between the characters because Pippa is intrigued by the watching-and-watched kink, while Thomas—who seems more squeamish about sex from the jump—blanches. (He’s technically correct about the questionable ethics of Pippa’s behavior—and still comes across as a worrying scold.)

The Voyeurs ultimately pushes further than vague questions of generational comfort with sexuality; it doesn’t really take place in anything resembling the real world, knowingly so (“It just doesn’t feel real,” Pippa says at one point late in the film). But the tension it generates between sexual curiosity and contemporary prudishness gives it some metatexual punch. Mohan and Sweeney place Pippa at the center of that tension. She appears in a concealed state of undress so many times that it almost becomes a running gag, making this the first movie in ages to actually attempt to wring suspense out of when nudity will occur. (Smith mostly stays clothed—both thematically appropriate for his character and somewhat unfair.)

This sounds lascivious, but the movie knows what it’s doing in this regard; it feels equally eager to recall the heyday of Mr. Skin and to be called “horny” on Twitter. If it feels a little like a training-wheel erotic thriller, lacking noirish overtones or the setpiece-heavy dexterity of a great thriller, maybe that’s part of its design. Instead, The Voyeurs remains hyper-fixated on the idea of watching — Pippa’s line of work is ophthalmology, enabling plenty of gnarly eyeball closeups (and the line “I know what the inside of her oculus looks like”) — to the point where the movie feels like a viewer’s guide to itself, easing an unaccustomed audience into its sexy, dangerous world. If it’s all a bit indulgent without a lot of emotional resonance to its more ghoulish twists, well, maybe that’s OK, too. Onanism doesn’t get much play in mainstream movies, either.

Watch The Voyeurs on Amazon Prime

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New York

Crypto firms pay massive price tags to name arenas as sports teams weigh risks

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Cryptocurrency companies are being forced to shell out massive premiums in sports sponsorship deals as professional teams weigh the risks of getting burned — like some of them did during the dot-com bubble. 

Crypto.com, a Singapore-based crypto trading site, reportedly paid $700 million for the naming rights to the Staples Center in Los Angeles for 20 years — more than five times what Staples had paid for the same rights in 1999.

And in March, Bahamas-based crypto exchange FTX ponied up $135 million to rename the home of the Miami Heat. That’s more than triple what American Airlines paid for naming rights in 1999.

Arena owners are able to demand more money from venture capital-flushed crypto firms because they’re relatively unknown names in an unproven industry, experts say. 

“If you want to do a deal with Mercedes Benz, that’s safe,” Columbia University sports management professor Joe Favorito told The Post. “If you go after a nontraditional naming rights deal, you probably ask them for a lot more money.” 

That’s because arena owners remember stadiums named after long-gone tech firms such as Baltimore’s PSINet Stadium and Boston’s CMGI field — both of which had to be re-christened after their namesakes imploded when the dot-com bubble burst in 2001. 

Exterior of the Baltimore Ravens stadium
The home of the Baltimore Ravens had to be renamed after tech firm PSINet imploded in 2002.
Getty Images

“During the bubble, there were companies that bought in on buildings and went bankrupt and that was an extremely disappointing and troubling thing,” said Favorito, who added that scrubbing a defunct company’s name from a stadium can also damage a franchise’s brand and can reduce its appeal to future sponsors.

As a result, crypto firms with unproven track records have to make their offers so big that team owners “can’t take anything else,” according to Chris Lencheski, an ex-Comcast executive who has worked on arena naming deals. He compares the dynamic to the “tobacco premium” that cigarette makers had to pay for sports deals in the 20th century.

Beyond arena naming rights, crypto companies are also spending big on other sports deals. 

Tom Brady and Gisele Bündchen on the red carpet
Tom Brady and Gisele Bündchen starred in a $20 million ad campaign for FTX in October.
Getty Images

Tampa Bay Buccaneers quarterback Tom Brady and his supermodel wife Gisele Bündchen starred in a $20 million ad campaign for FTX in October, while American crypto exchange Coinbase paid an undisclosed amount to become the NBA’s first-ever “crypto sponsor” the same month.

Crypto.com also paid $175 million in July to plaster its name on Ultimate Fighting Championship posters and merch for 10 years. StormX, a startup that pays out crypto cash-back awards on online purchases, signed a multiyear deal to adorn Portland Trail Blazers jerseys with a logo patch in July.

“These companies are in a mad dash to get their name out there and put their stake in the ground,” said Woody Thompson, executive vice president at sports and entertainment marketing firm Octagon. 

The premium prices venture capital-flush crypto companies are willing to pay for ad space are likely to raise advertising costs across the board, forcing traditional advertisers like car, retail and beverage companies to shell out more money, Thompson said.

“This is what happened with the dot-com boom” he noted.

As lawmakers and regulators debate how to oversee the booming crypto industry, teams and arenas in the Washington, DC, area are seeing especially high interest from crypto companies and other new financial technology firms, according to Favorito. 

“In Washington, the people who are going to games are lobbyists and senators and you want to be front and center with them in their space,” he said. “Nobody’s really talked about the casual lobbying that goes on at a hockey game or a football game.” 

Exterior of the FTX Arena in Miami
In March, Bahamas-based crypto exchange FTX shelled out $135 million to rename the home of the Miami Heat.
Shutterstock / Johnny Michael

Crypto.com, FTX and StormX didn’t respond to requests for comment. Nor did the Portland Trail Blazers, the UFC, the FTX Arena or AEG Worldwide, which owns the Staples Center.

Coinbase spokesman Andrew Schmitt declined to provide details of the company’s NBA deal.

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Vita Vea gets tooth knocked out, seems just fine with that

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Vita Vea was all smiles despite getting one of his front teeth knocked out Sunday.

The Buccaneers’ defensive tackle was shown grinning and pointing to his bloody new gap on the sidelines after he lost a tooth while being blocked by Colts guard Mark Glowinski in the first half.

Vea’s helmet appeared to be coming off before contact — with his facemask rising above his mouth — enabling a direct hit by Glowinski’s helmet into Vea’s face to dislodge one of his teeth.

Vita Vea tooth
Vita Vea had his tooth knocked out by the helmet of Mark Glowinski.
Fox
Vita Vea tooth
Vita Vea didn’t seem too bothered by having a tooth knocked out.
Fox

The replay of the play led to this exchange between Fox play-by-play announcer Kevin Burkhardt and analyst Greg Olsen:

“Oh, he lost a tooth,” Burkhardt said.

“And he’s smiling. That’s the best part. Oh my gosh,” Olsen added.

“Does the tooth fairy come for 26 year olds? I’m just asking. That is unbelievable,” Burkhardt said.

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Manhattan skyscraper snags its own builder as a tenant

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The Spiral is adding a large new tenant who won’t have to ask where the elevators and the bathrooms are when it moves in.

That’s because Turner Construction Company, which just signed a 13-year, 75,000-square-foot lease, is actually building the new Tishman Speyer tower on the far West Side. Turner is the general contractor on the BIG-Bjarke Ingels Group-designed skyscraper with a top-to-bottom landscaped spiral of exterior terraces.

Turner is moving its worldwide headquarters to the third floor of the tower, aka  66 Hudson Boulevard between West 34th and 35th streets. It will relocate from 375 Hudson St. in January 2023.

The deal brings The Spiral’s 2.8 million square feet to 54 percent leased with a year left before it’s completed.

Turner handles $12 billion of construction each year worldwide. Tishman Speyer President and CEO Rob Speyer called the firm  “an incredible partner as we built The Spiral, introducing technology, safety and workforce innovations that make it a new standard for modern office development.”

Turner CEO Peter Davoren said the building “will provide us with an environment that so well defines our vision and the future of the company.”

Construction workers at The Spiral's site.
Tishman Speyer CEO Rob Speyer (second from right), along with others involved in creating The Spiral, signs the steel beam for the topping out of the building.
AP

The Spiral will also be home to COVID-beating vaccine maker Pfizer, the anchor tenant with 746,000 square feet.

Large leases were also signed by law firm Debevoise & Plimpton and AllianceBernstein.

Terms of the Turner deal were not released. Asking rents in the tower have been reported as ranging from $110 per square foot at the base to $225-plus per square foot at the top.

A rendering of The Spiral with the Chrysler Building in the background
AllianceBernstein has also leased space in The Spiral, aka 66 Hudson Boulevard.
The Spiral NY

A CBRE team of Mary Ann Tighe, Rob Hill, Brendan Herlihy and Elliot Bok advised Turner on the deal. Tishman Speyer was repped by an in-house leasing team.


When news broke last week that Chubb signed on as the first tenant at 550 Madison Ave. — a deal that we first forecast three months earlier — observers, Realty Check included, were curious what the lease terms were.

The first tenant at a new development or redevelopment typically gets a more favorable deal than those that follow.

We’ve now learned that Chubb will enjoy 24 months of free rent.

Once the two years are up, the rent will increase in stages from $110 to $140 per square foot on floors 10 to 17 and from $160 to $190 per square foot on floors 36 to 38.


For a street where nobody wants to shop anymore — as lots of off-base media reports claim —  it’s remarkable how the prime stretch of Madison Avenue north of 59th Street continues to draw luxury retailers even as some others move away.

Heidi Klum wearing a camouflage Birkin bag from Hermes
Hermès, maker of bags favored by style-setters like supermodel Heidi Klum, is opening a flagship store at 702 Madison Ave.
GC Images

The newest arrival will be Italian menswear maker Kiton at currently vacant 692 Madison Ave. between East 62nd and 63rd streets. Kiton just signed a lease for a three-level, 3,400-square-foot boutique next door to scarf and bag emporium Hermès — which will soon move into a much larger space at 702 Madison.

“This deal is a true testament to luxury retail in the city,” said broker Marc Sitt of Kassin Sabbagh Realty, who with Dorel Melloul represented the landlord at 692 Madison, the Ezair family.

“With Hermès opening their new flagship, this corridor will be more vibrant than it was in previous years.  We’re happy we structured a lease which made sense for everyone,” Sitt added.

Hermès will soon house its men’s and women’s collections in one building at 702 Madison.  

A building with the Cushman & Wakefield logo on the front
Cushman & Wakefield handled Kiton’s side of the leasing transaction at 692 Madison Ave.
NurPhoto via Getty Images

Kiton is expected to move in next summer. The store will also remain at 4 E. 54th St., a building owned by Kiton.

The Madison Avenue asking rent was $1.2 million per year.

Kiton was repped by Cushman & Wakefield’s Alan Wildes and Ian Lerner. Sitt also credited Kiton lawyer Massimo D’angelo for playing an important role in the deal.

Other recent nearby retail transactions include Celine at 650 Madison Ave. and Balenciaga at 620 Madison.


Prolific architectural firm Kohn Pedersen Fox has renewed its lease and expanded at Tishman Speyer’s 11 W. 42nd St. KPF added 38,000 square feet on the entire seventh floor,  bringing its total in the 1928-vintage building — known for its fine views and abundance of natural light — to more than 100,000 square feet.

The rent started in the low $60s per square foot, sources said. As part of the deal, KPF will enjoy one year of free rent on the expansion floor.

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