Queering the Oscars: Chris Sarandon in "Dog Day Afternoon"

For Pride Month Team Experience is looking at queer & queer-adjacent moments in Oscar history.

by Nick Taylor

“I wish I had an abusive boyfriend who was willing to rob a bank to pay for my sex change operation.” sighed my friend Jude after we finished watching Dog Day Afternoon (1975). Pride is always an ideal excuse to make all my cool queer friends watch cool queer films (I do this all the time, mind you), and our Queering the Oscars series has created the perfect opportunity to revisit old favorites with good friends.

In the context of queer cinema, Dog Day Afternoon is a fantastic surprise to put in front of a crowd, since it doesn’t announce itself as such from the outset...

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Doc Corner: John Ford and the 'Midnight Cowboys'

By Glenn Charlie Dunks

“When in doubt, make a western.” – John Ford.

This quote stuck out to me in the opening of The Taking, the latest film about film from Swiss director Alexandre O. Philippe. Like ford, director John Schlesinger made a western himself after an early-career stumble. The films of John Ford and Schlesinger’s Midnight Cowboy aren’t linked too much; at least not on the surface. But with two new documentaries, they are given visual deep-dives that tie them together as logical ends of a spectrum that used images to sell America as a hard land or hard men.

Both Philippe’s The Taking and Nancy Buirski’s Desperate Souls, Dark City and the Legend of Midnight Cowboy err on the side of cinematic essays than traditional behind-the-scenes making-of documentaries. Each offer their subjects’ take on the (quote unquote) western as both of their time and in many ways timeless. I enjoyed them both.

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Glenda Jackson (1936-2023)

by Cláudio Alves

WOMEN IN LOVE (1969) Ken Russell

Some people feel like they'll never die, their presence bound to eternity, shackled to forever. Deep down, we know it's not true, that no one lives forever. Self-delusion is easier than questioning those innocent untruths that, like laws of the universe, make life seem less chaotic. For me, Glenda Jackson was one of those impossible constancies, someone who wouldn't, couldn't die. And yet, here we are. This past Thursday, June 15th, news broke that the two-time Oscar winner turned politician, turned back to actress, was gone. She died peacefully at her London home, leaving behind a legacy whose majesty is hard to overstate.

On this sad occasion, let's look back to that inheritance, remember the glorious Glenda Jackson and what made her so uniquely great…

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Emmy Ballots Are Here!

By Abe Friedtanzer 

The Roy siblings, all now leads for Succession

Emmy voting is officially open with the release of this year’s ballots. As usual, it’s an exhausting list to process, in part because it’s harder to notice who’s missing than to raise an eyebrow at the surprise inclusions. As always, Supporting Actor in a Drama Series boasts the most contenders, though that number is only 345 this time around, down almost 100 from last year. Is there less TV on? Because it certainly doesn’t feel way. Coincidentally, 345 is also the number of pages you need to scroll through in order to see all the acting submissions...

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Queering the Oscars: Calamity Jane's "Secret Love"

For Pride Month Team Experience is looking at LGBTQ+ moments in Oscar history. 

by Nathaniel R

When we decided to do this series we left it up to contributors to pick their topics. Does an movie achievement qualify as queer because of an aesthetic sensibility? Because the artists involved were LGBTQ+? Because of subject matter or characters? Any of those! With Old Hollywood movies one of the most common 'qualifying' reasons -- it's all very subjective of course -- is whether or not a movie or singular element of a movie was 'adopted' by the queer community. In this regard "Secret Love," the Oscar-winning ballad from the western musical comedy Calamity Jane more than qualifies...

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