Ten Little Linkies

morning news items, or recommended stories / essays

• Boy Culture Comic gold Teri Garr interviewed about her MS (which sadly ended her career, she's now confined to a wheelchair) and her famous co-stars (still loves Dustin Hoffman, was not a fan of Gene Wilder)  

• Forbes asks that the internet stop trying to make the most powerful woman in the movie world (that'd be Wonder Woman) into a victim with constant outrages. She's a hit, enjoy her.

Eight additional stories after the jump including a Downton Abbey reunion, Emmy hopefuls, Batman Returns and more...

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Director Joel Edgerton's "Boy Erased" Heads to Focus, While the Author of the Memoir Addresses Concerns

By Daniel Crooke

Give or take a big, broad Black Mass or two, Aussie toughie Joel Edgerton has proven himself to be a craftsman of restraint throughout his most recent crop of work, and continues to surprise audiences by subverting their expectations of how a man of his hulking size and stature should emote on the big screen. His performance in last year’s criminally undervalued Loving buries deep currents of sensitivity beneath the protective creases of his brooding face, and he manages to say more and speak louder through the locked intensity of his body language than the volume of his voice in Trey Edward Shults’s apocalyptic downer It Comes At Night. 

However, his most compelling work as an artist to date has been behind the camera...

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Q&A: "Strong Female Characters" and Future AFI Honors

Okay last round of reader questions before we have to ask for a new batch. These are culled from the last "Ask Nathaniel" column as well as the open thread. Let's talk Wonder Woman and Oscar, "Strong Roles for Women," and more.

MARIE: Who are the next 3 women that should win the AFI Life Achievement Award?

NATHANIEL: A timely question since Diane Keaton just won hers. But I had to look back at who has previously been nominated to come up with an answer. Living female winners number only five: Diane Keaton (2017), Jane Fonda (2014), Shirley Maclaine (2012), Meryl Streep (2004), and Barbra Streisand (2000) with the other twelve winners in this new century being men (both actors and directors have won). It's actually a tough question because they have to be alive and *really* famous to get this honor and also elderly (though Streep was young for this honor taking it when she was 54ish I think). They also have to be American (for the most part) so I looked only at people who are almost 60 or older and this is what I came up with...

 

I would probably choose from among these five next:

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Untitled Han Solo origin story loses its directors

Robert here! The Star Wars franchise has been enjoying a commercial and critically successful third wind with the release of new trilogy starting The Force Awakens and standalone, universe expanding film Rogue One. While the next installment of the main nonilogy of films, The Last Jedi, is slated to be released in December, the next standalone film, an origin story for series favorite character Han Solo, has hit a major snarl as directing team Phil Lord and Chris Miller have just announced that they are departing the project.

More after the jump...

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Soundtracking: "Big Little Lies"

It's Chris Feil's weekly series on music in the movies, this time on one of this year's television favorites...

Did you know that Emmy added a music supervision category this year? While this may seem a bit nebulous (Emmy sure does have a heck of a lot of categories!), at least we might get some great soundtracks and song choices recognized. Consider my soundtrack column this week an FYC (among others we've written) for what must be the inaugural front-runner Big Little Lies. Emmy: did you ever want it? Did you want it bad?

The musical landscape of Monterey is packed with soul tunes both new and old, weighted with a kind of timeless, cross-generational longing that ties together the various women of its ensemble. They way these songs ache deepen our understanding of each woman’s unique pain: the angry defiance of Jane running to “Bloody Mother Fucking Asshole”, Madeline’s romantic respite in “River”, and a lyrically literal reflection of Celeste’s sexual confusion with “Victim of Love”. For the audience, music helps us draw the connections between their shared pain, what ultimately unites them all. Big Little Lies’s musical identity is as distinct as the series itself.

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