The Other Side of the Wind, “one of the most famous movies never released – one that has bedeviled various directors, movie companies and cinema buffs since Welles left it unfinished upon his death in 1985 – may finally be completed and shown worldwide.”
When the video clip went viral, an incorrect assumption made by a lot of viewers on social media – and several media outlets – raised quite a few hackles. As Roxane Gay tweeted, “Today one of the funniest, most charming videos showed me that we have way more work to do than I ever thought.” Caroline Davies explains. (includes video)
The chairman of the country’s film censor board said, “We have approved it but there is a minor cut involving a gay moment. It is only one short scene but it is inappropriate because many children will be watching this movie.” So the Disney Company stopped the release of the film.
“For the vast majority of conservatives who work in entertainment, going to set or the office each day has become a game of avoidance and secrecy. The political closet is now a necessity for many in an industry that is among the most liberal in the country.”
“The way the Canadian industry is set up right now, we fund people to make work, but we don’t fund people to market work. If people don’t know a film is out there, and you’re not marketing it to them as American companies do, then you won’t get people to see it. It’s not that complicated, actually.”
The Disney Channel wants a hit like “Orange Is the New Black” or “The Walking Dead,” only not sexual and not horror, and for kids.
It’s on Netflix, but it’s really about theatre: “On the show, she plays Ms. Julie, who teaches a performing arts class to five puppet pupils. Over the debut season’s 13 episodes, Ms. Julie and celebrity guests (including Alec Baldwin, Idina Menzel, Josh Groban, Carol Burnett and David Hyde Pierce) inspire the eager young thespians to create and perform an original musical.”
Jill Soloway says, “Hiring a woman isn’t just about that one decision, but also committing to mentoring them throughout the process. ‘It’s not just about finding the person; it’s about protecting the person all the way through.'”
All topics are converging. Teen Vogue covers politics, The Atlantic covers pop culture – and Time, apparently, covers Amal Clooney in a way it thinks will appeal to Millennial women (but really, will it?).
Yeah, no. Just no. “I leap here to the defense of my noble former colleagues at this paper and others. People who see this movie unawares should be told that it’s fake news, and that it’s the obits themselves that are real news.”
“The Oscars really only have four spaces for best actress, because one is always reserved for Meryl Streep.”
How much is at stake in France’s upcoming elections has become evident again in recent weeks as controversy has erupted over the new arthouse film This Is Our Land (Chez nous). The political drama hit French screens in late February, just two months before the country chooses a new president.
“This new way of watching television will allow viewers the ability to control the fate of their favorite characters and make decisions on key plot points.”
Lucy Mangan: “It seems to me to misunderstand the fundamental appeal of television; that it is bedtime stories for grownups.”
“How much is at stake in France’s upcoming elections has become evident again in recent weeks as controversy has erupted over the new arthouse film This Is Our Land (Chez nous). … The debate stems from a supporting character named Agnès Dorgelle (Cathérine Jacob), a blonde leader of a far-right party associated with nationalism and anti-immigrant sentiment, much like the real-life politician and presidential hopeful Marine Le Pen.”
In the past, we thought of addiction as mostly related to chemical substances: heroin, cocaine, nicotine. Today, we have this phenomenon of behavioral addictions where, one tech industry leader told me, people are spending nearly three hours a day tethered to their cellphones. Where teenage boys sometimes spend weeks alone in their rooms playing video games. Where Snapchat will boast that its youthful users open their app more than 18 times a day.
“We are seeing that American series have become more niche and thus less attractive for our big free-to-air networks. Viewers, particularly younger viewers, are more likely to watch U.S. series on a digital platform or online.”
“Why did Disney decide that modernizing [the beloved animated film] was a risk worth taking? … Some people see a cynical money grab, a way to keep those theme park turnstiles clicking and little girls begging their parents for princess gowns. But the answer is actually a lot more complex.” Brooks Barnes investigates.
When filmmaker Mohsen Makhmalbaf, one of the stars of the Iranian New Wave, finished The Nights of Zayandeh-rood in 1990, the country’s censors cut about a third of it (some of that at the direct request of supreme leader Ayatollah Khamenei) and then locked it away after a screening at a Tehran festival. Makhmalbaf, now living in London, somehow (he won’t say) got the footage out of the archive and into release in Britain.
While the bits with Alec Baldwin (as Trump) and Melissa McCarthy (as press secretary Sean Spicer) tend to be solid, argues David Sims, “the rest of SNL‘s political satire, such as Saturday’s cold open that framed Attorney General Jeff Sessions as Forrest Gump, often leans on presenting the Trump administration as cheerfully unaware or low on brainpower. It’s a more toothless approach that’s far easier for viewers of all political viewpoints to dismiss.”
As Slate‘s Jamelle Bouie noted in disgust the morning after Trump’s speech to Congress, “This morning is a good reminder that so much of what passes for political analysis is just theater criticism.” Alyssa Rosenberg responds: “On behalf of critics everywhere, I take a minor amount of umbrage: After all, we generally set higher standards for performances than ‘basic competence,’ and we tend to address style as well as substance. But … maybe political commentators could stand to take a few tips from those of us who practice criticism for a living.” Rosenberg offers three good ones.
On TV, disability is played for laughs, for horror (such as with the “evil cripple” trope), or ignored even by shows otherwise committed to diversity. While critics have coined the phrase “crip up” to refer to the many able-bodied actors who have played disabled characters, often to widespread acclaim, a study by the Ruderman Family Foundation found that 95 percent of all disabled characters are played by abled actors (full disclosure, I have worked for the Ruderman Family Foundation on other projects).
The move to bust the audition process wide open is one way Chu hopes to make good on his promise: that Crazy Rich Asians would comprise “amazing Asian actors cast in EVERY SINGLE ROLE.” His pronouncement followed a particularly egregious season of Hollywood “whitewashing” and now, nearly a year since he set that goal, the Step Up director intends to deliver, but finding a “cream-of-the-crop Asian cast” has proven to take some time.
“Mexico-based movie theater chain Cinepolis is betting it can lure more families back to the multiplex with its new in-theater playground concept, Cinepolis Junior, which makes its U.S. debut at two Southern California locations next week. The remodeled auditoriums at Cinepolis USA’s Pico Rivera and Vista theaters each feature a colorful play area near the screen in front of the seats, a jungle gym, and cushy beanbag chairs.”
Traditionally, the network took care to keep reporters from even knowing what donors or organizations might be funding coverage of the stories they work on. But it’s difficult to do that at the same time you’re trying to be clear to listeners about who’s providing the money to support the reporting.
And yes, it’s because Gaston’s sidekick, LeFou, is depicted as gay. (At least the movie wasn’t banned for violating the law against aiming “gay propaganda” at minors, as the author of the law had demanded.)
“The show’s judges drive around in armored vehicles. The contestants are provided with safe housing inside a compound for the duration of the show. Audience members go through multiple security checks.” Reporter Mujib Mashal visits the set and meets this season’s two favorites, a rapping barber from Mazar-i-Sharif and a 16-year-old girl whose widowed mother defied the rest of the family to get her daughter entered.
“China used to be a market where the screen count was growing so much, people would kind of go see anything, or see a lot of things. But it’s become a much more mature market, like the rest of the world. It’s more sensitive to content.”
“Nielsen data shows an average of 4.17 million black viewers were tuned into the 89th Academy Awards telecast, an increase of 30% over last year. The overall audience for the Oscars was 32.9 million, a 4% decline from the previous year and the lowest since 2008. The Oscars averaged an 18.68 rating in African American homes, which is the highest number among the segment since 2014. The rating among black homes was higher than the overall rating of 18.39.”
Curator Gali Gold said the rating was “a simple and effective way to signpost films where the stories are told by and about women and to highlight the issue of gender imbalance within the film industry”.