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Links for the Day: Why Stopping #GamerGate and 8chan Is Important, Matt Zoller Seitz Inhabits Wes Anderson’s Universe, Gene Seymour on Selma Snub, & More

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Links for the Day: Why Stopping #GamerGate and 8chan Is Important, Matt Zoller Seitz Inhabits Wes Anderson’s Universe, Gene Seymour on Selma Snub, & More

1. “Why Stopping #GamerGate and 8chan Is Important for Everyone—Including GamerGate.” A primer on the toxic culture and terrorism that has destroyed people’s lives and threatens to destroy the free internet.

“Despite all that, five months on, #GamerGate is somehow still with us, an infection that just keeps bouncing back. But it’s different now. The useful idiots—those well-meaning gamers who bought the ’ethics in game journalism’ party line and got unwittingly swept up into a harassment campaign—have mostly departed. What’s left is the rotten core; the hate movement. Per capita, #GamerGate has worsened, its seedy underbelly revealed as the foot soldiers have sidled away embarrassed. It’s not about ethics in game journalism anymore (if it ever was (it wasn’t)). It’s not even about games at all. The ’Gaters left over are those that represent what #GamerGate was always about. These ’Gaters are the ones feverishly devoted to rooting out the ’Social Justice Warriors’ and ’feminazis’ who are supposedly ruining the world for antisocial straight white guys. #GamerGate has always been about ideology, and the stripping-back that has taken place over the past month or two has made that even clearer.”

2. “Inhabiting Wes Anderson’s Universe.” The New York Times’s Penelope Green interviews Matt Zoller Seitz about The Wes Anderson Collection.

“Wes is a very exact, some would say fussy, director. He sort of pre-edits a lot of his films in his imagination and then executes the dreams on film. I think people who don’t like him find him too airless, and they use phrases like ’hermetically sealed’ or ’twee’ to slam him. But I think there’s a tension between the controlled style of the films and their stories that’s fascinating. The stories are often about people discovering the limits of control when faced with trauma, chaos or sudden death. Sometimes it feels like he’s making these obsessive films in order to study the chaos that happens when he’s shooting them, which is something that happens to a degree on every film shoot.”

3. “Is this why Selma was snubbed?” Gene Seymour explains the “brush-fire-level rage” behind the film’s relative dearth of nominations.

“Movie history has many films with black slaves and black victims. It’s much harder to think of a Hollywood movie in which African-Americans are depicted as the active agents of their own salvation. “Selma” is one of those movies. And its relative dearth of worthy nominations is viewed, fairly or not, as a collective snub of not just a movie, but of African-Americans’ vision of their own empowerment.”

4. “On Location with Noir City 13.” Brian Darr, for Fandor, on how San Francisco is the shadowy backdrop for many of Noir City 2014’s unholy matrimony stories.

“Film is a fragile medium, but a properly-preserved photographic image will last longer than the world it records. Moments pass. Actors and extras age and die. Studio sets are torn down. Even natural landscapes are shaped by erosion, development, de- and re-forestation, et cetera. Cities and towns used as authentic filming locations transform as their neighborhoods and landmarks do. In the last few years the city of San Francisco, where I live, has seen the disappearance of iconic cinematic spots like Jimmy Stewart’s Lombard Street apartment from Vertigo (remodeled to unrecognizability in 2012), The Cathedral Hill a.k.a. Jack Tar Hotel from The Conversation (demolished in 2013 and soon to be replaced by a hospital) and the span of the Bay Bridge upon which Dustin Hoffman drives in The Graduate (being dismantled as I write this). Watching a classic film shot on location in a place you’re familiar with provides pleasures distinct from simply enjoying a well-constructed story enacted by compelling performers—although the two categories of delight can be entwined and build on each other. The feedback loop of setting reinforcing character, and vice versa, is a big part of what makes the film noir cycle particularly fascinating to urban moviegoers, especially when they feel a personal connection to one or the other.”

5. “Bamboo-Ceiling TV.” The network tried to turn my memoir into a cornstarch sitcom and me into a mascot for America. Eddie Haung hated that.

“My instincts told me to call a former space traveler. Someone who’d shunned gravity and returned, only to retreat once again: Margaret Cho. I had never met or even talked to Margaret, but I remember her jokes about penises being like snowflakes and still refer to my dick as a six-inch meatball sub. When she wasn’t helping me contextualize my penis in the pantheon of fast-casual sandwiches, she helped me navigate being Asian in America: a spirit guide leading me through San Francisco bookstores, fragrance departments, and Korean dinners. All-American Girl was America’s first Asian—specifically, Korean-American—sitcom, but it got canceled after one season. Asians like myself ate our hopes and dreams by the grain burnt at the bottom of a seasonal stone bowl, vowing to one day return.”

Video of the Day: Sleater-Kinney performs “A New Wave” on Letterman:

https://www.youtube.com/watch?v=inN7vWUpeII
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Watch: The Long-Awaited Deadwood Movie Gets Teaser Trailer and Premiere Date

Welcome to fucking Deadwood!

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Deadwood
Photo: HBO

At long last, we’re finally going to see more of Deadwood. Very soon after the HBO series’s cancellation in 2006, creator David Milch announced that he agreed to produce a pair of two-hour films to tie up the loose ends left after the third season. It’s been a long road since, and after many false starts over the years, production on one standalone film started in fall 2018. And today we have a glorious teaser for the film, which releases on HBO on May 31. Below is the official description of the film:

The Deadwood film follows the indelible characters of the series, who are reunited after ten years to celebrate South Dakota’s statehood. Former rivalries are reignited, alliances are tested and old wounds are reopened, as all are left to navigate the inevitable changes that modernity and time have wrought.

And below is the teaser trailer:

https://www.youtube.com/watch?v=tAcftIUE6MQ

Deadwood: The Movie airs on HBO on May 31.

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Watch: Quentin Tarantino’s Once Upon a Time in Hollywood Gets Teaser Trailer

When it rains, it pours.

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Once Upon a Time in Hollywood
Photo: Columbia Pictures

When it rains, it pours. Four days after Quentin Tarantino once more laid into John Ford in a piece written for his Beverly Cinema website that saw the filmmaker referring to Ford’s She Wore a Yellow Ribbon as Tie a Yellow Ribbon, and two days after Columbia Pictures released poster art for QT’s ninth feature that wasn’t exactly of the highest order, the studio has released a teaser for Once Upon a Time in Hollywood. The film was announced early last year, with Tarantino describing it as “a story that takes place in Los Angeles in 1969, at the height of hippy Hollywood.”

Set on the eve of the Manson family murders, Once Upon a Time in Hollywood tells the story of TV actor Rick Dalton (Leonardo DiCaprio) and his stunt double, Cliff Booth (Brad Pitt), as they try to get involved in the film industry. The film also stars Margot Robbie (as Sharon Tate), Al Pacino, the late Luke Perry, Damian Lewis, Dakota Fanning, Emile Hirsch, Timothy Olyphant, Kurt Russell, and Bruce Dern in a part originally intended for the late Burt Reynolds.

See the teaser below:

https://www.youtube.com/watch?v=Scf8nIJCvs4

Columbia Pictures will release Once Upon a Time in Hollywood on July 26.

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Watch the Stranger Things 3 Trailer, and to the Tune of Mötley Crüe and the Who

A wise woman once said that there’s no such thing as a coincidence.

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Stranger Things 3
Photo: Netflix

A wise woman once said that there’s no such thing as a coincidence. On Friday, Jeff Tremaine’s The Dirt, a biopic about Mötley Crüe’s rise to fame, drops on Netflix. Today, the streaming service has released the trailer for the third season of Stranger Things. The clip opens with the strains of Mötley Crüe’s “Home Sweet Home,” all the better to underline that the peace and quiet that returned to the fictional rural town of Hawkins, Indiana at the end of the show’s second season is just waiting to be upset again.

Little is known about the plot of the new season, and the trailer keeps things pretty vague, though the Duffer Brothers have suggested that the storyline will take place a year after the events of the last season—duh, we know when “Home Sweet Home” came out—and focus on the main characters’ puberty pangs. That said, according to Reddit sleuths who’ve obsessed over such details as the nuances of the new season’s poster art, it looks like Max and company are going to have to contend with demon rats no doubt released from the Upside Down.

See below for the new season’s trailer:

https://www.youtube.com/watch?v=YEG3bmU_WaI

Stranger Things 3 premieres globally on July 4.

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