Sarah Greenwood: From Narnia to Barbieland

by Cláudio Alves

Gerwig and Greenwood discuss BARBIE in a behind-the-scenes video. | © Warner Bros.Last Sunday, Sarah Greenwood officially became the most nominated production designer without an Oscar, breaking her tie with Nathan Crowley for the "Diane Warren" distinction. This year, she was nominated for Barbie, another triumph among many in a career spanning 1980s BBC miniseries to 21st-century Hollywood blockbusters.

Though many of her best works rely on a sense of material realism, the Greta Gerwig feature aimed for a sort of "authentic artificiality" where denying reality is a sort of reality into itself. For Greenwood, midcentury Palm Springs was a source of real-world inspiration to combine with Mattel's history, adding a sense of internal logic to Barbieland. Moreover, the aesthetic was sustained by old-school techniques like hand-painted backdrops and a practical fake sea, visible wires holding everything together in the loopy transitions between worlds. She used scale as a tool for wonderment, took cues from Gene Kelly musicals, and delivered a screen dream in fifty shades of fuchsia. Indeed, her team used so much pink paint that they caused an international shortage…

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Jane Austen Done Right

by Cláudio Alves

Recently, Nathaniel reviewed Netflix's Persuasion adaptation, pointing out many of the film's issues. That said, our beloved editor is not an Austenite, so his critique lacks the militant outrage you could expect from the writer's biggest fans. Speaking as one of those demented individuals, I found the latest adaptation to be terrible beyond belief, starting from its basic premise. After all, why would one choose Austen's most melancholic, wistful, and mature novel for this Fleabag-esque treatment full of anachronistic jokes and fourth-wall-breaking jests? Isn't something like Northanger Abbey better suited for such an interpretation? The whole thing is a panoply of bad choices.

Still, while the new movie is terrible, the impulse to modernize Jane Austen's writing isn't necessarily wrong-headed. One just has to understand each text's particularities. The author's work is eminently cinematic and quite malleable when handled well. To prove its endless plasticity, here's a list of Austen-related films that took wildly disparate approaches to the material… 

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Best TV of the 21st Century?

by Nathaniel R

Mad Men, my personal vote for Best TV show of the 21st century

Have you seen the latest list that has tongues wagging? BBC polled TV critics to come up with a list of the 100 greatest TV series of the 21st century. Usually 100 greatest lists are silly because the time frame is too long and there are more than 100 things that are great in a century (or more) but given the short time frame (2000-2021) this one is more reasonable to argue about. We only wish they had nixed reality tv (it's silly to have only one show - RuPaul's Drag Race -- representing an entire enormous genre of television; better to just ignore it than have a single token show) and that they would not have allowed series that have not yet wrapped up to qualify; final seasons ALWAYS effect how people judge a show, for better and worse. And they should!

You should read the whole list but here's are three pulled samples to discuss...

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Emmy FYC: The writing of "I May Destroy You"

by Cláudio Alves

If loving I May Destroy You was a party, I'd have arrived late, long after most people had left and only a few stragglers remained, sleepily fumbling their way through a dancefloor labyrinth of abandoned bottles and stale sweat. While most of the world was consuming Michaela Coel's staggering tour-de-force June and July last year, I focused my attention on movies and the Emmy-eligible TV for that particular season. Consequently, I only watched I May Destroy You when it came time to vote for the Independent Spirit Awards. I went into it with great expectations that I feared too massive to be met. In the end, I needn't have doubted the show's masterpiece-like quality, its searing power, or visceral confrontation. Even then, I don't think I was fully prepared for how awe-inspiring Coel's writing turned out to be…

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Killing Eve: Season One

By Spencer Coile 

With the recent announcement of the Television Critics Association nominees, one show really rose above the competition: Killing Eve. With multiple nominations for the series itself as well as its two leading performances from Sandra Oh and Jodie Comer, a second season renewal before the first episode even aired, and critical raves, the latest BBC series from Phoebe Waller-Bridge has become something of a phenomenon. 

Killing Eve is about MI5 agent, Eve Polastri (Oh) becoming fixated on catching international assassin, Villanelle (Comer). Killing Eve explores the subjects commonly associated with spy thrillers -- mystery, intrigue, sex, death – but interestingly, it's all through the lens of two female leads. It's also surprisingly bold, enthralling, and hilarious...

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