Mike Leigh: Occasionally, I get mistaken for you; have you been mistaken for me?
Spike Lee: What’s up, Mike, my brother! I haven’t had the honour yet! Peace and love.

“The Academy will encourage equitable hiring practices and representation on- and off-screen in order to better reflect the diversity of the film community.”
Academy Will Set Firm Ten Best Picture Nominees

Marisa Tomei: “I really regret starting down this road and I really regret starting to do that. I was, you know, talked into it — not this, but I mean just that change — and I really always felt like, ‘Oh, I could play a lot of things.’ Honestly, playing a mom is] probably more of a stretch than other things. But, it’s — yeah, I guess I said it all.”

Drew McWeeny: “I’m out of the interview business. It’s not worth it anymore. There is literally no upside to working for 25 years in this industry. It doesn’t matter. Your track record doesn’t matter. It’s all about outlet visibility. The game’s rigged to keep small outlets small forever.”

Meet Heath Freeman, The Alden Hedge Fund Manager Responsible For The Future (Or Lack Thereof) Of 200 Newspapers

Artemis Fowl: “Eoin Colfer’s book has been paddywhacked; much diddly-eye ballyhoo apparently adapted from a tea towel makes it through the fug”

Alyssa Rosenberg: “For a century, Hollywood has been collaborating with police departments, telling stories that whitewash police shootings and valorizing an action-hero style of policing over the harder, less dramatic work of building relationships with the communities cops are meant to serve and protect. There’s a reason for that beyond a reactionary streak hiding below the industry’s surface liberalism. Purely from a dramatic perspective, crime makes a story seem consequential, investigating crime generates action, and solving crime provides for a morally and emotionally satisfying conclusion. The result is an addiction to stories that portray police departments as more effective than they actually are; crime as more prevalent than it actually is; and police use of force as consistently justified. There are always gaps between reality and fiction, but given what policing in America has too often become, Hollywood’s version of it looks less like fantasy and more like complicity.”

Scott Renshaw: “I love theatrical movies. They’ve been at the center of my professional life for decades. But I will absolutely 100% not be in a movie theater for the foreseeable future. Because wanting something to be back to the way it was isn’t the same as it actually being true. I love Disney Parks. They’ve given me so much joy. But I will absolutely 100% not be in a Disney Park for the foreseeable future. Because wanting something to be back to the way it was isn’t the same as it actually being true. Fatigue and magical thinking are literally going to kill people. Because we’re a nation of fucking infants who won’t sacrifice, can’t face reality, don’t care about anyone else’s pain. I’m exhausted at my own rage over our stupidity.”

A&E Cancels 160-Episode Order Of “Live PD”; Footage Of Killing Of Black Man In Texas Custody Destroyed

Disney Reports It Will No Longer Advertise Via Third Party Ad Placement On Fox News Tucker Carlson Primetime Hour Of Power

“The Poetry Foundation has announced the resignations of president Henry Bienen and chair of the board Willard Bunn III.”

“Andy Dehnart⁦‪: “There is so much wrong with ‘Live PD, ‘but its host having to reassure its (toxic) fandom that producers will not be “abandoning” them is really incredible. The people the show has abandoned are, for starters, those whose lives it turns into entertainment without compensation.”

“Jordan Peele and Monkeypaw Productions are proud to donate $1 million across five organizations we see as essential to the health and lives of Black people.”

“We, the staffs of Bon Appétit and Epicurious, want to address our readers, contributors, and peers in light of Adam Rapoport’s resignation as editor-in-chief. The deeply offensive photo circulating of Adam is horrific on its own, but also speaks to the much broader and longstanding impact of racism at these brands. We have been complicit with a culture we don’t agree with and are committed to change. Our mastheads have been far too white for far too long…”

Fangoria Close To Cinestate Jettison

NASCAR Bans Confederate Flag

“That’s one thing I’m specifically not trying to do because he doesn’t emote with his face a lot. What I’m doing is I’m saying, ‘What if me, Sarah Cooper, said these words?’ And I’m speaking to the subtext of what he’s saying. So when he is obviously out of his element, I am making a face like I’m confused or I’m reaching or I’m stretching or I’m grasping for a word. I’m very specifically not doing what he’s doing, but doing what a normal human being would be doing if they were saying these words. It’s funny because I had a life coach very briefly a few years ago, and one of the things we did was write a personal mantra, the thing that we want to get across with our work. And the thing that I wrote for myself was to pull back the mask and show that a lot of us really don’t know what we’re doing. I mean, me included. Do you see people doing things on social media and you think, ‘Oh, they’re successful? I’ll do that same thing. I’ll post that same picture. I’ll write that same caption.’ And it’s so empty and so that’s why we’re sort of starved for authenticity, because a lot of us are just playing parts.”

Fábio Andrade: “Cinemateca Brasileira – the largest film archive in Latin America – has had their electricity shut down, which includes the temperature control system that preserves film, because they haven’t been able to pay the bills.”

A&E Networks’ “Live PD” Says It Destroyed Footage Of Black Man In Custody Killed By Police Last Year Saying “Save Me” As Austin, Texas Officers Tasered Him A Fourth Time

“If we are to create a more just, equitable and inclusive future, we must first acknowledge and understand our history.”
Gone With The Wind To Resume Streaming On HBO Max After Prefatory Materials Appended

John Ridley: “It doesn’t just ‘fall short’ with regard to representation. It is a film that glorifies the antebellum south. It is a film that, when it is not ignoring the horrors of slavery, pauses only to perpetuate some of the most painful stereotypes of people of color. It is a film that, as part of the narrative of the ‘Lost Cause,’ romanticizes the Confederacy in a way that continues to give legitimacy to the notion that the secessionist movement was something more, or better, or more noble than what it was — a bloody insurrection to maintain the ‘right’ to own, sell and buy human beings.”