I’ve been thinking a lot about the difference between a playwright’s voice and a play’s voice.
I’ve been thinking a lot about the difference between a playwright’s voice and a play’s voice.
A clip-showish article for a clip-showish movie:
To continue — and to further complicate (hopefully) — Monday’s conversation concerning the treatment of morality in Harold Pinter’s Betrayal and Quentin Tarantino’s Once Upon a Time … in Hollywood:
Welcome to BETRAYED!, a week’s worth of diatribes inspired by the current Broadway revival of Harold Pinter’s Betrayal.
Chained for Life is 2019’s smartest cinematic contribution-cum-excavation of the current discourse surrounding #Representation.
Does Wednesday’s piece regarding The Death of Death Long feel…incomplete?
How can a movie that hinges on a horse fucking a guy to death be so…boringly conventional?
What Jexi could’ve been:
From one of my favorite actors erring, to another:
Yesterday, whilst discussing delightmares, I posited (in regards to Steven Knight, but the sentiment applies to many of my faves) that artists adventurous enough to swing for the fences will inevitably whiff a few at-bats.