But he never got it. And by the way, he is a super normal dude who teaches biology and has four kids.
Lynda Obst: “We women roaming the plains of the dinosaur era had never heard the term ‘sexual harassment,’ but we were frequently moving errant hands on our thighs back where they belonged, with a small swat or otherwise. H.R. was not a concept we’d even dreamt of; screaming bosses and aggressive flirting were part of the fabric of everyday life. … If you wanted in on the decision-making you had to block out the vile language and the insulting sexism and just keep talking about the part. ‘Don’t get kicked out of the room’ was the rule.”
“Among video game developers, it’s called ‘crunch’: a sudden spike in work hours, as many as 20 a day, that can last for days or weeks on end. During this time, they sleep at work, limit bathroom breaks and cut out anything that pulls their attention away from their screens, including family and even food. Crunch makes the industry roll – but it’s taking a serious toll on its workers.”
“In those days, folks out here [in Los Angeles] were very uncomfortable being called artists, because they were making a lot of money. It seemed brash and inappropriate. It helped that an institution like AFI really provided that context for why this is America’s art form, how much it changed American culture.”
The music streaming giant looked at what a typical day of music and podcast listening looks like for their listeners–and discovered that podcast listening peaked during the middle of the day. Interestingly, when they looked at weekday numbers versus the weekend, people listened to fewer podcasts on the weekend. In fact, the drop off is pretty significant, 45% to be exact.
Aisha Harris: “How are cinemas, TV networks, and classrooms rethinking how they present this historical epic and all-time box office king? And could it go the way of Hollywood’s original historical epic and first megablockbuster, 1915’s The Birth of a Nation, leaving it shown very rarely and almost exclusively in academic settings? To find out, I talked to theater managers, academics, television programmers, and fans. The answers I received were mixed, not least because Gone With the Wind is still big business.”
“Last year there were more than 140,000 applications for tickets to be in the 200-strong studio audience of what is often Ireland’s most watched television event of the year. Audience members get to see young Irish performers, enjoy the latest toys up close, and are guaranteed to leave with a large stash of goodies.”
In Portland, the video store Movie Madness is a gem: “The labyrinth of aisles arranges some 84,000 films by countries, directors, actors, and genres, which get as specific as Rampaging Teenagers, Childhood Icons Gone Terribly Wrong, and Problems with Rodents.” But the 71-year-old owner wanted to sell, specifically to a nonprofit that runs Portland’s Hollywood Theatre. Then the Kickstarter began.
The Newseum opened a beautiful new building in D.C. at the worst possible time, and its one major funder is having to tighten its budget. “News organizations who were generous supporters at the outset found themselves contending with their own financial challenges. Journalists, who do not have the deep pockets of some professions, were not a particularly bountiful source of money.” Can the Newseum survive?
Though Arellano, who wrote the “Ask A Mexican” column, was with OC Weekly for 15 years, six as editor-in-chief, he was a rarity in the U.S. “According to census population estimates from 2016, Latinos account for almost 39% of the population of California and 18% of the total U.S. population, but remain conspicuously underrepresented in media both in the state and nationwide — especially at its top ranks.”
With the new film Te Ata, the sovereign nation shows that its film department is Hollywood-ready – or, if history is any guide, better than Hollywood. Actor Gil Birmingham, who is a member of the Comanche Nation and has acted in many movies, including the Twilight series, says, “Hollywood will take its licenses with characters and storylines, but it’s so much more encouraging and inspiring to hear the stories told from a tribe that originated the stories from the beginning.”
Sistema TV in San Juan has been taken off the air because, following Hurricane Maria, the university holding its license decided to cease all non-academic activities.
“As they gathered, someone mentioned that The New Yorker story was up. The assembled employees read in silence. They listened to the tape. They knew that voice too well. Some began to shake, and many of them wept as they contemplated the roles they might have played as accomplices, unwitting or not.” Dana Goodyear talks to current and former employees, many of whom insist that they knew Harvey Weinstein was “a bully, a screamer, a yeller, a thrower, a pig – not that he was a rapist.”
“The real problem is much bigger than Rotten Tomatoes—it’s that so much of Hollywood is now fixated on capturing the widest audience possible with every film. Blockbuster action movies, superhero franchises, jolty horror pictures, and animated family films that can draw large crowds are the order of the day. Even mother!, which was light on actual scares but heavy on mood and allegory, was marketed as a horror movie in an attempt to pull viewers; theatergoers who felt misled by the advertising may have contributed to the F CinemaScore rating.”
The satire by Armando Ianucci (creator of Veep) is getting great early reviews in Britain (The Guardian‘s critic called it the movie of the year). The Russians beg to differ – even though no one there has seen it and the distributor hasn’t even applied for a license for it yet. A pro-Kremlin newspaper pro-Kremlin newspaper called the film “a nasty sendup by outsiders who know nothing of our history”; one politician said it was a “planned provocation” and another described it as an “unfriendly act by the British intellectual class … [part of an] anti-Russian information war.”
Richard Overy points out where Armando Ianucci’s new The Death of Stalin gets the history wrong but allows that cinematic license could be legitimate. But the caricature, he writes, is just wrong, and not only because Stalin’s victims deserve better: “The presentation of Stalin and his cronies as a collection of foul-mouthed misfits … will certainly not help to understand the Russia of the 1950s while it mocks by implication the Russia of today, a country still shaped in some ways by the legacy of Stalin’s modernisation drives and the operation of the Stalinist state.”
“A last gasp of the old west duly became the first movie western. But from there, the task quickly became mythmaking. The western turned inexorably towards the past – or a version of it. Soon came the movies that defined the genre, tales of heroes in stetsons and dastardly “injuns” somewhere between propaganda and mass hypnosis. The west had to be won, most westerns said, to save innocence from savagery. There were exceptions, and some of those were fantastic films – but the racism stuck. Eventually, there was a reckoning – an apology even.”
“Park Chan-wook … combines dark humor, a painterly sense of composition and lots of gore. But beneath the violence lies a deep humanity – and a love of the absurd.”
“Nielsen announced the initiative on Wednesday morning, but it has been collecting Netflix viewership data over the last two months in a kind of test run. The company said it was able to determine how many viewers were streaming Netflix content through audio recognition software in the 44,000 Nielsen-rated homes across the United States.”
“The question then becomes, are the scores on Rotten Tomatoes just reflective of the history of criticism, and thus of conventional opinion? Or are the Rotten Tomatoes contributors themselves the critics who prop up these reputations, and thus pave the way for smarter conversations about film online?”
“The mini-studio announced Monday that it has entered into an agreement for [Los Angeles billionaire Thomas] Barrack’s private equity firm, Colony Capital, to provide a cash infusion to the New York company. … They have [also] entered a negotiation period for a sale of all or part of the beleaguered firm’s assets.”
This happened first: “You also don’t want it to lead to a witch hunt atmosphere, a Salem atmosphere, where every guy in an office who winks at a woman is suddenly having to call a lawyer to defend himself.” Then today, he clarified, “When I said I felt sad for Harvey Weinstein I thought it was clear the meaning was because he is a sad, sick man.”
Christopher Rogers of Halt and Catch Fire:”We call it redefining the story of losers. History seems to gravitate toward narratives centered on big personalities, so when you talk about this world, you talk about Steve Jobs, Bill Gates. If you talk about search, you talk about Google. But it’s so much more complex than that. It’s millions of people in obscurity who did most of the heavy lifting, only to have somebody step in and get the credit.”
The Academy’s press release emphasized that its decision was about more than just Weinstein. “As Academy standards go, it was a very swift response. But it leaves the question of other members like Roman Polanski and Bill Cosby, whose behavior has been equally as troubling as Weinstein’s.”
But has anything changed? Jackie Kong, director of the 1987 cult classic Blood Diner, says no. “This is real life. … You’re still not trusted; you’re still not hired. You can be this icon, this cult figure, but they have to be enlightened already, otherwise you’re fighting an uphill battle.”
“Harvey Weinstein may be the central-casting version of a Hollywood predator, but he was just one festering pustule in a diseased industry. The only thing that shocked most people in the film industry about the Harvey Weinstein story was that suddenly, for some reason, people seemed to care. That knowledge alone allowed a lot of us to breathe for the first time in ages.”
Richard Brody, responding to the great director’s dyspeptic guest column in The Hollywood Reporter, argues that the Internet has made criticism more democratic and often better-informed, that the aggregated critical scores on Roitten Tomatoes really do help identify good new films, the best of which rival anything from Scorsese’s heyday, and that Scorsese’s unhappiness arises from a major generational shift.
If there was any fallout from Picturegoer series, it didn’t make the papers. Nobody got fired, nobody was disgraced, nobody followed up. Nearly 20 years later, on May 21, 1975—so around the time producer Sam Spiegel was allegedly trying to force himself on Theresa Russell, but a few years before Roman Polanski was arrested for sexually assaulting a 13-year-old—Variety, reporting on a new committee the Screen Actors Guild was establishing to investigate what were euphemistically called “morality complaints,” asked, “ ‘Casting Couch’: Fiction or Fact?”
Uta Briesewitz, who was David Simon’s director of photography on The Wire and is now directing episodes of his current series, The Deuce, talks about filming a masturbation scene with Maggie Gyllenhaal and explains how she can tell just by watching whether a sex scene was directed by a man or a woman.
“The disembodied hand has a sinister cinematic reputation. … But on social media, the hand has been cast in a new role, as a symbol of artisanal craftsmanship and entrepreneurial zeal. … This time it’s a helping hand, channeling its energies toward cooking party foods and executing creative household hacks.”