#isaac feldberg
Photo
'My Animal' Review: An Intoxicating Werewolf Romance With a Queer Bite
Amandla Stenberg stars in a queer coming-of-age romance that doubles as a werewolf horror film.
https://www.inverse.com/entertainment/my-animal-review-sundance-2023
#Inverse Movie Reviews#Movies#Horror Movies#Entertainment#freelance#Sundance#homepage#Isaac Feldberg#Inverse
0 notes
Text
Happy 2023 from Chaz Ebert and All of Us at RogerEbert.com! | Chaz's Journal
Happy 2023 from Chaz Ebert and All of Us at RogerEbert.com! | Chaz’s Journal
Before we embark on 2023, I’d like to take a moment to look back at 2022. In January, we returned to the Sundance Film Festival, publishing dispatches from our editors Brian Tallerico and Nick Allen as well as our contributors Marya Gates, Robert Daniels and Isaac Feldberg. In February, Barbara Scharres brought us highlights from the Rotterdam International Film Festival, while our annual Women…
View On WordPress
0 notes
Text
Overlooked Films of 2022: Table of Contents | Features
Overlooked Films of 2022: Table of Contents | Features
Decision to Leave selected by Christy Lemire
Detective Vs. Sleuths selected by Simon Abrams
Two Seasons selected by Isaac Feldberg
Emily the Criminal selected by Katie Rife
Fire of Love selected by Christy Lemire
Girl Picture selected by Marya Gates
God’s Creatures selected by Robert Daniels
Hit the Road selected by Carlos Aguilar
Inu-Oh selected by Carlos Aguilar
The Legend of Molly Johnson…
View On WordPress
0 notes
Photo
Eye-Gouging Must Go.
Censor co-writer and director Prano Bailey-Bond talks to Isaac Feldberg about video nasties, mass hysteria and being inspired by The Beyond.
“All these violent paintings in galleries are elevated and celebrated, but somehow cinema that’s violent has in the past been frowned upon.” —Prano Bailey-Bond
In 1980s Britain, low-budget horror titles swept the country’s then-nascent VHS market and sparked a moral panic as the tabloid press, government officials and conservative activists decried the films’ violent content, believing it would corrupt a generation. Before legislation was passed to bring home video under the jurisdiction of the British Board of Film Censors (BBFC), the Director of Public Prosecutions legitimized this hysteria by issuing a list of 72 so-called “video nasties”, from Possession to Cannibal Holocaust, that it alleged had violated obscenity laws.
Around half were ultimately prosecuted, as police raided video shops and moral crusaders spread misinformation on the airwaves. But inside one family home in rural Wales, “I was watching whatever I could get my hands on,” says Prano Bailey-Bond, co-writer and director of Censor, a psychological horror steeped in the world of video nasties.
Set in 1985, Bailey-Bond’s stylishly subversive thriller channels the period’s repressive atmosphere and underlying absurdity while honoring the transgressive cheap thrills of the nasties at its center. Niamh Algar stars as Enid, a tightly wound censor who approaches her job diligently (“Eye gouging must go!” reads one entry on her notepad) but lacks a life outside the office.
Screening a mysterious horror title one day, Enid discovers sequences that remind her strongly of a childhood trauma—the unsolved disappearance of her sister. As she investigates, the palpable gloom of Thatcher’s London gives way to delirious, giallo-inspired dream sequences, and the picture quality of Censor itself appears to break down, aspect ratios shifting to trap viewers inside a vintage VHS frame.
“The film is about format,” explains Bailey-Bond, who shot mostly on 35mm and wanted Censor to eventually resemble a video nasty in its increasing throbs of gore, color and static. It was especially important to capture the faded look of video nasties that had been circulating underground for years. “Fans were getting hold of nasties and creating next-generation copies, so the image was degrading slightly with each VHS.” Viewers rewinding and rewatching the scary bits only degraded tapes further, she recalls. “People would talk about their experiences in that sense, knowing something really horrible was coming up because the picture got more fuzzy.”
Prano Bailey-Bond on the set of ‘Censor’.
Growing up, Bailey-Bond lived far from the nearest cinema. Instead, she worshipped at the altar of her parents’ VHS shelf, filled with tapes recorded off low-signal Welsh television. As video nasties made headlines, she was too young to grasp the controversy but old enough to take an interest in the films. The Evil Dead and The Texas Chain Saw Massacre, two better-known nasties, were among her first.
But Bailey-Bond believes she was first set on a path toward filmmaking after seeing David Lynch’s Blue Velvet. “I love the way it speaks to the dark underbelly of society, and to the dark side within us as people,” the director says. Initially gobsmacked by the film’s uncanny mystery of sexual obsession and shadow selves, she kept coming back. “I’d been swept away by the Lynchian universe at first,” she says. “But the more I analyzed it the more clever it became.”
Initially, Bailey-Bond pictured herself on screen, starring in the kinds of films that had mesmerized her. While studying performing arts she directed an absurdist play, The Chairs by Eugène Ionesco, and caught the filmmaking bug. “I was quite blown away by the experience of shaping a performance from the outside,” she recalls. “I also used to paint quite a lot, so it felt like directing was a way of me fusing performance and painting to create images.”
Niamh Algar as Enid in ‘Censor’.
Bailey-Bond’s obsession with film exceeded her love of theater. “I felt more liberated by it,” she says. “You could control point of view and work in a more intricate way with sound.” After studying at the London College of Printing, she started at Goldcrest Films as a runner and worked various post-production jobs, including as an editor. It would be cheaper to make movies, she knew, if she could do more herself.
The first seed of an idea for Censor came not from video nasties but their precursor, Hammer horror, which shocked 1970s censors with its bloodletting and then-scandalous eroticism. Titles like The Curse of Frankenstein, Horror of Dracula and Twins of Evil starred legends like Peter Cushing and Christopher Lee, but they were racier than Hammer’s famed gothic horror.
“During that period, censors would automatically cut any image of blood on the breast of a woman, because they believed it would make men likely to commit rape,” explains Bailey-Bond, whose research never satisfied the biggest question this practice raised. “Surely, most of the censors in that period would have been men—so, I thought, what stops the censor from losing control, if these images are meant to make us do horrible things?”
To get inside a censor’s head, Bailey-Bond and co-writer Anthony Fletcher spent time in the archives of the BBFC (now the British Board of Film Classification), examining notes on nasties like The Last House on the Left and The Driller Killer. “Even though you’ve only got their initials at the end of each comment, you start to see each individual censor’s personality coming through in the way they viewed the film,” she says. “Everybody’s got a political angle on why they’re there, what they think is and isn’t okay.”
As Enid develops an unhealthy fascination with a (fictional) filmmaker named Frederick North, Censor delves into two of his video nasties. Filming them on Super 8mm, Bailey-Bond used these films-within-the-film to honor her heroes. Asunder, with its hallucinatory atmosphere, evoked Dario Argento’s Suspiria and Lucio Fulci’s midnight classic The Beyond. “The end of that film is hell in a great way,” she says enthusiastically of the latter. “It’s not disgusting, but it makes you feel sick, the nightmarishness of where those characters end up.”
North’s Don’t Go in the Church, meanwhile, conjures The Blood on Satan’s Claw, about two girls in a dark forest; its title also references Don’t Go in the Woods and Don’t Go in the House. Bailey-Bond says it’s most indebted to “haunting” no-budget Axe (alternately titled Lisa, Lisa).
Surprisingly, one nasty that didn’t influence Censor is The Witch Who Came from the Sea, about an emotionally scarred woman who lashes out in ways she can’t control. “It feels like a companion piece in some ways, looking at this traumatized woman and this strange kaleidoscope of memory and experience all clashing together,” says Bailey-Bond, who saw the film, considered a masterpiece by many, after filming wrapped.
Censor is a cautionary tale, but it takes a clear stance against “depiction is dangerous” rhetoric. “No piece of art is going to make somebody go out and do something immoral,” affirms Bailey-Bond. “The reasons people do terrible things are much more deep-rooted. It’s important we look at that and at mental health, at society and the way we look after each other.”
“That was something I was always thinking about in terms of how Enid communicates in Censor, how closed-off she is from everyone else. She’s left to deal with everything on her own. That’s much more dangerous than any film.”
Related content
Cole’s alphabetical list of video nasties
Justin LaLiberty’s list of genre cinema directed by women and movies shot on film from 2013 onwards
Dominic Corry’s interview with one of Censor’s producers, Ant Timpson, on his feature directorial debut, Come to Daddy
Follow Isaac and Prano on Letterboxd
‘Censor’ is in theaters now and on demand from June 18.
#censor#censorship#horror#directed by women#52 films by women#horror director#woman directed horror#prano bailey-bond#welsh film#welshfilmmaker#welsh director#horrorville#letterboxd#isaac feldberg#letterboxd news
128 notes
·
View notes
Photo
‘Nanny’ Director Nikyatu Jusu On Her Buzzy Supernatural Thriller [Sundance Interview]
With her new film *Nanny* premiering at the all-virtual Sundance Film Festival this year, director Nikyatu Jusu sits down with Isaac Feldberg of The Playlist to discuss her West African and horror inspirations.
0 notes
Photo
‘Nanny’ Director Nikyatu Jusu On Her Buzzy Supernatural Thriller [Sundance Interview]
With her new film *Nanny* premiering at the all-virtual Sundance Film Festival this year, director Nikyatu Jusu sits down with Isaac Feldberg of The Playlist to discuss her West African and horror inspirations.
0 notes
Text
#425 February 1, 2022
#425 February 1, 2022
Matt writes: The 2022 Sundance Film Festival virtually presented numerous titles guaranteed to be major contenders next awards season, and our writers Brian Tallerico, Nick Allen, Marya E. Gates, Robert Daniels and Isaac Feldberg were on hand to cover them all. You can find all of their festival dispatches in this table of contents, which includes their reviews of such prize-winners as “Cha Cha…
View On WordPress
0 notes
Text
Does Netflix Fail Creators of Color?: raceAhead
Here’s your week in review, in haiku.
1.
Is economic
anxiety getting you
down, “n-word Nancy?”
2.
Professor Mueller
wonders why no one did the
reading assignment
3.
Would you rather get
cash from Equifax, or have
Facebook broken up?
4.
Ballot boxes breached:
The pravda dies in darkness
Also, the country.
5.
A new King is here!
Lions in formation at
the paws of a Queen
Have an anxiety-free and happy weekend.
On Point
‘Tuca & Bertie’ RIP: But why, Netflix? The show was the popular adult cartoon voiced by Ali Wong and Tiffany Haddish, playing two female birds who live in the same apartment building. As my colleague Isaac Feldberg explains, the show “had drawn acclaim for its colorful animation, unique style of surrealist comedy, and sensitive exploration of trauma and everyday ennui told from a distinctly female, non-white perspective.” What’s not to love? But for reasons unknown, Netflix failed to order a second season, launching a wave of online protest, including a Change.org petition. Part of the issue is the algorithm feed that recommends shows for viewers, and which critics charge disfavor quality content from non-white creators. An important read. Fortune
Emmett Till’s memorial vandalized for the ‘Gram The three white men posed with smiles and smirks, but also guns, one an AR-15 semi-automatic. It was night. They stood at the very place where Emmett Till’s battered dead body was recovered from the Tallahatchie River. Except it’s 2019, and the Till memorial plaque they stand by is riddled with bullet holes, and why is this still happening? The three men are fraternity brothers at the University of Mississippi, now suspended. The photo, posted to a private Instagram account and obtained by the Mississippi Center for Investigative Reporting and ProPublica, has triggered a possible probe by the Justice Department. The photo received 274 likes. Emmett Till would have turned 78 this week. ProPublica
Can Democrats entice black voters without Obama? You can’t have a “multi-racial coalition” of voters without black people, who make up the loyal foundation of the Democratic base. But turnout among black voters dropped seven points in 2016 from its record high in 2012. There were many reasons why, but current candidates need to demonstrate they understand and will fight for their issues, explains Nicholas Riccardi and Errin Haines Whack. “What I hope comes across in this story is that black voters, particularly young black men, are also disaffected, disengaged, and disillusioned. With black unemployment still double that of whites, they are the face of ‘economic anxiety,’ too,” Whack tweeted. AP News
New Jersey school board member wishes Rashida Tlaib ‘would die’ Dan Leonard, a member of the Toms River Board of Education member is spending his day deflecting calls from the New Jersey governor for his resignation, after he posted a Fox News article about U.S. Rep. Rashida Tlaib with the comment, “My life would be complete if she/they die.” And that’s not even the worst of what he posted! Leonard is an Army veteran and retired official with a county workforce development board. “We are disheartened by the racist comments made by a school board member in Toms River. His hateful language is counter to the best interests of our students and does not represent our values,” said New Jersey Lt. Gov. Sheila Oliver in a statement. NBC News
On Background
The art of escaping your privilege Escape rooms are all the rage, a live-action group experience in puzzle-solving within a dramatic scenario. But what if the scenario was social inequality? This is the fascinating premise behind a new public art project by Risa Puno called “The Privilege of Escape,” which exists in the atrium in a corporate lobby on Fifth Avenue, and is framed as a fake institute designed to study behavioral science. As in real-life inequality, sometimes the game is stacked against the players in invisible ways, an eye-opening experience for anyone who is expecting a level playing field. Puno was the winner of the first open call by Creative Time, an organization that supports interesting and socially provocative public art projects. New York Times
Today’s Essay: Fat girl on top, but with too much flan Natalie Lima is a 2016 PEN America Emerging Voices Fellow, and an MFA candidate in creative non-fiction at the University of Arizona. And she is very, very creative. In this alternatively funny and bittersweet essay, she shares the anxiety she feels about the changes in her big girl self, brought on by time, gravity, and lifestyle. “Sometimes my body is on the smaller side of large, more Queen Latifah in The Last Holiday, that movie where she’s told she only has three weeks to live so she jets off to Europe, eats caviar, and falls in love with LL Cool J. And sometimes my body is closer to Chrissy Metz in This Is Us,” she explains. But it’s also a history of her relationship with her own body. “When I was growing up, my mom used to tell people that my excess weight was baby fat,” she recalls in a particularly memorable section. She excels at thinking out loud, to describe the “inherent loneliness of living in a large body, of having to navigate the world in a body that is often stigmatized, made invisible, or hyper-visible at any moment. A multilayered loneliness.” Longreads
Four writers on being ‘on their meds’ There are some 44 million people living with some sort of mental illness, and some 19 million are being treated with a combination of medication and therapy. The stigma associated with medication remains profound, and the casual way people talk about psychiatric states—are you crazy?—can further isolate people with mental illness. “I was a 26-year-old undergraduate who could barely manage to eat or shower once a day. I eventually admitted to myself that I was not well,” writes Anthony James Williams of his. “But I did not know anyone black who was on medication for their mental health and asking for any form of assistance made me feel weak.” It also means making it work at work, depending on your needs. “It’s awkward to bust out a pill bottle in the middle of a small office or classroom, but it would be more awkward to have a bipolar episode at work,” writes Diamond Sharp. The Outline
Tamara El-Waylly helps produce raceAhead.
Quote
Your destiny is comin’ close / Stand up and fight / So go into a far off land / And be one with the great I am”
—Beyonce Knowles, Ilya Salmanzadeh, and Timothy McKenzie, from “Spirit“
Credit: Source link
The post Does Netflix Fail Creators of Color?: raceAhead appeared first on WeeklyReviewer.
from WeeklyReviewer https://weeklyreviewer.com/does-netflix-fail-creators-of-color-raceahead/?utm_source=rss&utm_medium=rss&utm_campaign=does-netflix-fail-creators-of-color-raceahead
from WeeklyReviewer https://weeklyreviewer.tumblr.com/post/186566742007
0 notes
Photo
'Infinity Pool' Director Brandon Cronenberg on His Sadistic Sci-Fi Satire: “People Can Be Incredibly Brutal”
Cronenberg and Infinity Pool star Alexander Skarsgärd discuss human civility, animal impulse, and their NC-17 sci-fi horror-satire, which blurs the lines between them.
https://www.inverse.com/entertainment/infinity-pool-brandon-cronenberg-interview-sundance-2023
#Movies#Horror#Science Fiction#Horror Movies#Entertainment#Inverse Interview#freelance#homepage#Isaac Feldberg#Inverse
0 notes
Text
Does Netflix Fail Creators of Color?: raceAhead
Here’s your week in review, in haiku.
1.
Is economic
anxiety getting you
down, “n-word Nancy?”
2.
Professor Mueller
wonders why no one did the
reading assignment
3.
Would you rather get
cash from Equifax, or have
Facebook broken up?
4.
Ballot boxes breached:
The pravda dies in darkness
Also, the country.
5.
A new King is here!
Lions in formation at
the paws of a Queen
Have an anxiety-free and happy weekend.
On Point
‘Tuca & Bertie’ RIP: But why, Netflix? The show was the popular adult cartoon voiced by Ali Wong and Tiffany Haddish, playing two female birds who live in the same apartment building. As my colleague Isaac Feldberg explains, the show “had drawn acclaim for its colorful animation, unique style of surrealist comedy, and sensitive exploration of trauma and everyday ennui told from a distinctly female, non-white perspective.” What’s not to love? But for reasons unknown, Netflix failed to order a second season, launching a wave of online protest, including a Change.org petition. Part of the issue is the algorithm feed that recommends shows for viewers, and which critics charge disfavor quality content from non-white creators. An important read. Fortune
Emmett Till’s memorial vandalized for the ‘Gram The three white men posed with smiles and smirks, but also guns, one an AR-15 semi-automatic. It was night. They stood at the very place where Emmett Till’s battered dead body was recovered from the Tallahatchie River. Except it’s 2019, and the Till memorial plaque they stand by is riddled with bullet holes, and why is this still happening? The three men are fraternity brothers at the University of Mississippi, now suspended. The photo, posted to a private Instagram account and obtained by the Mississippi Center for Investigative Reporting and ProPublica, has triggered a possible probe by the Justice Department. The photo received 274 likes. Emmett Till would have turned 78 this week. ProPublica
Can Democrats entice black voters without Obama? You can’t have a “multi-racial coalition” of voters without black people, who make up the loyal foundation of the Democratic base. But turnout among black voters dropped seven points in 2016 from its record high in 2012. There were many reasons why, but current candidates need to demonstrate they understand and will fight for their issues, explains Nicholas Riccardi and Errin Haines Whack. “What I hope comes across in this story is that black voters, particularly young black men, are also disaffected, disengaged, and disillusioned. With black unemployment still double that of whites, they are the face of ‘economic anxiety,’ too,” Whack tweeted. AP News
New Jersey school board member wishes Rashida Tlaib ‘would die’ Dan Leonard, a member of the Toms River Board of Education member is spending his day deflecting calls from the New Jersey governor for his resignation, after he posted a Fox News article about U.S. Rep. Rashida Tlaib with the comment, “My life would be complete if she/they die.” And that’s not even the worst of what he posted! Leonard is an Army veteran and retired official with a county workforce development board. “We are disheartened by the racist comments made by a school board member in Toms River. His hateful language is counter to the best interests of our students and does not represent our values,” said New Jersey Lt. Gov. Sheila Oliver in a statement. NBC News
On Background
The art of escaping your privilege Escape rooms are all the rage, a live-action group experience in puzzle-solving within a dramatic scenario. But what if the scenario was social inequality? This is the fascinating premise behind a new public art project by Risa Puno called “The Privilege of Escape,” which exists in the atrium in a corporate lobby on Fifth Avenue, and is framed as a fake institute designed to study behavioral science. As in real-life inequality, sometimes the game is stacked against the players in invisible ways, an eye-opening experience for anyone who is expecting a level playing field. Puno was the winner of the first open call by Creative Time, an organization that supports interesting and socially provocative public art projects. New York Times
Today’s Essay: Fat girl on top, but with too much flan Natalie Lima is a 2016 PEN America Emerging Voices Fellow, and an MFA candidate in creative non-fiction at the University of Arizona. And she is very, very creative. In this alternatively funny and bittersweet essay, she shares the anxiety she feels about the changes in her big girl self, brought on by time, gravity, and lifestyle. “Sometimes my body is on the smaller side of large, more Queen Latifah in The Last Holiday, that movie where she’s told she only has three weeks to live so she jets off to Europe, eats caviar, and falls in love with LL Cool J. And sometimes my body is closer to Chrissy Metz in This Is Us,” she explains. But it’s also a history of her relationship with her own body. “When I was growing up, my mom used to tell people that my excess weight was baby fat,” she recalls in a particularly memorable section. She excels at thinking out loud, to describe the “inherent loneliness of living in a large body, of having to navigate the world in a body that is often stigmatized, made invisible, or hyper-visible at any moment. A multilayered loneliness.” Longreads
Four writers on being ‘on their meds’ There are some 44 million people living with some sort of mental illness, and some 19 million are being treated with a combination of medication and therapy. The stigma associated with medication remains profound, and the casual way people talk about psychiatric states—are you crazy?—can further isolate people with mental illness. “I was a 26-year-old undergraduate who could barely manage to eat or shower once a day. I eventually admitted to myself that I was not well,” writes Anthony James Williams of his. “But I did not know anyone black who was on medication for their mental health and asking for any form of assistance made me feel weak.” It also means making it work at work, depending on your needs. “It’s awkward to bust out a pill bottle in the middle of a small office or classroom, but it would be more awkward to have a bipolar episode at work,” writes Diamond Sharp. The Outline
Tamara El-Waylly helps produce raceAhead.
Quote
Your destiny is comin’ close / Stand up and fight / So go into a far off land / And be one with the great I am”
—Beyonce Knowles, Ilya Salmanzadeh, and Timothy McKenzie, from “Spirit“
Credit: Source link
The post Does Netflix Fail Creators of Color?: raceAhead appeared first on WeeklyReviewer.
from WeeklyReviewer https://weeklyreviewer.com/does-netflix-fail-creators-of-color-raceahead/?utm_source=rss&utm_medium=rss&utm_campaign=does-netflix-fail-creators-of-color-raceahead
from WeeklyReviewer https://weeklyreviewer.tumblr.com/post/186566742007
0 notes
Text
Does Netflix Fail Creators of Color?: raceAhead
Here’s your week in review, in haiku.
1.
Is economic
anxiety getting you
down, “n-word Nancy?”
2.
Professor Mueller
wonders why no one did the
reading assignment
3.
Would you rather get
cash from Equifax, or have
Facebook broken up?
4.
Ballot boxes breached:
The pravda dies in darkness
Also, the country.
5.
A new King is here!
Lions in formation at
the paws of a Queen
Have an anxiety-free and happy weekend.
On Point
‘Tuca & Bertie’ RIP: But why, Netflix? The show was the popular adult cartoon voiced by Ali Wong and Tiffany Haddish, playing two female birds who live in the same apartment building. As my colleague Isaac Feldberg explains, the show “had drawn acclaim for its colorful animation, unique style of surrealist comedy, and sensitive exploration of trauma and everyday ennui told from a distinctly female, non-white perspective.” What’s not to love? But for reasons unknown, Netflix failed to order a second season, launching a wave of online protest, including a Change.org petition. Part of the issue is the algorithm feed that recommends shows for viewers, and which critics charge disfavor quality content from non-white creators. An important read. Fortune
Emmett Till’s memorial vandalized for the ‘Gram The three white men posed with smiles and smirks, but also guns, one an AR-15 semi-automatic. It was night. They stood at the very place where Emmett Till’s battered dead body was recovered from the Tallahatchie River. Except it’s 2019, and the Till memorial plaque they stand by is riddled with bullet holes, and why is this still happening? The three men are fraternity brothers at the University of Mississippi, now suspended. The photo, posted to a private Instagram account and obtained by the Mississippi Center for Investigative Reporting and ProPublica, has triggered a possible probe by the Justice Department. The photo received 274 likes. Emmett Till would have turned 78 this week. ProPublica
Can Democrats entice black voters without Obama? You can’t have a “multi-racial coalition” of voters without black people, who make up the loyal foundation of the Democratic base. But turnout among black voters dropped seven points in 2016 from its record high in 2012. There were many reasons why, but current candidates need to demonstrate they understand and will fight for their issues, explains Nicholas Riccardi and Errin Haines Whack. “What I hope comes across in this story is that black voters, particularly young black men, are also disaffected, disengaged, and disillusioned. With black unemployment still double that of whites, they are the face of ‘economic anxiety,’ too,” Whack tweeted. AP News
New Jersey school board member wishes Rashida Tlaib ‘would die’ Dan Leonard, a member of the Toms River Board of Education member is spending his day deflecting calls from the New Jersey governor for his resignation, after he posted a Fox News article about U.S. Rep. Rashida Tlaib with the comment, “My life would be complete if she/they die.” And that’s not even the worst of what he posted! Leonard is an Army veteran and retired official with a county workforce development board. “We are disheartened by the racist comments made by a school board member in Toms River. His hateful language is counter to the best interests of our students and does not represent our values,” said New Jersey Lt. Gov. Sheila Oliver in a statement. NBC News
On Background
The art of escaping your privilege Escape rooms are all the rage, a live-action group experience in puzzle-solving within a dramatic scenario. But what if the scenario was social inequality? This is the fascinating premise behind a new public art project by Risa Puno called “The Privilege of Escape,” which exists in the atrium in a corporate lobby on Fifth Avenue, and is framed as a fake institute designed to study behavioral science. As in real-life inequality, sometimes the game is stacked against the players in invisible ways, an eye-opening experience for anyone who is expecting a level playing field. Puno was the winner of the first open call by Creative Time, an organization that supports interesting and socially provocative public art projects. New York Times
Today’s Essay: Fat girl on top, but with too much flan Natalie Lima is a 2016 PEN America Emerging Voices Fellow, and an MFA candidate in creative non-fiction at the University of Arizona. And she is very, very creative. In this alternatively funny and bittersweet essay, she shares the anxiety she feels about the changes in her big girl self, brought on by time, gravity, and lifestyle. “Sometimes my body is on the smaller side of large, more Queen Latifah in The Last Holiday, that movie where she’s told she only has three weeks to live so she jets off to Europe, eats caviar, and falls in love with LL Cool J. And sometimes my body is closer to Chrissy Metz in This Is Us,” she explains. But it’s also a history of her relationship with her own body. “When I was growing up, my mom used to tell people that my excess weight was baby fat,” she recalls in a particularly memorable section. She excels at thinking out loud, to describe the “inherent loneliness of living in a large body, of having to navigate the world in a body that is often stigmatized, made invisible, or hyper-visible at any moment. A multilayered loneliness.” Longreads
Four writers on being ‘on their meds’ There are some 44 million people living with some sort of mental illness, and some 19 million are being treated with a combination of medication and therapy. The stigma associated with medication remains profound, and the casual way people talk about psychiatric states—are you crazy?—can further isolate people with mental illness. “I was a 26-year-old undergraduate who could barely manage to eat or shower once a day. I eventually admitted to myself that I was not well,” writes Anthony James Williams of his. “But I did not know anyone black who was on medication for their mental health and asking for any form of assistance made me feel weak.” It also means making it work at work, depending on your needs. “It’s awkward to bust out a pill bottle in the middle of a small office or classroom, but it would be more awkward to have a bipolar episode at work,” writes Diamond Sharp. The Outline
Tamara El-Waylly helps produce raceAhead.
Quote
Your destiny is comin’ close / Stand up and fight / So go into a far off land / And be one with the great I am”
—Beyonce Knowles, Ilya Salmanzadeh, and Timothy McKenzie, from “Spirit“
Credit: Source link
The post Does Netflix Fail Creators of Color?: raceAhead appeared first on WeeklyReviewer.
from WeeklyReviewer https://weeklyreviewer.com/does-netflix-fail-creators-of-color-raceahead/?utm_source=rss&utm_medium=rss&utm_campaign=does-netflix-fail-creators-of-color-raceahead
0 notes
Last Seen Blogs
phoneybologna
phoneybologna
statmodeller
Stat Modeller
beaaverr
bea
missabnormal
This Is My Life Now
flowerofginger
flower of ginger