i've got good news. that link you like is going to come back in style.

• Guardian Great interview with Holly Hunter about The Big Sick and her career. (People are already mentioning "Oscar nom!" in regards to her supporting work as Zoe Kazan's mother in the romantic comedy)

• Pajiba on what the new Defenders posters might remind you of

• Playbill Adorable John Benjamin Hickey, fresh off the revival of Six Degrees of Separation, thinks there should be a fine for people who leave their cel phones on in theaters. Agreed! 

• Screen Crush picks the 25 best LGBT films of the past 25 years. Happy to see Pariah and Bound mixed in with the usual titles like Brokeback Mountain and such. And the past few years have been so good for LGBT cinema. I mean: Carol, The Handmaiden, Moonlight, Tangerine. #Blessed

• Esquire Fun article by Tyler Coates on how he finally learned to love RuPaul's Drag Race which he had avoided for years and even bad-mouthed in print

• Theater Mania you don't see this often but there's an actual age restriction on the Broadway adaptation of George Orwell's "1984". No one under 13 will be admitted due to its intensity. The show stars Tom Sturridge, Reed Birney, Olivia Wilde, and TFE fav Cara Seymour (who previously did that lovely guest spot for us). I'm seeing it soon so will report back.

• IndieWire has issues with the "orientalism" of the new Twin Peaks. Add this to the onling Sofia Coppola controversy and... well... People I don't know what to do with all the outrage anymore at everything. There's got to be a line where, as an adult, you're just okay with what you're seeing and discarding the parts that irk you, or filing them under "I don't know about that but whatever" if they're not harmfully intended. Artists will always have their own peculiar obsessions and they'll always draw from a wide variety of influences (at least the good ones will) to craft their own stories and nobody really owns history; pop culture and the arts are giant beautiful melting pots of ideas and aesthetics from all over the world. Oh and also the Laura Dern hairstyle is not proprietarily Asian as the article seems to imply. I know this because I was obsessed with silent film star Louise Brooks as a teenager (Pandora's Box & Diary of a Lost Girl 4ever!). It was originally called the 'Castle Bob,' because Irene Castle (a famous NY dancer) debuted the then-shocking look in 1915. It was a very controversial look but became a sensation in the 1920s with flappers and silent film stars. Hollywood's first popular Asian American actress Anna May Wong, who the article references as an influence on Dern's look, actually had to get her hair cut like that because it was so popular.

• This is Not Porn great photo of Oscar winner Kim Hunter in makeup chair on The Planet of the Apes (1968)

Hilarious Reads and I Personally Needed the Laughs. You?

• The New Yorker "Tennessee Williams with Air Conditioning"... *fans self* I was cackling so loud by the end of this. Best article in forever.

• McSweeneys "11 Ways That I, a White Man, Am Not Privileged" Oops. Hee!

• Buzzfeed "25 Gay Pride signs that will make you laugh harder than you should" - so many of these are so wonderful I just want to hug all gay people for being funny and able to spell

• McSweeneys "An Oral History of Quentin Tarantino as Told to Me By Men I've Dated" 

What places are delivering right now? So, in the early ’90s, right around when Pulp Fiction came out, Quentin Tarantino and Mira Sorvino were dating. I always thought Romy and Michelle’s High School Reunion was a dumb chick flick, but I caught part of it on cable the other day and there was an ad for Red Apple cigarettes in the background of one of the shots! Do you know about Red Apple cigarettes?

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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New to Netflix: Heymann Brothers Double Bill

by Seán McGovern.

Filmmaker brothers Tomer (director) and Barack (producer) Heymann have two documentaries available on Netflix. Mr. Gaga (newly arrived) and (in time for Pride) Who's Gonna Love Me Now?. Though quite different films, Israeli brothers have a distinct knack for getting to the center of their subjects. 

Mr. Gaga details the life and artistry of Israeli choreographer Ohad Naharin, whose voice is just as deep and intense as the work he creates. Staged reconstructions of his work, interviews and reels of footage from his youth bring him to the screen. (Sidebar: Am I the only one who thinks it's amazingly coincidental when documantary subjects have years of home movies?). Docs about dance can often be high in concept but distancing, but Tomer Heymann captures the otherworldliness of the dancer, as well as issues of cultural censorship and the impact of loss. And there's lots of cute Israeli boys dancing. Let's be honest.

Who's Gonna Love Me Now? (available in the USA on Netflix and to rent on the BFI Player in the UK) is truly moving. And while you may be wary about having all the emotions watching, it's a perfect heartwarmer for any queer person who has made their friends their family. After being expelled from his kibbutz aged 21, Saar moved to London where he lived for the next twenty years. But his sexuality and his HIV diagnosis are not things his family know or can understand. The Heymann brothers choose to focus so succinctly on Saar's experience that you have to remind yourself that this is merely a story about someone trying to live his life. Bolstered by the love and support he receives from the London Gay Men's Chorus, Saar makes some changes.

Whatever your experiences of being your true self to your family, there's a universality in remembering that it's not you who changes, but the people around you who must. There are tears. But there are also camp choral classics. It's beautiful.

Pride Month Doc Corner: 'Whitney: Can I Be Me'

This month for Pride Month we're looking at four documentaries that tackle LGBTIQ themes. This week it is Whitney: Can I Be Me, the latest in a long line of musical documentaries.

There is no need to introduce Whitney Houston; we all know her and her songs. I also have no doubt that people reading this know her story of soaring talent and troubled downfall due to drugs. Hers was an arc that is rooted in the blueprint of great cinematic tragedies, a story that we have seen play out plenty of times before (in life as well as in in the movies), that it would be easy to roll our eyes at how cliched it was if it weren’t so painfully true.

If it feels somewhat curious then that director Nick Broomfield has turned his documentary eye to her story then that’s because it is. Unlike his earlier music doco Kurt & Courtney (or even his pair of Aileen Wuornos docs in which he takes an antagonistic role with his subject), there isn't an antagonist to go after. Whitney: Can I Be Me’s central conflict is predominantly between Whitney and herself. The title, “Can I Be Me”, was a phrase used often by Whitney – at times in the backstage footage, her team are even seen joking about it – as a means of apologising for being herself rather than the perfect pop creation crafted by Clive Davis and her mother.

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Emmy FYC: Judith Light, "Transparent"

by Chris Feil

Most of the awards talk over Transparent’s three seasons has orbited around Jeffrey Tambor’s genius work at its center. This past season was its best acted among the entire ensemble, with emotionally raw complexity from Jay Duplass and Amy Landecker that also deserves Emmy’s attention. But the most rewarding powerhouse performance this time was Judith Light as fraught matriarch Shelly. Many months ago, she became my favorite performance of the TV year and remained so ever since.

The third season brought Shelly closer to the forefront, detailing further the abuse she suffered as a child and her quickly developing romance with the increasingly suspect Buzzy (Richard Masur). When Buzzy’s manipulations come to light and her family continually shrugs off her abrasive attempts at connection, we see not only her mounting disappointments but a growing ability to stand on her own two feet. It’s how Light makes her knees wobble as she does so that makes the season arc so moving. She's a brand!

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