# data[].attributes.attachment_link.readable_text
Yesterday, Bon Appétit editor-in-chief Adam Rapoport resigned following a staff outcry sparked by an Instagram post of him in brownface. The photo was resurfaced by the writer and wine professional Tammie Teclemariam, prompting some employees to speak out about his tenure, including test kitchen assistant editor Sohla El-Waylly, who was the first to call for Rapoport's resignation and raised issues of unequal pay for work in test kitchen videos. El-Waylly wrote that "only white editors are paid for their video appearances." (Some test kitchen editors are on contracts with Condé Nast Entertainment - the company's video wing - and so get paid more and can spend more time on video.)

In response, many of her test kitchen colleagues said they will not appear in videos until compensation issues are addressed. Senior food editor Molly Baz posted an Instagram Story asking others to commit to not appear in videos until their "BIPOC colleagues receive equal pay and are fairly compensated for their appearances." Senior food editor Andy Baraghani, test kitchen director Chris Morocco, and Brad Leone made similar statements. After her post, El-Waylly spoke with BuzzFeed about her experiences at Bon Appétit, saying the job she was hired for didn't require her to go on camera, but that her responsibilities were quickly expanded and she was asked to "stand in the background" during shoots.

On Twitter and Instagram, Condé Nast head of programming for lifestyle and style Matt Duckor wrote that there will be changes made to compensation. In response, critics called for back pay and for Duckor to step down.

I take responsibility for my part in this flawed system and will be an ally with my BIPOC coworkers to create a more equitable one that values all employees, whether it be for their writing, recipe development, or video work.
- Matt Duckor (@mattduckor) June 9, 2020

Last night, Condé Nast tweeted about its commitment to creating "a diverse, inclusive, and equitable workplace" and commitment to fair pay. The posts were met with criticism from former employees and other journalists:

As a global media company, Condé Nast is dedicated to creating a diverse, inclusive and equitable workplace. We have a zero-tolerance policy toward discrimination and harassment in any forms. (1/2)
- Condé Nast (@CondeNast) June 9, 2020

Consistent with that, we go to great lengths to ensure that employees are paid fairly, in accordance with their roles and experience, across the entire company. We take the well-being of our employees seriously and prioritize a people-first approach to our culture. (2/2)
- Condé Nast (@CondeNast) June 9, 2020
This post has been corrected to accurately reflect the response to Duckor's statement.

# data[].attributes.attachment_link.title
Bon Appétit's Test Kitchen Stars Are Demanding Equal Pay

# data[].attributes.attachment_link.description
Yesterday, Bon Appétit editor-in-chief Adam Rapoport resigned following a staff outcry sparked by an Instagram post of him in brownface. The photo was resurfaced by the writer and wine professional Tammie Teclemariam, prompting some employees to speak out about his tenure, including test kitchen assistant editor Sohla El-Waylly, who was the first to call for Rapoport's resignation and raised issues of unequal pay for work in test kitchen videos.

# data[].attributes.attachment_link.readable_text
storm is brewing. But this particular Tempest, from site-responsive specialists Creation Theatre, is something special. Connected by the now ubiquitous video conferencing app Zoom, an online audience is helping to bring Shakespeare's brooding play to life. Commanded by Prospero's spirit Ariel, we rattle our screens, click our fingers and generally make some noise. We're creating live theatre together and it feels a little bit like magic.

The show's starting point is an immersive production of The Tempest that director Zoe Seaton staged in Oxford last summer, and some ingenious tweaks have been made to accommodate the new online setting. The actors perform in front of green screens, which are filled with a vast array of backdrops. Sometimes the scenery is downright silly (giant fish float past during the opening storm); sometimes it's symbolic (Prospero stands in front of endless TV screens); and sometimes the company perform in front of tantalising fragments from Ryan Dawson Laight's original set.

For a production pulled together in just two weeks, there are impressively few technical glitches. The sound occasionally drops out, or the "wrong" piece of action might be highlighted, but overall this is a confident production lit up by a great sense of mischief. Miranda and Ferdinand fall in love during a clever split-screen trick, Trinculo swigs wine from a magically disappearing bottle, and Simon Spencer-Hyde's Prospero commands the action from a TV control centre, where he can change the backdrop with a simple flick of the switch.

The play has been drastically abridged but the actors, many returning to roles they played last year, lend their speeches real clarity. The online setting feels like a naturally confined context, and it's the entrapped characters - including Itxaso Moreno's Ariel and PK Taylor's Caliban - that are most memorable. But it's the audience who are the most excited and exciting characters of all. During what sometimes feels like a Shakespeare-themed episode of Gogglebox, spectators flash up on the screen whenever they get involved in the action. It's such a joy to enjoy the show together. And that feeling of clapping together, while apart, at the end of the show? The stuff that dreams are made on.

* Online performances until 25 April

# data[].attributes.attachment_link.title
The Tempest review - interactive online production goes down a storm

# data[].attributes.attachment_link.description
storm is brewing. But this particular Tempest, from site-responsive specialists Creation Theatre, is something special. Connected by the now ubiquitous video conferencing app Zoom, an online audience is helping to bring Shakespeare's brooding play to life. Commanded by Prospero's spirit Ariel, we rattle our screens, click our fingers and generally make some noise.

# data[].attributes.body
Karen Flagstad'

# data[].attributes.body
When the zoom call begins Prospero's workers question why his background is so crazy with lights etc.

# data[].attributes.body
The Arts Council's 2016 case study on the benefits of digital theatre

# data[].attributes.body
All performers are dressed in their "work appropriate" attire because they are working from home.

# data[].attributes.body
Prospero's backgrounds will have pretty twinkling lights in it to signify his magic and enthusiasim for the play.

# data[].attributes.body
Performers shake their camera screen during the storm

# data[].attributes.body
Trinculo and Stephano accidentally expose that they aren't wearing bottoms for the performance when "forgetting" to turn their cameras off

# data[].attributes.attachment_link.title
Risky Business Original Glasses Dance Scene (Mandela FX)

# data[].attributes.body
Ariel will have glitter all over his face and body.

# data[].attributes.body
The sailors and crewmates turn their cameras off once the other characters "leave" the ship

# data[].attributes.body
Performers break character regualrly because they "aren't actors"

# data[].attributes.body
Audience interaction

# data[].attributes.body
Trinculo and Stephano accidentally expose they're drinking by forgetting to put their camera off.

# data[].attributes.body
Ariel has a glowstick he is constantly waving around the camera to look magical

# data[].attributes.body
When the play begins all the performers will have the same ship green screen background

# data[].attributes.body
Once the ship is wrecked the actors turn off their greenscreen, letting the audience see where they live.

# data[].attributes.body
The cast will use household items to make any sound effects because that's all they can get their hands on, as average people working from home.

# data[].attributes.body
The new theatre company Zoom Theatre's website explains what they've learned during their experiences adapting live theatre to Zoom during the pandemic.

# data[].attributes.attachment_link.readable_text
We do not know of any Zoom Video Communication compatible TV's (smart or otherwise). However, you can watch the show on your TV if you have a compatible video cable or if you can share your device screen with your TV (via Apple AirPlay, ChromeCast or other).

Watching Zoom on your TV through a video cable

Most all TV's have HDMI import ports. If you have a computer, tablet, or phone with an HDMI out port (or an HDMI adapter), and a HDMI cable, use the HDMI cable to connect your device to your TV, then set your device to output to external monitor and set your TV to the correct HDMI input port. This is the easiest way to connect, although you'll need to move your device close enough to the TV to reach the cable.

For a wireless connection between your device and your TV, you can use an Apple AirPlay or ChromeCast compatible device.

Watching Zoom on your TV through iPhone and Apple AirPlay

First check to see if your TV is already Apple AirPlay compatible. If not and if you don't already own an Apple TV you will need to purchase one. They start at $149 on Amazon.

Ensure that all your devices, including iPhone and the Apple TV have up-to-date software.

Make sure that your iPhone is connected to the same Wi-Fi network as the Apple TV.

Once that's done, go to the Action Center.

iPad - swipe down from the top right of your iPad

iPhone - swiping up from the bottom of your iPhone

Mac - On your Mac, click on the AirPlay icon in the menu bar at the top of your screen. If you don't see an AirPlay icon, go to the Apple  menu > System Preferences > Displays, then select "Show mirroring options in the menu bar when available."

From the option, tap on "Screen Mirroring" It will show the list of devices and there tap on Apple TV.

Your device screen will now be mirrored to the Apple TV.

You can now start the join the show using your invitation link and the show will be mirrored to the television screen.

Watching Zoom on your TV via ChromeCast

If you are not using Apple devices, then the easiest way to get Zoom on your TV is using Chromecast. Check to see if your TV is already ChromeCast compatible. If not and you don't already own a ChromeCast dongle device, you will need to purchase one ( they start at $29 on Amazon). The dongle connects to the TV through HDMI and thanks to its support for screen mirroring, it can be used to mirror screen from Android smartphones or any device running Chrome browser.

First, setup your Chromecast and make sure that the device is connected to the same Wi-Fi network as the Chromecast.

Now, find the casting option on your phone.

Once found, scan for the devices to share your screen to.

From the list of devices, tap on Chromecast.

Your phone's or chrome browser's screen will now appear on TV.

You can now start the join the show using your invitation link and the show will be mirrored to the television screen.

# data[].attributes.attachment_link.description
Zoom Theatre is a theatre for our times. Using web based conferencing software, Zoom delivers live theatre to a live audience. Zoom is not a webcast of a recording of a traditionally staged production. Zoom is live every time. The shows are selected and staged specifically for webcam presentation.

# data[].attributes.headline
BLM raises awareness about lack of equality

# data[].attributes.subject
BLM raises awareness about lack of equality

# data[].attributes.body
During the storm scene, Prospero encourages everyone to make storm noises various ways.

# data[].attributes.body
Office workers have interruptions

# data[].attributes.attachment_link.title
Children interrupt BBC News interview - BBC News

# data[].attributes.attachment_link.title
Adorable critters find the hidden spy cam | #HelloSpringCBC

# data[].attributes.body
During Act V Scene I when Prospero is meant to prepare to leave the island Caliban's actor confronts his boss(Prospero)about him being paid less than his coworkers who do the same job, he takes a stand and quits mid scene.