Bad, really bad. "It’s a mistake to compare this stuff to other films. It is, indeed, a mistake to compare it to any other artistic enterprise. What we’re dealing with is closer to tinsel or snow in a can. Christmas movies are mere decoration.” - Irish Times (Archive Today)
How to pick an (Oscar) winner: "The presumptive top five in the Best Picture race includes two auteur-driven blockbusters, one old-school weepie, one timely social drama, and one family saga by a venerated European director.” - Vulture
“You don’t have a right to make your movie, because it costs so much and you need so much help. You do have to earn the right to make your movie. That is a part of our job.” - Los Angeles Times (Yahoo)
Gross. "Every type of writing requires specific attention to detail. For people not to take that seriously (and to ask for your help in promoting their work when they don’t do anything to help boost other people’s work) is pretty shitty behavior.” - LitHub
“His second feature, entitled It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives, premiered at the Berlin film festival in 1971 and has since been described as Germany’s 'Stonewall moment,’ radically breaking conventions in its portrayal of queer life.” - The Guardian (UK)
Why? Because a comedian knew what was coming. “Morton isn’t in the game to sell off his domains. ... Instead, he buys them with the express purpose of turning them into seemingly legit websites that, upon closer inspection, often skewer their namesakes.” - Washington Post (Yahoo)
The first club meetup included “an exclusive Theater Club post-show talkback with artists who worked on the show, and a drink ticket that can be used at the Chopin bar so folks can hang out after the talkback and chat theatre with likeminded folks.” - American Theatre
How did it go? “The year-long celebration cost around £51m and generated audiences of three million people.” OK. Also, train traffic from London went way up. - BBC
“Hollywood machers were convinced the film would never make money and that Warner Bros’ big gamble ‘could be the end of the studio system.’ But Sinners never let that cynicism in.” - The Guardian (UK)
The Frick’s new chief curator loves nothing more than researching the women on the walls. "What captured Ng’s attention, though, was Lady Skipwith’s forlorn expression. Was she as miserable as she appeared in the painting?” - The New York Times
The history of Montréal’s night-time regulation reveals how managing nightlife expanded police power and budgets — and how burdensome effects of these changes fell disproportionately on sex workers, the queer community and hospitality industry workers. - The Conversation
