The Hollywood Read ep. 10

THR LogoThe Bryan Singer expose finally arrived, published by The Atlantic after Esquire, or rather, Hearst Communications, declined to release it. Alex French and Maximillan Potter put a year’s worth of work into connecting the dots and laying out the trail of human destruction strewn in Bryan Singer’s wake. We discuss the article, Singer, the system that enables and protects him, and how that system will continue so that people can make money and win prizes. There is also some discussion of the Oscar nominations, which are also tainted with Singer’s presence because Bohemian Rhapsody earned five nominations, including one for Rami Malek and another for Best Picture. So one year after #MeToo and #TimesUp, this is what’s happening. Listen as we try and stave off existential despair and the creeping nihilistic belief that nothing is getting better. This is a tough subject, so be kind to yourselves.

The Atlantic‘s expose: https://www.theatlantic.com/magazine/archive/2019/03/bryan-singers-accusers-speak-out/580462/

Be Kind Rewind breaks down Harvey Weinstein’s Oscar campaigning: https://www.youtube.com/watch?v=6tihITlPAn4

If you are a survivor, and need to talk, RAINN offers 24/7 support: https://www.rainn.org/

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Mother-daughter heartbreak in the colorful, tragic Pin Cushion

Coming of age stories are frequently awkward, often painful, but ultimately, usually, hopeful. Pin Cushion is one of those rare coming of age stories that is not really invested in perpetuating the myth that oddballs and weirdoes emerge from adolescence as interesting and functional adults. It is instead preoccupied with the ways that trauma passes between generations, and that no amount of parental love and acceptance can make up for a lack of same from peers. In Pin Cushion, bullying is not the métier of the playground, but is a cycle that perpetuates into adulthood, and bullies don’t always get their comeuppance (or, if they do, it’s just more trauma for the pile). Pin Cushion’s image of adolescence is a candy-colored darkness. Continue reading “Mother-daughter heartbreak in the colorful, tragic Pin Cushion”

The Lodgers is creepy, low-key Gothic horror

A dilapidated estate in the Irish countryside is the setting for Brian O’Malley’s The Lodgers, a Gothic haunted house story set in the days following World War I. Any Gothic film set in a grand country estate immediately calls to mind Rebecca’s Manderley, and The Lodgers certainly has shared DNA with the Gothic films that have come before, including The Innocents and a little bit Picnic at Hanging Rock. It also calls to mind Guillermo Del Toro’s recent Gothic horror-romance, Crimson Peak, though where that film reaches for spectacle (and kind of face-plants in the garden of its own grandeur), The Lodgers is a quieter tale, atmospheric and creepy and full of decay.

The chandelier is an aesthetic choice.

Continue reading “The Lodgers is creepy, low-key Gothic horror”