By Ray Pride Pride@moviecitynews.com

“Something has been lost in our collective rush to talk about the document and the identity of the young woman behind it, rather than the forces that drove her to create it. The story of the ‘Shitty Media Men’ list has been cast as a narrative about one radical act carried out by one radical young woman. In reality, it’s a story about broken systems and structures ― ones that have failed the most vulnerable among us so frequently that individuals feel they have no choice but to take matters into their own hands.”

“Something has been lost in our collective rush to talk about the document and the identity of the young woman behind it, rather than the forces that drove her to create it. The story of the ‘Shitty Media Men’ list has been cast as a narrative about one radical act carried out by one radical young woman. In reality, it’s a story about broken systems and structures ― ones that have failed the most vulnerable among us so frequently that individuals feel they have no choice but to take matters into their own hands.”

“The essay is, to my mind, eloquent, beautifully written, even moving at times, but baffling. I read it waiting for the moment when she took responsibility for what she did, or apologized to the innocent people she concedes may have been slandered. But it never came. It’s worth recalling here exactly what she and others did. They created an online forum in which anonymous people could make accusations about men whose careers and reputations would potentially be destroyed as a consequence.”
1990s New Republic Editor Andrew Sullivan Isn’t Having It

 

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch