And so, the day has arrived, when 13 becomes 6.
And so, the day has arrived, when 13 becomes 6.
It’s not just that networks have found more ways of generating profits. New fanbases are being created thanks to the release of old content on new media platforms
Rejoice, for the fates have declared that Gilmore Girls shall be accessible to all on Netflix as of 1 October. The US classic joins a growing number of series making their way to the internet for a rejuvenated run — a move that is changing the nature of television in the United States.
Elmer: Discrimination Through the Eyes of a Chicken
“I’m sorry, but I don’t think there’s a place in this company for you.”
Jake Gallo heard this on his interview and he was so insulted, he flew into a rage that he had to be dragged out the office and beaten. He was furious and offended. It was blatant discrimination, Jake knew. Other candidates were interviewed and accepted while he was rejected. He had the skills. He had the intellect. He even had the right attitude. It wasn’t that Jake was black, a woman, or Asian.
“Frank” is a brilliant, anarchic expedition into the soul of an artist and an examination of that artist’s fragile mental health.
How do you get inside the head of a man whose head is inside a papier-mâché head? In the 80s and early 90s Frank Sidebottom’s painted noggin was a strangely familiar sight on Britain’s fledgling late night television programming, watched by bleary-eyed students and shift workers. Frank was a loveable oddity, a mixture of music hall, Punch and Judy and performance artist. His high-pitched Mancunian accent told us he looked like Freddy Mercury and his unique rendition of Bohemian Rhapsody began, “Mama, I just killed a house plant you know,” perfectly summed up his absurd brand of humour.
The internet has turned the superheroes into something more wonderfully sparkly
Have you ever wondered what the Avengers would look like if their costumes were by supercute Sanrio brand Hello Kitty? Well, wonder no more as the internet turns the superheroes into something more wonderfully sparkly.
Should audiences be clamouring for a more reasonable approaching to salarying TV stars?
If video killed the radio star, TV stars sure are making a killing today. Perhaps in keeping with the new gilded age in the US, television stars are making more than ever before, and a roundup of some of the highest-paid stars in television might make you pale, and could certainly make you question your beliefs when it comes to the promotion of the arts in the United States. You also might be surprised by which stars the industry seems to think merit the most financial attention.
This is the older, wiser, more tired and sad Doctor they have been building up to over recent years, played by an actor with the gravitas and experience to pull it off.
With the revelation of Peter Capaldi as the new Doctor, I was deeply skeptical, and a bit dismayed: Yet again, the series had gone with a white man, refusing to buck a long tradition in which white actors occupy a quintessential and iconic role — just this once, it would have been bloody nice to see them branching out a bit. I was also not a fan of his age, his looks, and his record; I confess to unabashed bias against him compounded by my irritation with the producers for once again going white.
Ultimately, this is a lovely book – intelligent, gentle, engrossing, enlightening.
“Someone hums a muted tune, a lullaby from another planet. Then the line goes dead.”
Insofar as this year’s Booker longlist has a theme or themes (other than “Life! What does it all MEAN!” which every longlist ever always canvasses), it might be said to be something around the relationship between art and life. Or, perhaps, bearing in mind the plots of We Are All Completely Beside Ourselves, The Wake and The Dog, I should broaden that to be “the relationship between what we can represent and what makes us human”. While I haven’t finished Howard Jacobson’s J yet, that wouldn’t be an inaccurate precis of it either at this early juncture. The Blazing World is, of course, front and centre about visual art (and the performance of gender), while reliable leaks have Ali Smith’s book, How to be Both, traversing similar territory.
“The Rover” isn’t just another revenge flick; it’s more like a chilling foray into the darkness of Cormac McCarthy and beyond
Director David Michôd’s dystopian Western “The Rover” is a Spartan, intimate affair played out over vast distances in the Australian outback. Set ten years after a global economic collapse the world’s great unwashed have scurried Down Under like rats from a prison ship to work in the mines. This new gold rush like so many others in history only seems to help hasten mankind’s moral decline into murderous barbarism.
“This movie could star a bag of rice and it would still make a zillion dollars. There’s literally no reason a diverse, woman-friendly action movie doesn’t get made four times a year.”
It’s hard for us, in these enlightened days of 2023, to remember how dark the future once looked for the state of stupid action movies. Even as late as 2014, those of us who enjoyed our movies loud, stupid, and full of explosions (also spaceships; spaceships were always good) were faced with a depressingly homogenous slate of options.
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