Drag Race RuCap: “Charisma, Uniqueness, Nerve & Talent Monologues”

For a second there, it looked like Detox was back on the Drag Race stage.

NICK TAYLOR: As with last season’s top six challenge, we get a pairs main challenge which relies heavily on the queen’s ingenuity to spin gold from straw. Comparing this episode to "Bathroom Hunties" immediately makes me grateful for how much "Charisma, Uniqueness, Nerve & Talent Monologues" allows the queens shake their shit without a safety net rather than making them literally sell something. The interpretive dance/monologue combo is still a very strange prompt, but as the best duet showed, it’s a fun platform for the queen’s creativity, trust, and improvisational skills to shine through. That’s a very generous spin on a challenge the queens and the audience absolutely should not have sat through, but even so, we got a very deserving winner and one of season 17’s stronger lip syncs. But then the lip sync winner was eliminated, and that’s not fun. How about you, did you have a good time this week? 

CLÁUDIO ALVES: Mama, this is garbage…

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Drag Race RuCap: “Villains Roast”

Villains look good in red, don't you think?

NICK TAYLOR: What a maddening episode of television this was. Don’t get me wrong, I had a lot of fun with the Villains Roast. This cast continues to surprise me, for better and worse, and season 17 continues to give us sheer entertainment at a delicious pace. But the cast’s harkening to the shady charisma of OG Drag Race has now manifested some of the most unprompted fits of delusional sabotage we’ve seen in years. Arrietty and Lexi spin out hard over absolutely nothing, falling victim to their inner saboteurs at the earliest possible second, and tearing down Jewels with a petty nastiness that kept bringing me back to Phi Phi O’Hara. They overwhelm the underdog victories of Lana and Lydia, who finally and deservedly get their first stellar critiques of the season. It’s sour enough that I’m really reconsidering Lexi’s long-assumed placement in the final four. How do you feel?

CLÁUDIO ALVES: Oh honey, I have OPINIONS on these bitches…

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Almost There: Margaret Qualley in "The Substance"

by Cláudio Alves

In an awards season full of co-leads pretending to be supporting players, nepo babies, and festival hits, it's a wonder Margaret Qualley didn't get a nomination for her work in The Substance. Coralie Fargeat's film is up for five Oscars, being the current frontrunner in Actress and Makeup, a major triumph for a picture such as this, where body horror elements are remixed and reimagined for a made-in-France Hollywood satire. It's gross, like few star vehicles in the Academy's history, so outré as to be off-putting and bold as all hell. In that regard, its closest Oscar relative is Black Swan, whose Mila Kunis, like Qualley, got major precursor and critical support but failed to secure the AMPAS' seal of approval…

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Paul Newman @ 100: "Slap Shot"

by Cláudio Alves

From 1969 to 1977, Paul Newman and George Roy Hill collaborated on three projects. The first two are, of course, Butch Cassidy and the Sundance Kid and The Sting, a pair of immortal classics that are near impossible to divorce from one's understanding of Newman as a movie star, his cultural impact, his legacy. With Robert Redford along for the ride, Hill put his stamp on both the Western genre and the heist film, appealing to convention revisited and sometimes vivisected, re-imagined for a New Hollywood. And yet, no matter how impactful those flicks are, I find myself more drawn to the third Newman-Hill joint. This time, they set their sights on the sports movie, devising a hockey comedy as funny as it is surprising – Slap Shot…

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Indie Spirits Revue: “The Feeling that the Time for Doing Something Has Passed”

by Nick Taylor

It took me a while to get caught up in this one, lemme tell you. One can argue whether Joanna Arnow's droll tone, disposition towards cringe comedy, and restrictive palettes in color and emoting is a sneakily incisive feat or a weird student-film misfire. For a film about a woman's exploration of various BDSM relationships while navigating a dead-end job and a stilted relationship with her family, The Feeling that the Time for Doing Something Has Passed possesses no titillation or temperature spikes to make the audience more engaged…

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