Latest news with #WaystarRoyco
Sydney Morning Herald
4 days ago
- Entertainment
- Sydney Morning Herald
This is what ultrawealth looks like
In real life, the house is on West Crestwood Court in Deer Crest, a gated community adjacent to the Deer Valley ski resort, where celebrities such as Khloe Kardashian and Gwen Stefani have hit the slopes. Designed by architect Michael Upwall, it has seven bedrooms and 16 bathrooms, as well as a two-lane bowling alley, a full-size basketball court, an indoor rock-climbing wall, and a spa with a steam room and sauna. Outside, it features an infinity pool and a whirlpool bath, both built into a 465-square-metre heated patio. But it's more than just well-appointed. As Eskenazi pointed out, the house is 'not nestled into a community flanked by neighbours' but is 'set apart, elevated, with sweeping views that feel deliberately unobstructed'. That sense of 'space, privacy and silence', he said, provides 'its own kind of luxury'. This was a stark contrast to Armstrong's Succession and its protagonists, the Roy family, who own media conglomerate Waystar Royco. 'That kind of media-mogul wealth is about access and movement. It's flashy, public, very performative,' Eskenazi said. 'With Mountainhead, it was the opposite. Jesse wanted just one main house – huge, remote and a little unsettling.' 'It was more about isolation and privacy than prestige,' Eskenazi added. The remote home is the 'pinnacle of ultraluxury', in the words of Engel & Volkers, a real estate firm that recently listed the property for $US65 million. (It sold for a figure 'in the high-$US50 million range,' a representative for Engel & Volkers said.) Mountainhead wasn't conceived with this specific property in mind. Instead, the crew was briefed to search for something elevated and isolated, ideally set against snow and ice. What Armstrong wanted 'wasn't about a specific architectural style so much as a feeling', Eskenazi said. 'The house needed to be remote and imposing, yes, but also strangely intimate – a place that could hold both grandeur and silence. It had to feel like it had a history, even if we didn't spell it out on screen.' The search for the right setting started broad: the crew considered homes in Europe, while HBO urged it to consider locations in Canada, such as Whistler, British Columbia, because of the country's ample tax credits for visiting productions. An architectural profile in magazine Robb Report clued the crew into the Deer Valley property. 'The moment Jesse saw it, everything changed,' Eskenazi said. 'That was when the location locked in, and we knew: this is it.' Loading Stephen Carter, production designer on the film, and the crew added faux-stone veneers and cedar panelling to cover up some of the house's bare walls, and he was responsible for details such as art and furniture, including a $US300 toaster and 'a lesser-known Jeff Koons'. Some of these fixtures were meant to convey Hugo's desperation to impress as well as his status as the minor magnate. For example, the art: 'While these items would auction in the six figures, they're not quite at the level' of the others in the group, Carter said. ('Was your decorator Ayn Bland?' Jeff ribs Soups when he arrives.) One of the wittiest touches? A work by Damien Hirst in the entry hall: ' Beautiful Bleeding Wound Over the Materialism of Money Painting.' Loading The cumulative effect of these details and the property in which they're situated suggests a kind of gilded cage — the perfect place to sequester four rich tech bros as society starts to collapse all around them.
The Age
4 days ago
- Entertainment
- The Age
This is what ultrawealth looks like
In real life, the house is on West Crestwood Court in Deer Crest, a gated community adjacent to the Deer Valley ski resort, where celebrities such as Khloe Kardashian and Gwen Stefani have hit the slopes. Designed by architect Michael Upwall, it has seven bedrooms and 16 bathrooms, as well as a two-lane bowling alley, a full-size basketball court, an indoor rock-climbing wall, and a spa with a steam room and sauna. Outside, it features an infinity pool and a whirlpool bath, both built into a 465-square-metre heated patio. But it's more than just well-appointed. As Eskenazi pointed out, the house is 'not nestled into a community flanked by neighbours' but is 'set apart, elevated, with sweeping views that feel deliberately unobstructed'. That sense of 'space, privacy and silence', he said, provides 'its own kind of luxury'. This was a stark contrast to Armstrong's Succession and its protagonists, the Roy family, who own media conglomerate Waystar Royco. 'That kind of media-mogul wealth is about access and movement. It's flashy, public, very performative,' Eskenazi said. 'With Mountainhead, it was the opposite. Jesse wanted just one main house – huge, remote and a little unsettling.' 'It was more about isolation and privacy than prestige,' Eskenazi added. The remote home is the 'pinnacle of ultraluxury', in the words of Engel & Volkers, a real estate firm that recently listed the property for $US65 million. (It sold for a figure 'in the high-$US50 million range,' a representative for Engel & Volkers said.) Mountainhead wasn't conceived with this specific property in mind. Instead, the crew was briefed to search for something elevated and isolated, ideally set against snow and ice. What Armstrong wanted 'wasn't about a specific architectural style so much as a feeling', Eskenazi said. 'The house needed to be remote and imposing, yes, but also strangely intimate – a place that could hold both grandeur and silence. It had to feel like it had a history, even if we didn't spell it out on screen.' The search for the right setting started broad: the crew considered homes in Europe, while HBO urged it to consider locations in Canada, such as Whistler, British Columbia, because of the country's ample tax credits for visiting productions. An architectural profile in magazine Robb Report clued the crew into the Deer Valley property. 'The moment Jesse saw it, everything changed,' Eskenazi said. 'That was when the location locked in, and we knew: this is it.' Loading Stephen Carter, production designer on the film, and the crew added faux-stone veneers and cedar panelling to cover up some of the house's bare walls, and he was responsible for details such as art and furniture, including a $US300 toaster and 'a lesser-known Jeff Koons'. Some of these fixtures were meant to convey Hugo's desperation to impress as well as his status as the minor magnate. For example, the art: 'While these items would auction in the six figures, they're not quite at the level' of the others in the group, Carter said. ('Was your decorator Ayn Bland?' Jeff ribs Soups when he arrives.) One of the wittiest touches? A work by Damien Hirst in the entry hall: ' Beautiful Bleeding Wound Over the Materialism of Money Painting.' Loading The cumulative effect of these details and the property in which they're situated suggests a kind of gilded cage — the perfect place to sequester four rich tech bros as society starts to collapse all around them.
Daily Record
23-04-2025
- Business
- Daily Record
Succession star Brian Cox swaps boardroom for roller skates in hilarious new advert
Malibu's new commercial urges people to 'clock off' and take their after-work hours seriously - something Logan Roy was definitely not an advocate of. Succession star Brian Cox has given up the boredom of being in charge of Waystar Royco to embrace his softer side after fronting a fun advert for flavoured rum. Malibu's new commercial urges people to 'clock off' and take their after-work hours seriously. The drinks firm has enlisted Scots actor Cox – known for playing one of TV's most relentless workaholics – for a campaign encouraging people to prioritise their free time, finish work when they're supposed to and make space for play. Malibu's Do Whatever Tastes Good campaign, called Clock Off. In a sharply contrasting turn, the Dundee native is shown roller skating out of the office at 5:01pm in a bright pink suit to enjoy a Malibu Piña Colada on the beach. The campaign highlights growing concerns about overwork in the US, where a Malibu-commissioned survey found that workers are putting in an average of 15 unpaid extra hours a week—equivalent to nearly eight extra working days per year. A majority (71 per cent) of Americans reported feeling pressured to work overtime, with one in five feeling outright overworked. 'In some roles I was consumed by work, control and power, and never knew when to clock off,' Cox said. 'But the reality is, we all need to disconnect if we want to enjoy what life has to offer.' Cox's appearance builds on Malibu's repositioning in recent years as a brand advocating for spontaneity, fun and freedom from routine. Last year, Olympic diver Tom Daley fronted a Malibu campaign promoting 'joyful spontaneity' and encouraging people to embrace their playful side. Now, Malibu is pivoting that message towards workplace culture, aiming to help consumers reclaim their personal time. The new campaign video presents a colourful escape from 'disguised overtime', with Cox acting as an unlikely advocate for balance and lightness. 'We understand that work is a meaningful part of life,' Craig van Niekerk, Malibu's VP of Marketing, said. 'But it's overwork—not work—that's wearing us down. Our 'Clock Off' message feels more important than ever. In a world that rarely stops, we're reminding everyone to slow down, prioritise joy and make time for what truly matters.' Cox has also been unveiled as one of the big names coming to the Adam Smith Festival of Ideas in Kirkcaldy this summer - to talk about his new role as the ghost of the Lang Toun's most famous son. The Emmy award-winning actor is returning to the Scottish stage for the first time in a decade for the role which centres on the banking crash of 2008. It is set for a sold out run at Dundee Rep followed by shows at the Edinburgh International Festival, but Fife audiences will have a one-off chance to hear about it as Cox is joined for an In Conversation event with Arabella Weir at the Adam Smith Theatre on June 7. They will also be introduced by Gordon Brown, who was Prime Minister, and MP for Kirkcaldy, at the time of the crash. They will chat about Cox's Scottish heritage, his career, and his rise to fame as well as his hotly anticipated role as Smith. Previous big names have included Eddie Izzard, Joanna Lumley, Fife born Dougray Scott, and David Tennant.
BBC News
20-03-2025
- Entertainment
- BBC News
Munya Chawawa auditions to be Brian Cox's understudy for Red Nose Day 2025
In an exclusive sketch for Red Nose Day 2025, Munya Chawawa heads to the West End to become Brian Cox's new understudy in his critically acclaimed play, The Score. But how will the famously no-nonsense, multi-award-winning actor take to Munya's ideas for the 'role'? Presenter, comedian and influencer Munya Chawawa is one of the UK's premier social media sensations, who has amassed over one billion views during the last two years. He's best known for his razor-sharp satire, viral comedy skits, and quick-witted social and political commentary. Best known for his iconic role as Logan Roy, the formidable owner of entertainment conglomerate Waystar Royco in HBO's hit series Succession, Brian Cox is a legendary Scottish actor with a career spanning over six decades across stage and screen. Read more: Red Nose Day 2025 - How to watch the Big Night of TV, sketches, challenges and everything you need to know The Score, written by Oliver Cotton and directed by Trevor Nunn, was originally presented at the Theatre Royal Bath before transferring to London's West End. Cox stars as Johann Sebastian Bach in the production. Munya Chawawa says: 'For years, Brian Cox has been looking for an understudy to match his contagious glee and cheeky banter – and that understudy, is me. It was pretty incredible being together on screen for Comic Relief – great laughs for a great cause that hopefully makes a difference in some way!' Money raised this Red Nose Day could help put food on plates and roofs over heads, keep little ones safe and help support families affected by conflict here in the UK and around the world. Watch Munya's bid as part of Red Nose Day 2025 on Friday 21 March from 7pm on BBC One and BBC iPlayer. Red Nose Day 2025 is made by BBC Studios Entertainment Productions. OH
