Laura Kipnis—a liberal feminist professor—recently wrote an essay in which she suggested that students should be allowed to sleep with professors. As a result of writing that essay, she was accused of violating Title IX of the Education Act, a section of the law previously best known for killing college wrestling programs in the name …
There’s an interesting report at NPR on the ways in which China’s censorship regime exerts influence on American filmmaking. As someone who has long grated at the way domestic filmmakers scream “censorship!” when they get a rating from the MPAA they don’t like but say virtually nothing about actual censorship in overseas markets. What was intriguing to me was the sort of thing that earned the wrath of China:
According to The Wrap, Free Beacon favorite Kate Upton is a finalist for a major role in the forthcoming Harry Potter spinoff Fantastic Beasts and Where to Find Them. Here’s The Wrap:
Jaime Weinman has a column up at MacLean’s looking at the work of Mike Judge (Office Space, King of the Hill) with the headline “Does satire need to be progressive?” He was kind enough to ping me for my thoughts on Judge’s political temperament; as I told him, at least as far as his work goes, I kind of doubt he’s a down-the-line Democrat or Republican. Instead, he has always struck me as someone who is deeply skeptical of claims to authority, whether that authority is assumed by bureaucratic bumblers or political know-it-alls trying to tell everyone else how to live. If I had to guess, I’d assume he’s probably some variety of leave-me-alone libertarian.
I suggested last time that this feature might be a regular thing. “Semi-sorta-regular” will have to do. And I thought I’d switch it up: There are a couple of movies I really enjoy leaving Netflix June 1, so I wanted to highlight those instead of what’s coming to the service. But time’s running short! If only there were a three-day weekend coming during which you could have killed some time by watching them.
(I really didn’t plan this well, did I? Maybe next time.)
This is the latest in a series of posts in which I argue that a movie’s true lesson is the opposite of its more obvious lesson. Previous installments include “Elysium is actually an anti-Obamacare parable,” “Star Trek Into Darkness is pro-drone strike,” and “Godzilla: The Anti-Global-Warming-Alarmism Blockbuster.” This week, we’ll discuss Tomorrowland (review here). Spoilers for that movie below.
No, seriously, I’m going to discuss the whole last 20 minutes of the film. Lots of spoilers. Here, enjoy this picture of grizzled George Clooney in order to keep you from seeing the spoilers in case you accidentally clicked on the story with “spoilers” in the headline and then kept reading despite the spoiler warning in the first paragraph and a second spoiler warning in this graf. I don’t want you babies crying about spoilers.
There are a pair of complementary pieces running on ideologically opposite sites today about who we choose to forgive and why: The Federalist highlights the entertainment industry’s seeming inability to forgive Mel Gibson while the New Republic asks “Why won’t Twitter forgive Suey Park.” Gibson, you may remember, had a whole series of problems in the mid-to-late oughts—most famous was the time he called a female police officer “sugar tits” and suggested that the Jews are to blame for the world’s problems, but then there was that whole, weird, possibly-physically-abusive-toward-his-girlfriend thing—while Park is most famous for the #CancelColbert campaign, during which she attempted to whip up an outrage mob to get someone fired for making a (not at all) racist joke that Park thought was racist.
Here’s Mark Hemingway on Gibson and Robert Downey Jr.: