1. “Anton Yelchin Dead at 27.” The Star Trek actor was killed yesterday when he was “pinned between his car and a brick mailbox, which was attached to a security gate.”
“There was something so sad yet so assuring about the Russian-born Yelchin. Maybe it was his eyes—big, gleaming, set deep into his pale, pensive face, like he was pondering something profound but reluctant to mention it to anyone. He was, after all, a chess aficionado, and a punk rock and blues guitar player, as well as a prolific actor who worked at a herculean pace. He appeared in over 40 movies in a 16-year career.”
2. “How Netflix Became Hollywood’s Frenemy.” The streaming service is changing the way TV shows and movies get made—whether studios and networks like it or not.
“Just a few years ago it would have sounded absurd for a Netflix exec to talk about what makes good storytelling. But these days the Silicon Valley interloper is arguably the biggest influencer in Hollywood. Netflix has harnessed the shock waves of the broadband revolution, becoming simultaneously one of the top-performing tech companies—its stock rose 134% in 2015, the best return of any Fortune 500 member—and one of the world’s fastest-growing entertainment businesses. It’s spending $5 billion this year on television and film content, a spree that far outpaces its rivals—and underscores the pressure it’s exerting on those rivals to rethink the way they operate.”
3. “Ciudad Juárez: Mexico’s drug wars, rendered in art.” Over at The Economist, a look at art helping people come to grips with violence and suffering.
“It might seem unlikely that an artist like Francis Alÿs would be able to engage in any meaningful way with life in Ciudad Juárez. He is known for a poetic and absurdist mentality, sending a peacock as his representative to the Venice Biennial of 2001, for example, or arranging for a troop of Household Cavalry to march through the centre of London in 2004. Yet the sensitive and understated works on display here pack a powerful punch. Mr Alÿs has lived in Mexico City since 1986, and frequently collaborates with artists from his adopted home, so he is no uninformed outsider when if comes to life in Mexico.”
4. “L.G.B.T. People Are More Likely to Be Targets of Hate Crimes Than Any Other Minority Group.” Even before the shooting rampage at a gay nightclub in Orlando, Fla., lesbian, gay, bisexual and transgender people were already the most likely targets of hate crimes in America, according to an analysis of data collected by the Federal Bureau of Investigation.
“Nearly a fifth of the 5,462 so-called single-bias hate crimes reported to the F.B.I. in 2014 were because of the target’s sexual orientation, or, in some cases, their perceived orientation. Ironically, part of the reason for violence against L.G.B.T. people might have to do with a more accepting attitude toward gays and lesbians in recent decades, say people who study hate crimes. As the majority of society becomes more tolerant of L.G.B.T. people, some of those who are opposed to them become more radical, said Mark Potok, a senior fellow at the Southern Poverty Law Center. The flip side of marriage equality is that people who strongly oppose it find the shifting culture extremely disturbing, said Gregory M. Herek, a psychology professor at the University of California, Davis, who is an expert on anti-gay violence. ‘They may feel that the way they see the world is threatened, which motivates them to strike out in some way, and for some people, that way could be in violent attacks,’ Mr. Herek said.”
5. ”Pitchfork Review: All Things Must Pass.” Given his own studio, his own canvas, and his own space, George Harrison did what no other solo Beatle did on All Things Must Pass: He changed the terms of what an album could be.
“All Things Must Pass had the quality of a broken-off conversation picked up years later; there were gorgeous songs here that Harrison had brought to the group, only to be met with to varying degrees of indifference. ‘Isn’t It a Pity’ had been rejected from Revolver, while ‘All Things Must Pass’ was passed over for Abbey Road. In hindsight, it is impossible to imagine these songs having half the impact if they had appeared sandwiched between, say, ‘Don’t Pass Me By’ and ‘Why Don’t We Do It in the Road.’ Taken together, they have their own cumulative weight and depth; you can even imagine their demos perhaps sounding too patient or too plodding to the other three. Reviewing it in Rolling Stone at the time, Ben Gerson compared it to the Germanic Romanticism of Bruckner or Wagner, composers who were unafraid of risking a little ponderousness to reach grandiose heights. Harrison might have been nursing resentments, but his former bandmates did him a perverse favor by leaving him with this material: This is music of contented solitude, and it only makes sense by itself.”
Video of the Day: HBO releases a teaser for their new series Westworld:
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