Given how Proposition 8 went, California’s trans community could be facing defeat snatched from the jaws of victory.
In 2008, while much of the United States celebrated President Obama’s victory and a historic moment for the United States, California progressives reeled from the successful passage of Proposition 8, which eliminated marriage equality in the state. As the nation’s eyes turned to the state and this chilling example of the potential abuses of the initiative and referendum system, it raised a great deal of questions about how California progressives had lost out so ignominiously, and how they could recover.
Masquerading as a “Vice” magazine documentary, Ti West’s latest film, “The Sacrament” makes chilling use of immersionist journalism to reimagine the “Jonestown Massacre” as a contemporary event. “Vice” reporter Sam and his cameraman Jake tag along with fashion-photographer Patrick after [...]
Masquerading as a “Vice” magazine documentary, Ti West’s latest film, “The Sacrament” makes chilling use of immersionist journalism to reimagine the “Jonestown Massacre” as a contemporary event. “Vice” reporter Sam and his cameraman Jake tag along with fashion-photographer Patrick after he is suddenly contacted by his troubled sister Caroline from a Christian commune called Eden Parish. Sam wants to film an expose of this hidden community whilst experiencing the situation for himself first hand. The set-up is laced with 80s synths that threaten to take your head off before the haunting sounds of “Heartbeats” by “The Knife” gradually transport the threesome further and further away from their comfort zone.
The filmmakers have obviously learned a trick or two on how to sell a film.
“The Sarnos–A Life In Dirty Movies” isn’t really about dirty movies at all. The filmmakers have obviously learned a trick or two from their subject Joe Sarno on how to sell a film. As the prolific writer/director of 75 sexploitation movies, Sarno felt that the most important element of his features was their titles: “Warm Nights and Hot Pleasures,” “Vibrations,” and “The Wall of Flesh” promised salacious delights but were actually more character driven pieces about female emotions. True to form this documentary is really a touching tribute to Sarno’s marriage to his remarkable wife Peggy as the ageing auteur tries one last time to direct another movie.
Who will it be next week? Scheming Jews? Arab terrorists? Evil North Koreans? Chinese with takeover plans? Corrupt African dictators? I can hardly wait to see what comes up next on the ethnic smorgasboard of racist caricatures!
Last week on Agents of SHIELD: An angry Black man threatens to blow up a train station full of innocent people. This week: A mysterious explosive device is found inside an oddly young ‘Incan pyramid’ (it’s described as ‘almost 500 years old,’ ignoring the fact that, er, the Incan Empire was crushed by the Spanish about 500 years ago). Is it mysterious woo-woo Incan technology and an opportunity for a meeting with a Wise Native? No! It’s a secret Nazi plot! Or something. I confess, I started losing track over the course of the second episode of this outstandingly dull and amazingly racist series.
A new world order that requires a new type of “to do” list. The type that–miracle of miracles–takes into account whatever happens to take my fancy.
This is a last for me.
I’m not good with coping with the magnitude of this occasion, though a phrase comes to mind–the one that is labeled, in bold and brilliant capitals: “Keep Calm and Carry On.”
What’s needed here is an insistence that the government raise the minimum wage to a living wage.
For low-income people in the US, life is often a paycheque-to-paycheque existence, focused on eking out as much as possible from each measly handout from an employer. With the federal minimum wage set artificially low when contrasted with inflation and the cost of living, low-wage workers have recently entered a state of revolt, as evidenced by the ‘can’t survive on $7.25′ cries issuing from the mouths of striking workers across the United States. The fast food industry in particular has been a labour target, given the traditionally low wages on offer paired with the grueling work—food service workers have historically occupied a low place in US society, and their low wages are a striking reinforcement of that.
As with women themselves, it turns out that fuck-yous are far more effective when there’s more than one.
It’s tempting to review The Heat, the lady-centric buddy cop comedy from Bridesmaids director Paul Feig, by focusing on what the movie is not. It is not an action vehicle made by men, for men; the by-the-books stickler and loose cannon who must learn to work together are played by Sandra Bullock and Melissa McCarthy, respectively, and its screenwriter is Parks and Recreation veteran Katie Dippold. It is not the most original plot that has ever been put to film; if you’ve seen a buddy cop movie in your lifetime, the basic beats are already extremely familiar. And, last but not least, it is not a total cinematic victory for feminism.
Mothers go on, connecting and reaching out.
I love Mother’s Day and I know that Mother’s Day loves me right back—the proof is in the three bunches of flowers before me. Much like their senders used to do, each is jostling for its rightful place in my living room. Some leaves are crushed and crumbled in the battle to take centre stage, others are still as achingly new, as when they first came to bloom.
These guys grow up, go into entertainment, and then react to the presence of an audience as if it’s a form of armed robbery. But female comedy fans exist. We go to shows. In the age of social media, our microphones can be as big as any comic’s.
I tried not to embarrass Sam Morril.
To understand how hard this was, for me, I should start at the beginning. Which was: On April 15, I went to a comedy show. The opener was one Sam Morril. And his opener, as per my notes, went as follows: “My ex-girlfriend never made me wear a condom. That’s huge. She was on the pill.” Pause. “Ambien.”
The fact that nothing has occurred has turned the series fundamentally uninteresting.
The sixth season of Mad Men aired on Sunday to rather a mixed response from critics; Alyssa Rosenberg at Think Progress probably put it most succinctly when she noted that: ‘The risk for Mad Men is that nothing can be new for Don anymore, while still needing to find ways to make him new for us.’ The lustre of the media and critical darling, which had racked up a stack of awards and accolades, appears to be fading, and some people are disappointed now that the bloom has come off the rose.
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