2005: When Tilda Swinton went full Hollywood

Please welcome back former contributor Sean Donovan who returns to the fold...

With the 2005 Supporting Actress Smackdown quickly approaching TFE, let’s take a moment to think about a future Best Supporting Actress winner who was just then gathering her strength, summoning her powers of fierce alien glamour, and dipping a toe into Hollywood. 2005 was a pivotal year for Tilda Swinton in that it was her first engagement with big budget genre filmmaking. Tilda had found her way onto some Hollywood projects prior to this -- The Beach (2000) with Leonardo DiCaprio, Vanilla Sky (2001) with Tom Cruise, Jonze and Kaufman’s contemporary classic Adaptation (where she briefly shares the screen with Meryl Streep and my little gay heart explodes) -- but 2005 brought bombast, costuming, and blockbuster genre storytelling to her body of work...

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10th Anniversary: The Kids Are All Right

by Deborah Lipp

In the second year of Oscar’s expanded, ten-nominee slate for Best Picture, the change proved its worth. The occassion was the nomination of The Kids are All Right, a film of such perfection that there can be no doubt of its worthiness, yet who could have imagined its inclusion? In 2010, we definitely weren’t ready for a queer picture to win, and ten years later, it seems like we’re still not ready for a female-centric film to win. But inclusion is victory, and anyone who watched The Kids are All Right solely because it was nominated was also a winner.

The Kids are All Right is an intimate and human movie. Everything and everyone here has skin that is fully lived-in, fully human, and perfectly, adorably messy...

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Podcast (ICYMI) at the Whistle Stop Cafe

Have you had a chance to really bite in to the delicious Smackdown 1991 podcast yet? We know you read the article given the plentiful comments but there's so much to chat about within the podcast conversation. Nikki M James, Rory O'Malley, Nick Westrate, Mark Harris, and Katey Rich were all terrific guests, don'cha think? Dying to hear your thoughts on the specific things we discussed, but especially...

- Fried Green Tomatoes' 'food fight as lesbian sex' metaphor (!), the confusion over Ninny's identity, and its rose-colored lensing of race relations
- Whether Cape Fear's ending is confusingly botched or confusing on purpose... "my reminiscence"?
- Rambling Rose's Laura Dern / Lukas Haas sex scene driving mothers and spouses from the room!
- The camp of all the Barbra scenes in Prince of Tides. What word was Dr Lowenstein looking up in her Pocket Oxford Dictionary? 
- Michael Jeter's "sprinkling for fairy dust" ("Sprinking?!") in The Fisher King and the AIDS crisis just beginning to hit the movies

download right here or hit iTunes

Smackdown at the Whistle Stop Cafe

Almost There: River Phoenix in "My Own Private Idaho"

This article is dedicated to Mark, one of our subscribers (thank you!), who requested a piece on River Phoenix -Editor.

by Cláudio Alves

It's difficult to write, it's difficult to think, about River Phoenix without the tragedy of his premature death casting a dark shadow over all other considerations. His acting is often talked about in terms of wasted potential, another facet of the same mythos that James Dean inhabits in the public consciousness. Sure, his film work is important, but only as far as it adds to the narrative of a flame that burned too bright and died out too soon. That can be a blessing to one's legacy, a promise of cultural immortality. However, it's also a curse that makes a young actor's amazing career into a footnote of a Hollywood tale of doom and gloom. River Phoenix was and is more than the protagonist of a real-life story about dying young. He's a great actor, one whose performances still have the power to amaze and impress, to enlighten and hurt.

This piece is about such a feat of acting, one that takes my breath away every time I gaze upon its magnificence. It's about River Phoenix in Gus van Sant's My Own Private Idaho…

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Curio: Viola and "Firsts" on Vanity Fair Covers

For this week's Curio let's talk the history of magazine covers rather than fan art.

Isn't the new Vanity Fair cover a beauty?! Viola Davis's profile has gotten a lot of attention but so has the fact that this is the first cover in VF's history to be shot by a black photographer. The name of that very talented man is Dario Calmese and he's previously shot George MacKay and Billy Porter for the magazine.

There's a lot of outrage online: how can this be the first after 100 years? Because we grew up as magazine junkies (before the internet *gasp*) this factoid is interesting and indeed outrageous but also a bit misleading. We'll talk about that in a hot second but first let's focus on the beauty and power of VIOLA DAVIS who we're so proud to have been stanning right here since 2002 when we gave her a gold medal in our annual awards six years before the world at large caught on. Our awards were only celebrating their 3rd birthday then.

How time flies. Now she's a superstar and who is more deserving? No one...

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