Dance Protests In France Over When Dancers Can Collect Their Pensions

On Saturday, officials announced that the government would withdraw, at least temporarily, a plan that would have raised the full-benefit retirement age, now 62 for many workers, to 64 for all professions. The Paris Opera Ballet’s dancers currently stop working at 42, then receive monthly payments equal to 45 to 48 percent of their top salaries. – The New York Times

The Future Of Entertainment: 10-Minute Shows On Your Phone?

Yup. A startup called Quibi has raised $1 billion in investment capital from every major Hollywood studio and most of the major tech companies. It has corralled an A-list tsunami to make programs—Steven Spielberg, Steven Soderbergh, Guillermo del Toro, Anna Kendrick, Zac Efron, Chrissy Teigen, Jennifer Lopez, Antoine Fuqua, Sam Raimi, Catherine Hardwicke, Idris Elba, Kevin Hart, Lena Waithe, NBC News, ESPN, BBC. The whole thing launches in April with a year of advertisements already sold. – Wired

Reconsidering Cole Porter

Though he was born into genuine if provincial affluence, with second-tier European royalty filling out the family’s dance card on vacation, he chose to become a working stiff. Reversing the usual American ascent from labor to leisure makes for a more strenuous, and more moving, story. The labor produced a new kind of American lyric, and language. – The New Yorker

Extreme Film Criticism (Can You Hang?)

Some film critics now differentiate themselves from amateurs through the practice of Extreme Film Criticism. In it, critics subject themselves to physical, film-related challenges that bear little resemblance to long-form criticism of decades past but would nonetheless intimidate most amateurs. Then they write about it. Landing somewhere between product placement and a fraternity hazing ritual, these pieces constitute a response to major shifts in the landscape of both the news media and the film industry, with serious implications for the life expectancy of criticism as a form, and perhaps for the individual critics themselves. – Los Angeles Review of Books