Netflix Is A TV Network For Real, So Now What?

“Next year’s Crouching Tiger, Hidden Dragon sequel, along with the news that Netflix will invest in a new film from Snowpiercer director Bong Joon-ho, signals that the streaming service isn’t simply competing in the series categories at the Emmys and Golden Globes—it’s going after HBO’s TV-movie territory and has the Oscars in its sights.”

Euro Film Awards Love Michael Caine And Charlotte Rampling – And Politics

“Oscar-nominated Polish director Agnieszka Holland presented a selection of awards with president Wim Wenders and expressed her ‘deep concern about Europe’ in an emotive speech. ‘We must not forget that the films we make cannot be separated from the world that we live in,’ she said. ‘I made several movies about the second world war, a time when Europe was riddled with hate and I don’t want it to return.'”

A Revitalized ‘South Park’ Is Nailing Our Era Of Outrage

“This season is sketching something like a grand – if messy – unified theory of anger, inequality and disillusionment in 2015 America. … South Park, Colo., [has been] taken over by a new school principal … and his crew of like-minded, jacked-up frat bros, who believe that being p.c. ‘means you love nothing more than beer, working out and the feeling that you get when you rhetorically defend a marginalized community from systems of oppression!'”

Teens Are Getting Famous On A Video Social Network You’ve Probably Never Heard Of

“YouNow says it records 150,000 broadcasts a day and 100 million user logins a month. According to its own internal stats, … 74 percent of its users are under 24 and 56 percent of them are female.” With 510,000 followers, YouNow star Zach Clayton “can launch a broadcast with no warning and coax tens of thousands of people to check in on him within the space of an hour.”

Are Films Of Shakespeare Too Faithful?

“Whereas filmmakers feel comfortable taking artistic license when adapting novels or the works of most other playwrights, there’s an unwritten rule that Shakespearean dialogue is so precious as to be locked in, that the stories cannot be tampered with in any significant way. Directors update the setting … but more often than not the core storyline and dialogue remain virtually untouched. … One has to wonder if film’s apparent reverence towards Shakespeare is too restrictive, when cinema allows for so much possibility.”