Wesley Morris: “This is a revenge movie that’s also a dead-child tragedy that’s also a local-law-enforcement comedy that leaves room for physical comedy, cancer and a bad date. … Meanwhile, the issues of the day come and go: brutal police, sexual predators, targeted advertising. It’s like a set of postcards from a Martian lured to America by a cable news ticker and by rumors of how easily flattered and provoked we are.”
Category: media
What The “All The Money In The World” Salary Gap Says About Changes In Hollywood
“It’s easy to criticize Hollywood’s current moment of reckoning for coming off as superficial. You can wear black to a couple award ceremonies and say the right lines in interviews, but does it really mean you’re working to effect systemic change behind the scenes? The All the Money in the World situation served as a reminder of how, for actors, preserving their public image is often more important than the money they stand to make.”
Why I Wanted To Reboot ‘Roseanne’ For The Age Of Trump
Whitney Cummings, co-showrunner of the revived sitcom, wanted to break beyond the liberal media bubble: “Since tweeting wasn’t working, maybe giving my brain to a show that touched the hearts and got the eyeballs of so many working-class people is how I could finally do my part to help us all make sense of the election. … This show is not about Trump – it’s about the circumstances that made people think Trump was a good idea.”
How Podcasts Are Democratizing Learning
“In a nation always on the go, it does seem as if the most serious intellectual production and consumption has been confined to the cloisters of higher education, where an elite professoriate soaks in high ideas in paneled seminar rooms safe from the hurly-burly of daily life. But what if a technology was able to bridge the gap, accommodating our culture’s hyperkinetic habits while also bringing to it gems of intellectual wealth from the ivory tower? To a large extent this is exactly what the best educational podcasts—which stress learning for the sake of learning—are doing.”
Podcasting Has Something That Public Radio (Badly) Needs: Risk Tolerance
Eric Nuzum, who spent two decades in public radio before moving into digital audio: “The unspoken groupthink at work … is that an idea cannot have both merit and risk at the same time. Resources are precious. Time is limited. As guardians of public funds, it is imperative that public radio’s decision-makers ensure that they invest in winners. Every time. This philosophy is a petri dish for failure. And not the good kind of failure.”
Telenovela Actors At Telemundo, Facing Terrible Work Conditions, Finally Unionize
Leading telenovela star Pablo Azar, who led the campaign to join SAG-AFTRA: “Sometimes you shoot 40 scenes in one single day. So it’s very demanding. … Usually you have better conditions in the US than in countries like Mexico, Colombia. But funny enough, for actors it’s backwards. Actors have better working conditions in Mexico than they have here in Miami. At least, I’m talking about Hispanic actors.”
Breaking Down That Tense Meryl Streep Phone Call Scene In ‘The Post’
Not a single one of those camera angles or moves was unplanned – and here’s how it all went down (including the golden caftan and the hand gestures).
Women Are Still (Hugely) Underrepresented In The Director’s Chair
So what’s happening here? The numbers are ugly: “The year with the highest percentage was 2008, with nine women, or 8 percent.”
After Huge Outcry, Actor Who Got Paid 1500 Times More Than Michelle Williams For A Post-Spacey Movie Reshoot Donates His Salary
The #TimesUp movement got what founder Amber Tamblyn described as the second donation from a man “in our business” when Mark Wahlberg, who was paid $1.5 million to reshoot the movie All the Money in the World while star Michelle Williams was paid union minimum of $80/day, donated his salary for the movie to the group. The two actors share the agents William Morris Endeavor, which pledged $500,000 as well.
A Chart That Explains Hollywood
“First, men clearly outnumber women four-to-one among producers, directors, cinematographers, writers, and key assistants. Second, every movie or miniseries is essentially a miniature start-up, where predators and jerks can abuse or harass actors and assistants knowing they might never have to work them again after a three-month shoot. Finally, actresses are vulnerable, not only because men dominate powerful occupations, but also because women are cast to portray the very quality of vulnerability.”