PSA: Kim Cattrall was famous before "Sex and the City," okay?

by Nathaniel R

Just when you think the world can't get any more sexist, there's always a reminder that it can. One such reminder is the famed existence of Sex and the City, a target in perpetuity. It often brings out the very worst in journalists, critics, famous people, and the public alike (both male and female in all four cases) as people fall over themselves with new ways to hate on, be offended by, or attempt to take down that particularly glitzy femme pleasure.

The brand has beenquiet for some time now until the Daily Mail posted a gross story about Kim Cattrall supposedly stopping production of Sex and the City 3 in its tracks with "outrageous demands". I didn't personally believe this was true, even before the stars started giving quote about it. The more quotes there are the more it's clear that everyone will have a different perception of what happened and that's fine. What was shocking was not the misleading story (my best guess is that the truth is somewhere inbetween all the quotes from the cast and executives because many many people with big egos and lots of millions are involved) but how unbelievably petty and sexist the "sources" were in their quotes about Cattrall...

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This is Link

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The Guardian talks to Armie Hammer about the peach scene in Call Me By Your Name and more - Hammer also recently got in a good dig at conservative asshole James Woods who is upset by the age difference in the film
Awards Daily Joey ranks the 101 greatest Will & Grace guest stars. Yes, 101.
Decider the 24 best episodes of Will & Grace prior to the revival
THR Netflix is losing some very major TV series on Oct 1st so if you always wanted to complete 30 Rock or Friday Night Lights, you'd best be bingeing...

More after the jump including Cher, Jane Fonda, This is Us, and Hugh Hefner's death...

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Race in Lady Macbeth and The Beguiled: Not so black or white?

by Lynn Lee

Florence Pugh in Lady Macbeth / Nicole Kidman in The Beguiled

In a summer filled with movies by or starring women of exceptional talent, The Beguiled and Lady Macbeth make an especially fascinating cinematic pairing.  Both films center on mid-19th century women who appear trapped by their societies’ constricting gender norms.  In both, the women are confined to an isolated, often claustrophobic space, yet nature is a constantly beckoning presence that at once shapes and reflects their desires.  (Both even have plots that turn on poisonous wild mushrooms!)  And in both, the women up-end the patriarchal structure of their circumscribed universe without liberating themselves.  If anything, they reinforce that power structure even as they seize momentary control of it, leaving not a feeling of triumph but a somber queasiness.

For all these thematic similarities, the differences between the two films are even more striking...

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This & That: Silkwood, Stewart, and other things we forgot to talk about

Herewith a random collection of things that have been clogging up The Film Experience pipeline (i.e. my desktop and emails) which I never got around to writing about and no team maker volunteered to cover. In some cases I saved a photo I don't remember from what and for what!

Once you're done reading the post please imitate that "empty trash" desktop noise and feel as uncluttered as I will once I've hit publish.

We'll start with Meryl because that always gets you going...

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Young and Hungry Susan Hayward

HAYWARD CENTENNIAL FINALE

by Nathaniel R

Oscar buffs might be the only people who still regularly talk about Susan Hayward but her Oscar record was impressive enough to warrant that conversation. Five nominations with one win, all in the Best Actress category, is not nothing. In fact, her record is a match with Audrey Hepburn and Anne Bancroft and another Susan (Sarandon). But when I first got interested in Susan Hayward before I'd seen any of her films, what drew me in was the abundant hysteria within the posters, titles, and taglines for her movies. Or to quote Rupert Everett in My Best Friend's Wedding:

The misery. The exquisite tragedy. The Susan Hayward of it all!"

She lived (onscreen at least) for exclamation points so it's fitting then that her Oscar win came from I Want to Live! (1958). But to close out our celebration counterintuitively in reverse, let's end with a film from when Hayward was a young and hungry actress without much pull...

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