When Plays Have Rape Scenes, What’s The Right Thing To Do For Theatre Profs And Students?

Should a theatre prof be responsible for taking her students to a play that has scenes with violence and rape? And perhaps more to the point, does theatrical responsibility extend to warning those in the potential audience who have experienced gendered violence? (And finally, why are some people worried that warnings might be required – what’s it to them?) – Howlround

There’s An Absolute Wave Of Music Documentaries Coming To Our Screens. Why?

The short answer: Money. Longer answer, well, still money: “The reason for the sudden glut is not only that documentary makers have been inspired by the surprise success of documentaries such as 2012’s Searching For Sugar Man, or Asif Kapadia’s Amy in 2015. What investors have also noticed is the great power of these films to promote a music label’s back catalogue. … ‘A compelling synergy exists between movies and music.'” – The Observer (UK)

What’s Up With Our Fascination With Women Who Kill?

It’s a longstanding thing – consider the ways that Clytemnestra became “an archetypal domestic murder plot” after the play premiered in 458 BCE. “Killing Eve is just the latest example of popular culture’s preoccupation with attractive young women who conceal a dark psychopathy: Villanelle is the embodiment of the classic female killer, who both seduces and repels.” – The Guardian (UK)

In Hollywood, An Agency Threatened To ‘Blow Up The Deal’ For ‘The Good Doctor’

Writers and agencies are locked in a battle over who should reap the benefits from packaging fees – “the longstanding industry practice of talent agencies taking fees for putting together a lineup of their clients — actors, writers and directors — for a show, rather than receiving the customary 10% commission on each client’s fee.” And for the show The Good Doctor, talent agency William Morris Endeavor “threatened to blow up the deal” unless a packaging fee was included. – Los Angeles Times