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Links for the Day: Chuck Hagel to Resign, Marion Barry R.I.P., More Bill Cosby Allegations, New Benghazi Report, J. Lo & Iggy Azalea at the AMAs, & More

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Links for the Day: Chuck Hagel to Resign, Marion Barry R.I.P., More Bill Cosby Allegations, New Benghazi Report, J. Lo & Iggy Azalea at the AMAs, & More

1. “Hagel Said to Be Stepping Down As Defense Chief Under Pressure.” Obama Dissatisfied, Officials Say, Amid Global Crises.

“The president, who is expected to announce Mr. Hagel’s resignation in a Rose Garden appearance on Monday, made the decision to ask his defense secretary — the sole Republican on his national security team — to step down last Friday after a series of meetings over the past two weeks, senior administration officials said. The officials described Mr. Obama’s decision to remove Mr. Hagel, 68, as a recognition that the threat from the Islamic State would require a different kind of skills than those that Mr. Hagel was brought on to employ. A Republican with military experience who was skeptical about the Iraq war, Mr. Hagel came in to manage the Afghanistan combat withdrawal and the shrinking Pentagon budget in the era of budget sequestration.”

2. “Marion Barry, Washington’s ’Mayor for Life,’ Even After Prison, Dies at 78.” D.C.’s infamous mayor died yesterday at the age of 78.

“Marion S. Barry Jr., a sharecropper’s son and civil rights pioneer who became a flamboyant and polarizing mayor of Washington, went to prison on a cocaine charge and then recaptured City Hall in one of the most improbable comebacks in the history of American politics, died early Sunday in Washington. He was 78.”

3. “What The Hunger Games Could Learn from Kathryn Bigelow’s Strange Days.” The 1995 dystopian techno-thriller would be hugely influential, if anyone bothered to notice.

“Back in October 1995, audiences greeted the release of the Kathryn Bigelow techno-thriller Strange Days with, at best, indifference: The sci-fi film failed to recoup even a quarter of its $42 million budget, proving that audiences may not have been quite ready for Ralph Fiennes as a neurotic drug-dealing action hero. But looking back at Bigelow’s millennium-fever-dream from the dystopia-clogged cinematic landscape of 2014, Strange Days feels almost painfully ahead of its time, bursting with ambition, technological insight, and early glimpses at the pre-Y2K jitters that ramped up as the 1990s came to a close. As Fiennes’ character Lenny Niro tells a prospective buyer of his illegal virtual-reality clips early in the film: ’This is not like TV only better… This is life.’ “

4. “House Panel Finds No Intelligence Failure in Benghazi Attacks.” An investigation by the Republican-led House Intelligence Committee dismisses allegations against the Obama administration.

“After a two-year probe that involved the review of thousands of pages of classified documents, the panel determined that the attack could not be blamed on an intelligence failure, and that C.I.A. security operatives “ably and bravely assisted” State Department officials who were overwhelmed at a nearby but separate diplomatic compound. The committee also found “no evidence that there was either a stand down order or a denial of available air support,” rejecting claims that have fed persistent conspiracy theories that the U.S. military was prevented from rescuing U.S. personnel from a night-time assault that killed U.S. Ambassador Christopher Stevens and three other Americans.”

5. “New Bill Cosby Accuser: ’We May Be Looking at America’s Greatest Serial Rapist’.” Former model Jewel Allison is the latest woman to accuse the comedian of sexually assaulting her.

“As more women come forward with stories of sexual assault by comedian Bill Cosby, another woman has shared her own violating experience of her time with the star, adding to his fraught new legacy. Former model Jewel Allison, who was represented by the same agent who discovered Janice Dickinson, told the New York Daily News she was introduced to Cosby in the 1980s.”

Video of the Day: Watch Jennifer Lopez and Iggy Azalea perform “Booty” at last night’s American Music Awards:

https://www.youtube.com/watch?v=DY9mM8fslxM
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Awards

Oscars 2019: Who Will Win? Who Should Win? Our Final Predictions

No one is okay with the Academy Awards the way they are, and everyone seems sure that they know how to fix them.

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Roma
Photo: Netflix

No one is okay with the Academy Awards the way they are, and everyone seems sure that they know how to fix them. Cut out the montages, bring back honorary award presentations, give stunt performers their own category, let ranked-choice voting determine every category and not just best picture, overhaul the membership ranks, hold the event before the guilds spoil the surprise, find a host with the magic demographic-spanning mojo necessary to double the show’s recent audience pools, nominate bigger hits, nominate only hits. Across the last 24 days, Ed Gonzalez and I have mulled over the academy’s existential crisis and how it’s polluted this year’s Oscar race so thoroughly that it feels eerily similar to the 2016 election cycle all over again. We’re spent, and while we don’t know if we have it in us to do this next year, we just might give it another go if Oscar proves us wrong on Sunday in more than just one category.

Below are our final Oscar predictions. Want more? Click on the individual articles for our justifications and more, including who we think should win in all 24 categories.

Picture: Green Book
Director: Alfonso Cuarón, Roma
Actor: Rami Malek, Bohemian Rhapsody
Actress: Glenn Close, The Wife
Supporting Actor: Mahershala Ali, Green Book
Supporting Actress: Regina King, If Beale Street Could Talk
Original Screenplay: Green Book
Adapted Screenplay: BlacKkKlansman
Foreign Language: Roma
Documentary Feature: RBG
Animated Feature Film: Spider-Man: Into the Spider-Verse
Documentary Short: Period. End of Sentence
Animated Short: Weekends
Live Action Short: Skin
Film Editing: Bohemian Rhapsody
Production Design: The Favourite
Cinematography: Cold War
Costume Design: The Favourite
Makeup and Hairstyling: Vice
Score: If Beale Street Could Talk
Song: “Shallow,” A Star Is Born
Sound Editing: First Man
Sound Mixing: Bohemian Rhapsody
Visual Effects: First Man

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Awards

Oscar 2019 Winner Predictions: Picture

The industry’s existential crisis has polluted this race so thoroughly that it feels eerily similar to the 2016 election cycle all over again.

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Green Book
Photo: Universal Pictures

“I’m hyperventilating a little. If I fall over pick me up because I’ve got something to say,” deadpanned Frances McDormand upon winning her best actress Oscar last year. From her lips to Hollywood’s ears. No one is okay with the Academy Awards the way they are, and everyone seems sure that they know how to fix them. Cut out the montages, bring back honorary award presentations, give stunt performers their own category, let ranked-choice voting determine every category and not just best picture, overhaul the membership ranks, hold the event before the guilds spoil the surprise, find a host with the magic demographic-spanning mojo necessary to double the show’s recent audience pools, nominate bigger hits, nominate only hits.

But first, as McDormand herself called for during her speech, “a moment of perspective.” A crop of articles have popped up over the last two weeks looking back at the brutal showdown between Saving Private Ryan and Shakespeare In Love at the 1999 Academy Awards, when Harvey Weinstein was at the height of his nefarious powers. Every retrospective piece accepts as common wisdom that it was probably the most obnoxious awards season in history, one that indeed set the stage for every grinding assault we’ve paid witness to ever since. But did anyone two decades ago have to endure dozens of weekly Oscar podcasters and hundreds of underpaid web writers musing, “What do the Academy Awards want to be moving forward, exactly? Who should voters represent in this fractured media environment, exactly?” How much whiskey we can safely use to wash down our Lexapro, exactly?

Amid the fox-in-a-henhouse milieu of ceaseless moral outrage serving as this awards season’s backdrop, and amid the self-obsessed entertainers now wrestling with the idea that they now have to be “content providers,” all anyone seems concerned about is what an Oscar means in the future, and whether next year’s versions of Black Panther and Bryan Singer’s Bohemian Rhapsody have a seat at the table. What everyone’s forgetting is what the Oscars have always been. In other words, the industry’s existential crisis has polluted this race so thoroughly that it feels eerily similar to the 2016 election cycle all over again, and Oscar’s clearly splintered voting blocs may become ground zero for a Make the Academy Great Again watershed.

In 1956, the Oscars took a turn toward small, quotidian, neo-realish movies, awarding Marty the top prize. The correction was swift and sure the following year, with a full slate of elephantine epics underlining the movie industry’s intimidation at the new threat of television. Moonlight’s shocking triumph two years ago was similarly answered by the safe, whimsical The Shape of Water, a choice that reaffirmed the academy’s commitment to politically innocuous liberalism in artistically conservative digs. Call us cynical, but we know which of the last couple go-arounds feels like the real academy. Which is why so many are banking on the formally dazzling humanism of Alfonso Cuarón’s Roma and so few on the vital, merciless fury of Spike Lee’s BlacKkKlansman.

And even if we give the benefit of the doubt to the academy’s new members, there’s that righteous, reactionary fervor in the air against those attempting to “cancel” Green Book. Those attacking the film from every conceivable angle have also ignored the one that matters to most people: the pleasure principle. Can anyone blame Hollywood for getting its back up on behalf of a laughably old-fashioned but seamlessly mounted road movie-cum-buddy pic that reassures people that the world they’re leaving is better than the one they found? That’s, as they say, the future that liberals and Oscar want.

Will Win: Green Book

Could Win: Roma or BlacKkKlansman

Should Win: BlacKkKlansman

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Awards

Oscar 2019 Winner Predictions: Adapted Screenplay

After walking back almost all of its bad decisions ahead of this year’s Oscars, there’s no way AMPAS isn’t going to do the right thing here.

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BlacKkKlansman
Photo: Focus Features

Eric and I have done a good job this year of only selectively stealing each other’s behind-the-scenes jokes. We have, though, not been polite about stepping on each other’s toes in other ways. Okay, maybe just Eric, who in his impeccable take on the original screenplay free-for-all detailed how the guilds this year have almost willfully gone out of their way to “not tip the Oscar race too clearly toward any one film.” Case in point: Can You Ever Forgive Me? winning the WGA’s adapted screenplay trophy over presumed Oscar frontrunner BlacKkKlansman. A glitch in the matrix? We think so. Eric and I are still in agreement that the race for best picture this year is pretty wide open, though maybe a little less so in the wake of what seemed like an easy win for the Spike Lee joint. Nevertheless, we all know that there’s no Oscar narrative more powerful than “it’s about goddamn time,” and it was so powerful this year that even the diversity-challenged BAFTAs got the memo, giving their adapted screenplay prize to Lee, Charlie Wachtel, David Rabinowitz, and Kevin Willmott. To bamboozle Lee at this point would, admittedly, be so very 2019, but given that it’s walked back almost all of its bad decisions ahead of this year’s Oscars, there’s no way AMPAS isn’t going to do the right thing.

Will Win: BlacKkKlansman

Could Win: Can You Ever Forgive Me?

Should Win: BlacKkKlansman

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