Also: Any distributors willing to embrace Christian Bale in “Hostiles” and Ethan Hawke in ‘First Reformed”? They’d love to join this year’s race.
On the surface, Greta Gerwig’s “Lady Bird” looks to be a coming-of-age story about a difficult, perhaps somewhat unlikable teenage girl growing up in Sacramento. But the Telluride Film Festival premiere, Gerwig’s directorial debut, is more challenging than it seems at first glance.
The film works as a story of a teenager’s final year in high school, her fraught relationship with her mother and her reticent sexual experiences – not unlike “Diary of a Teenage Girl” – but Gerwig is going for something deeper. She defies what we typically get from a complicated female protagonist and asks us to examine our expectation that a young woman needs to be essentially nice before she can carry a film.
Saoirse Ronan plays Lady Bird, a pink-haired middle-class kid living in a suburb slightly less well-to-do than the rich kids in more exclusive homes across the tracks. She has two parents and her own room and a comfortable life, certainly nothing to be ashamed of. She has a kind, supportive father (Tracy Letts), a caring though demanding mother (Laurie Metcalf), and is lucky enough to have the luxury to pursue her wildest dreams.
Lady Bird is difficult to like, and maybe that’s the point. Gerwig has written a main character who’s angry, frustrated and aching to have people recognize the genius that brews just below the surface. She doesn’t quite know what that genius is, just that it’s there. She wants out of her normal life, out of her friendship with an unpopular girl, out of the Sacramento she regards as crappy because it isn’t San Francisco or Los Angeles. Because of the fire that burns within her, she’s trying to fly too far and too fast out of the nest.
In that way, “Lady Bird” feels a lot like a female version of Mike Nichols’ “The Graduate,” in which Benjamin Braddock dangled at the precipice of adulthood and proceeded to screw up his cushy life with a single-minded devotion to drifting in all the wrong directions. So too does Lady Bird push back at the confines of good behavior and normalcy.
“The Graduate” arrived in the tumultuous year of 1967, when youth counterculture was intent on kicking down societal conventions at the same moment the silent majority was about to install Nixon’s vise-grip on actual power. Exactly 50 years later it’s wearying but instructive to see the same sort of opposing forces collide once again.
But Lady Bird is not presented here to be scolded or judged. Nor is she here to be changed or corrected. She’s simply here, she’s not budging, and that’s that. She will succeed or fail in her own way, on her own terms.
It’s the clash between her unyielding terms and the equally obdurate terms of her mother that spark conflict. Her mother, a nurse, has specific expectations of who her daughter should be, and has a hard time grappling with the woman she is turning out to be. If Lady Bird can take everything that her mother wants her to be, and go the opposite direction, maybe she can figure out who she is.
As women, we’re raised to be nice before anything else. Whatever fervor or restlessness or necessarily combative ambition we might have is often tamped down under the guise of being nice and compliant. So it’s refreshing to see that Lady Bird isn’t burdened by those self-imposed restraints. Whatever she ultimately chooses to do with her life will have very little to do with any desire to be nice.
Gerwig co-wrote “Frances Ha,” but now that she’s in control her brilliance is fully unleashed. Her instincts as a director are so good, “Lady Bird” should launch an exciting new phase of her career – directing her own screenplays and branching out to direct the work of other screenwriters if she chooses. One thing Hollywood desperately needs is more female voices, more female storytellers, so it’s exhilarating to witness a debut this assured.
Gerwig chose her star after hearing Saoirse Ronan read from the script for just two minutes. Sometimes a role fits an actress so well there’s no need to deliberate about it. Together they have created one of most intriguing, infuriating and magnetic characters in recent memory. Maybe it would have been safer to aim for a less complicated, less vexing portrayal than the Lady Bird we meet – but then it would have been another movie like so many others. It would not have been the statement Gerwig wanted to make.
“Lady Bird” is an impressive, challenging and buoyantly entertaining work. Seeing it so soon after my own daughter left the nest for NYU to become her own Lady Bird, I’m especially glad that for her a movie like this exists – a movie that honestly chronicles a young woman’s strong-willed struggle to take charge of the aspirations in her head, the turbulence in her soul, and the irrepressible passion in her heart.
The hypnotic and essential “Ex Libris” stands out as a definitive example of — and testament to — Frederick Wiseman’s style and mission.
A broad and sporadically entertaining crowd-pleaser that was made with President Hillary Clinton in mind.
This has been a hard year for women. It was hard to see the first woman to ever have a shot at winning the presidency attacked by so many forces at once. It was hard to see young feminists turn their back on her and dismiss her history-making run. It was and remains hard to hear the endless yack-yack-yacking of pundits and progressives who can’t stop tearing her apart. How dare she run. How dare she even try.
In that atmosphere, Jonathan Dayton and Valerie Faris’ “Battle of the Sexes” came to the Telluride Film Festival on Saturday. You might think that the film is a snarky, humorous look at the infamous 1973 tennis match between Billie Jean King and Bobby Riggs. Instead, it’s a story about the internal life of a woman getting to know and accept who she really is. But it heads down unexpected roads, at once seductive and melancholy, occasionally confrontational and political.
Anyone who knows anything about Billie Jean King knows two things: She was a tennis champ and she was gay. But “Battle of the Sexes” is by no means a feminist screed. It won’t make you angry if you’re a male and it won’t make you feel alienated from the forces of white feminism if you’re a woman of color.
This isn’t really a film about feminism. It’s a film about love. That is the most surprising thing about it.
Stone doesn’t play “gay,” but she does reshape herself — how she holds her body, even how she kisses. We find her lost, but pouring everything into tennis. In one of the film’s most memorable scenes, Stone is having her hair done by a hairdresser played by Andrea Riseborough. You can almost smell the woman’s perfume and feel the gentle touch of her hands running through King’s hair.
It is such a beautiful scene and the beginning of King’s path of self-discovery. But, of course, no one — especially no one famous — could be “out” back then. That makes “Battle of the Sexes” not just a story of “women’s lib” and “chauvinist pigs,” but also of the fight to love who you love.
Directed by Dayton and Faris who brought “Little Miss Sunshine” to a 2006 Best Picture nomination, and written by Simon Beaufoy (Oscar winner for “Slumdog Millionaire” and nominee for “127 Hours”), “Battle of the Sexes” is one of the best films to screen in Telluride and will very likely be nominated for a handful of Oscars. It has the stuff to go all the way.
At the film’s premiere on Saturday, Billie Jean King received a standing ovation. Her legacy deserves this movie. She remains a women’s rights activist as well as an LGBTQ activist. In 2009, she won the Presidential Medal of Freedom, with President Obama saying, “We honor what she calls ‘all the off-the-court stuff’ — what she did to broaden the reach of the game, to change how women athletes and women everywhere view themselves, and to give everyone, regardless of gender or sexual orientation — including my two daughters — a chance to compete both on the court and in life.”
To many women who lived through the era of women’s movement and Billie Jean King, this past election was history-making, and devastating. But “Battle of the Sexes” gives you a chance to cheer — for a woman who could play a mean game of tennis, a woman who didn’t back down when she easily could have, and a woman who changed the way the world thought about both female tennis players and gay women.
“Battle of the Sexes” isn’t a wonky, cerebral, screechy film that preaches to its audience. It is pure joy from start to finish, in the hands of two stars who could not be better suited to these roles. Last seen as father and daughter in “Crazy, Stupid, Love,” Carell and Stone have great chemistry, even if much of the film they are not even together. But this movie really belongs to Stone, who has never been better. If she hadn’t won the Oscar last year for “La La Land,” she’d most certainly have won for this.
Dayton and Faris’ “Little Miss Sunshine,” like this movie, was about making the most out of what you’re given. They captured something there and they’ve most certainly captured something here, thanks in large part to Stone’s breathtaking turn as a woman who can still command a room. Billie Jean King’s star burns that bright even all of these decades later.
Taylor Swift’s latest single, “Look What You Made Me Do,” is essentially a lock to land at No. 1 on Billboard’s Hot 100 singles chart, making it the first cut this year by a solo female artist to reach the pinnacle of the tally.
But while there’s been some talk of a lack of women atop the charts…
“American Masters: Richard Linklater” (PBS)
On Friday, PBS will air the latest installment in its “American Masters” documentary series, this time tracing the career of beloved filmmaker Richard Linklater. Patricia Arquette, Ethan Hawke and Matthew McConaughey are among those who appear throughout the 90-minute documentary about the man behind such films as “Boyhood,” “Dazed and Confused” and the “Before” trilogy.
“Planet Earth II” (BBC America)
On Sunday morning, BBC America will marathon of the astonishingly beautiful nature documentary series “Planet Earth II.” The six-episode series is a technical marvel, capturing the planet’s natural beauty in stunning detail.
Netflix’s crime drama “Narcos” returns for a third season this weekend, it’s first without Wagner Moura in the lead as Pablo Escobar. Season 3 sees Pedro Pascal stepping to the fore as DEA Agent Javier Peña, taking on the Cali Cartel, led by Gilberto Rodríguez Orejuela (Damian Alcazar).
“The Walking Dead” (AMC, Netflix)
After a bloody and divisive seventh season, AMC will air back-to-back episodes of “The Walking Dead” throughout the Labor Day weekend, providing fans the perfect opportunity to catch up on the post-apocalyptic zombie drama before it returns for Season 8 next month.
“The Tick” (Amazon)
Led by Griffin Newman and Peter Serafinowicz, Amazon’s reboot of “The Tick” adds a grounded realism to the trademark cheeky humor of Ben Edlund’s superhero send-up. The six episodes currently available to stream — half of the 12-episode first season — have been generally well-received by critics, though this iterations more dramatic elements have proved too much for some.
“You’re the Worst” (FXX, Hulu)
One of the most underrated comedies on the air, FXX’s twisted romantic comedy “You’re the Worst” is gearing up for its fourth season, after ending its last run of episodes on a devastating cliffhanger. The uninitiated have until Wednesday to catch up (Season 1-3 are available to stream on Hulu) on Stephen Falk’s heartbreaking and consistently hilarious series about two terrible people trying to make a relationship work.
“Queen Sugar” (OWN, Hulu)
Ava DuVernay’s “Queen Sugar” is a slow-burn family drama hailed as one of the most accurate portrayals of black southern life to ever grace American television. The show, led by Kofi Siriboe and Rutina Wesley, is currently in the middle of its second season, set to return with a two-night midseason premiere in October.
“Mr. Robot” (USA, Amazon)
Helmed by auteur Sam Esmail, USA’s hacker drama was an instant hit when it premiered in the summer of 2015. It was an awards magnet, with star Rami Malek taking home an Emmy for his portrayal of troubled computer genius Elliot Alderson. Now, the acclaimed series is about a month out from its Season 3 premiere, plenty of time for fans to parse the intricately drawn drama for clues about what’s to come.
Beloved by its primarily female viewership, Starz’ adaptation of Diana Galbadon’s “Outlander” series is a week away from its Season 3 premiere, finally bringing an end to the hiatus fans have lovingly dubbed “Droughtlander.” Adapted by “Battlestar Galactica’s” Ronald D. Moore, the historical romance with a fantastical twist has been hailed for its emotional storytelling and unapologetic use of the female gaze.
“The Good Place” (NBC, Netflix)
Michael Schur is one of the best sitcom writers currently working on broadcast television, with credits that include “Brooklyn Nine-Nine,” “Parks and Recreation” and “The Office.” His latest for NBC, “The Good Place,” was well-received from its first episode, but the response went through the roof once the show pulled off a truly maniacal twist in its Season 1 finale.
“Terrace House: Aloha State” (Netflix)
A fascinating twist on the “Real World” format, “Terrace House” puts six Japanese-speakers in a house together — “Aloha State” moves the location to Hawaii — where they attempt to find romance with one of their new roommates. All the while, a panel of Japanese comedians comment on the action, adding a meta layer to what is otherwise a refreshingly low-stakes, low-drama entry in the reality TV landscape.
“Escape to the Country” (BBC, Netflix)
For those who love HGTV’s “House Hunters” and “House Hunters: International,” BBC’s entry in the house-shopping genre is the scenic, relaxing and endlessly watchable “Escape to the Country.” Every episode, Brits fed up with life in the city visit three different properties in the English countryside, weighing options that include historic castles, traditional cottages and sprawling hillside properties.
“Gossip Girl” (The CW, Netflix)
It’s hard to believe that it’s been nearly a decade since the premiere of “Gossip Girl,” the hit teen drama from “The OC” creator Josh Schwartz that made Blake Lively, Leighton Meester and Penn Badgley household names. Vanity Fair just published a much-discussed retrospective to mark the anniversary, but for fans feeling nostalgic, the entire series is streaming on Netflix.
Results were mixed when it was attempted in this year’s XX, but The CW is hoping that the concept of a horror anthology written and directed entirely by women translates well to TV. As reported in Deadline, the network is developing a new series called Black Rose Anthology, a one-hour series featuring “vignettes about…
Anita Rocha da Silveira’s feature debut shows promise and potential.
Grace Slick has been sober for 20 years, but her reputation as one of San Francisco’s foremost Aquarius goddesses — who became the poster child for female-led flower power as the singer of Jefferson Airplane — remains as vibrant as ever, even as the Summer of Love winds down its 50th anniversary. The summer of… Read more »
As female writers and directors are striving to achieve parity in television, the CW has put in development Black Rose Anthology, a one-hour horror anthology series written and directed entirely by women. It hails from Drew Barrymore and Nancy Juvonen’s Flower Films, former co-showrunner of MTV’s Scream: The TV Series Jill Blotevogel and CBS TV Studios.
Blotevogel will write the pilot script for the Black Rose Anthology, which will explore some of humanity’s deepest fears…
WINNER: “Wonder Woman”
Apart from making more than $400 million at the domestic box office, the movie was critically lauded and united girls, boys, men and women all over the world and did things no superhero movie has done before it.
LOSER: “Rough Night”
Unfortunately, Sony’s “Rough Night” only banked $22 million so far although it was produced for $20 million. Plus, it received mixed reviews from critics — and one month later, a similar comedy in that it starred several recognizable actresses in a tale of old friends reuniting with a wild night that gets way out of hand performed better among critics and the box office.
WINNER: Patty Jenkins
Jenkins directed the second biggest movie of the year — “Wonder Woman” — and has been an outspoken critic about female representation in Hollywood. Plus, she is in the process of negotiating a record-breaking deal to helm its sequel.
LOSER: “The Mummy”
Tom Cruise’s reboot of the classic Brendan Frasier films cost a reported $125 million to produce but has only grossed $80 million domestically. Thankfully, it played well overseas, but it still received a Rotten Tomatoes score of 16 percent.
WINNER: Christopher Nolan
Christopher Nolan resurfaced this summer with “Dunkirk,” which has become a strong Oscar contender and was very well-reviewed by critics. It currently has a 93 percent “fresh” score on Rotten Tomatoes.
LOSER: “The House”
You’d think a movie starring Amy Poehler and Will Ferrell would be a hit, but no. For Ferrell, it’s the worst opening weekend for any of his movies with a screen count of over 3,000 locations, even lower than the $15 million made in 2008 by “Semi-Pro” and the $13.8 million made by “Zoolander No. 2” last year.
WB Domestic Distribution President Jeff Goldstein told TheWrap, “We’re so disappointed. We had much higher hopes.”
As previously mentioned, “Dunkirk” received stellar reviews and raked in a solid amount of money both domestically and overseas. It was lauded as a “masterpiece.”
LOSER: Any Parent Sent to Watch “Emoji Movie”
“The Emoji Movie” became summer’s worst reviewed movie, even below “Transformers” and “The Nut Job 2.” We just feel bad for the parents that were forced to take their kids to the theater to see it.
WINNER: Ansel Elgort
“Baby Driver” pretty much defied all expectations and had solid reviews but also made a decent amount of money. Many praised Elgort in his career-turning performance, and people loved the soundtrack of the movie itself.
“Transformers: The Last Knight,” “Pirates of the Caribbean: Dead Men Tell No Tales” and “Alien: Covenant” all underperformed at the domestic box office. Audiences at home seem to be sick and tired of sequels, although those particular 3 raked in huge overseas.
Disney’s summer roster included “Guardians of the Galaxy Vol. 2,” “Pirates of the Caribbean 5” and “Cars 3,” all big blockbusters that raked in the big bucks — although “Pirates” came in big overseas.
Paramount faced a hit this summer: “Baywatch” and “Transformers: The Last Knight” bombed domestically. Of course, international box office came to the rescue, but both movies were widely panned by critics.
WINNER: “Annabelle: Creation”
The horror genre is one of the most sustainable genres in the industry as it keeps proving that low risk-high reward pays off. “Creation” over-performed when it opened and also received pretty decent reviews when it opened.
LOSER: “Valerian and the City of a Thousand Planets”
Luc Besson’s latest didn’t do well domestically or internationally. It has only grossed around $172 million worldwide to date although it was produced for around $177.2 million. Poor casting, an unfamiliar story and the fact that “Guardians of the Galaxy” opened right before it could’ve been reasons it failed to launch.
WINNER: Zac Efron’s Abs for “Baywatch
“Baywatch” was filled with hot bots, but all eyes seemed to wander towards Zac Efron’s abs. The actor underwent a heavy workout regime and diet to look like that — and we appreciate it.
As previously mentioned, “The Last Knight” failed to launch at the box office. Not only did it rake in significantly less than its predecessors, but it was also widely panned by critics. However, Paramount doesn’t seem to care about audiences growing tired of the franchise — a spin-off, “Bumblebee,” is already in the works.
WINNER: Warner Bros.
Even though “The House” bombed, Warner Bros. has had huge successes this summer, of course including “Wonder Woman” and “Dunkirk.”
LOSER: “The Dark Tower”
One of Stephen King’s most famous works, the movie adaptation unfortunately failed to resonate with audiences. It somewhat underperformed and critics didn’t love the film starring Matthew McConaughey and Idris Elba.
WINNER: Tiffany Haddish
Newcomer Tiffany Haddish received a lot of praise for what critics called a “breakout” performance in “Girls Trip.”
WINNER: Warner Bros.
Even though “The House” bombed, Warner Bros. has had huge successes this summer, of course including “Wonder Woman” and “Dunkirk.”
With the filmmaker’s second feature finally hitting theaters four years after her charming debut, Bell reflects on how an obsession with filmmaking has led to an unexpected career.
In the opening sequence of “The Shape of Water,” Guillermo del Toro’s lovely genre-bending love story, there’s a fire at a chocolate factory, prompting a character to note that the smell of toasted cocoa in the air blends “horror and delight.” And while the line might be a tad on the nose, it’s a perfect prompt for the gorgeous and grotesque romance that del Toro (and co-writer Vanessa Taylor, “Hope Springs”) unspools.
There are elements of “Beauty and the Beast,” “E.T.,” “Amélie” and “The Creature from the Black Lagoon” at play here, but as always, del Toro takes the stories and the images that formed him and crafts them into something utterly his own. There’s something here for lovers of all kinds of movies — even silents and musicals — but the director transcends mere pastiche to craft a work that feels like the product of our collective film-going subconscious.
Unlike other filmmakers with an eye to recreating the past, del Toro puts his movie love at the service of, rather than a replacement for, his characters and his story. You can dissect all the beautiful moving parts — the evocative set design, the themes of outsider-dom vs. conformity, the color palette and the judicious use of period music, to name just a few — and you’re still left with a heart and a soul that permeate throughout.
Sally Hawkins stars as Elisa, who works the graveyard shift as a cleaning woman at an imposing-looking laboratory. In her tiny apartment above a movie palace, her days are regimented and repetitive (including a daily moment of bathtub self-pleasure while her hard-boiled eggs are cooking). Her only friends are co-worker Zelda (Octavia Spencer), who talks enough for the both of them, and her neighbor Giles (Richard Jenkins), a lonely gay illustrator with a crush on the counterman at their local diner.
One day, scientist Hoffstetler (Michael Stuhlbarg) and security chief Strickland (Michael Shannon) arrive at the lab with a top-secret asset: an “Amphibian Man” (as the credits call him) captured from a river in South America, where the locals revered him as a god. Elisa immediately bonds with the creature, befriending him at first with eggs, and later with jazz records, communicating with him by teaching him sign language.
It’s 1961, so of course the creature becomes the object of a Cold War tug-of-war between Americans who want to vivisect him and Soviets who want to kill him before the Americans can learn anything from him. Elisa must summon her resources to save him – and, along the way, to understand the depths of her feelings for him.
“The Shape of Water” understands a fundamental truth about 1961 America: the furniture, the outfits, the cars and other elements of design looked great, but society was ugly. The film tells a color story, from the lab’s New Look green to an awakened Elisa’s red high-heel shoes, but there are no rose-colored glasses in place: TV news shows civil rights protesters being blasted with fire hoses, lunch counters turn away black patrons, and Giles rightly notes that he was born too early or too late to lead his life as a gay man in this country.
(Of course, that color story would have worked even better had del Toro and Taylor hadn’t had two different characters point out that green is the “color of the future,” but it’s a rare self-explanatory lapse in an otherwise touching screenplay.)
This is a Fox Searchlight release, so naturally the musicals-loving Giles is always turning his TV dial to vintage classics from the Fox library starring Betty Grable, Carmen Miranda and Alice Faye; the latter’s “You’ll Never Know” becomes the plaintive soundtrack of the orphaned Elisa’s love for the Amphibian Man. Hawkins communicates so much without speaking, and there’s never any preciousness about the emotional nakedness she conveys with her every facial expression.
Jenkins gets to be funny and anguished, and his droll line readings make a potent counterpoint to Hawkins’ silence. And you know that Spencer wouldn’t take on another cleaning-lady role – Strickland at one point refers to Zelda and Elisa as “the f–cking help” – if it didn’t give her the opportunity to be intelligent and witty and heroic. And who but Shannon could give a pill-popping, candy-chewing, female-harrassing, Cadillac-coveting, Norman Vincent Peale-reading atomic-age sadist like Strickland such vivid villainy?
And let’s not forget Doug Jones – his fish-man may call to mind his performance as Abe Sapien in del Toro’s “Hellboy” movies, but here he really gets to unleash his gifts as a mime, allowing him to access a full range of emotions and desires without ever uttering a word. This is a motion-capture performance that stands alongside Andy Serkis’ work in the “Planet of the Apes” films as the apex of this relatively new form of acting that contains endless potential.
“The Shape of Water” is a romantic fable for adults and a heartfelt saga for everyone who understood why Kong died loving Fay Wray. Even if you find del Toro as someone who loves old movie genres from a distance, there’s no denying the whole-heartedness with which he plunges into this underwater tale.
Redhead Jenny Jaffe is like a bubbly Julie Klausner in a comedy that puts the fun back in kink and BDSM.
The film will have its world premiere in Venice Days at the Venice Film Festival later this week.
Songwriter/producer Linda Perry is prepping a search for talented undiscovered female musicians for “All Girl Band,” a music-driven television show from Digital Media Studios and her label/publishing company We Are Hear. “We are looking for authentic, timeless musicians who can fill the void in the music industry,” says Perry. “We want women who don’t fit… Read more »
Twitter critics have a message for the more than 150 Evangelical leaders behind a document called “The Nashville Statement”: Please hold off on your gay bashing until after Hurricane Harvey.
Or, you know: Knock it off altogether.
The “Nashville Statement” emerged from a meeting of the Southern Baptist Convention’s Ethics and Religious Liberty Commission’s annual conference in Nashville. It consists of 14 statements of affirmation and denial relating to human sexuality.
“It is sinful to approve of homosexual immorality or transgenderism,” said the statement, issued in the year of our Lord 2017.
“WE AFFIRM that self-conception as male or female should be defined by God’s holy purposes in creation and redemption as revealed in Scripture,” read one affirmation.
“WE DENY that adopting a homosexual or transgender self-conception is consistent with God’s holy purposes in creation and redemption,” read another.
Among critics of the Nashville Statement is Nashville Mayor Megan Barry, who tweeted that it is “poorly named and does not represent the inclusive values of the city & people of Nashville.”
The Twitter critiques of the Nashville Statement came just hours after famed televangelist Joel Osteen was slammed for not opening the doors of his Houston megachurch to Harvey’s victims. (He eventually did.)
“Joel Osteen: No way anyone can top how tone deaf and Biblically blind I’ve been during Harvey,” wrote one person on Twitter. “NashvilleStatement: hold my BEER!”
“I have other thoughts on the
#NashvilleStatement, but my first was, ‘Don’t they know we’re still trying to rescue people from Harvey?’” asked another.
Hurricane Harvey, which has since been downgraded to a tropical storm, has ravaged Houston, flooding roadways and forcing an estimated 30,000 people out of their homes.
See more Twitter reactions to the Nashville Statement below.
— ⚖The Justice Team⚖ (@robyns323) August 29, 2017
Millions have lost everything to Harvey, many have died, so the religious right decides to lecture about LGBT people. #NashvilleStatement
— David Badash (@davidbadash) August 29, 2017
— Ted Lieu (@tedlieu) August 29, 2017
1) These evangelical leaders signing the #NashvilleStatement, but won’t sign a check to help Hurricane Harvey victims or open their churches
— Joshua White (@blackjoshwhite) August 29, 2017
— Repeal&Replace Trump (@Sha_Elise24) August 29, 2017
— Andres Chavez (@prqls) August 29, 2017
I have other thoughts on the #NashvilleStatement, but my first was, “Don’t they know we’re still trying to rescue people from Harvey?”
— Elizabeth Drouillard (@ThingsBright) August 29, 2017
CBS is developing a new comedy series based on the South Korean series “Emergency Couple”, Variety has learned exclusively. “Love/Sick,” a multi-cam hybrid, follows a young female doctor who is put in charge of a new group of medical interns, only to discover that one of them is her ex-boyfriend. Lisa Parsons will serve as the… Read more »
Of the 67 episodes chronicling life during wartime in Westeros, female representation behind the scenes has been truly shocking.
In the six-month awards season, it’s vital that early discussion focus on the movies rather than the horse race.