1. “Cantor ’Earthquake’ Rattles Capitol Hill.” Eric Cantor defeated in shocking primary upset.
“It’s the earthquake that rocked the GOP. In a year when mainstream Republicans have mostly bested tea party-backed challengers, a little-known and little-funded tea party challenger in Virginia’s 7th Congressional District pulled the upset of the year, defeating House Majority Leader Eric Cantor by 10 percentage points. The victory by economics professor Dave Brat gives the tea party an instant jolt of energy, sends shock waves through Capitol Hill, shakes up the GOP House hierarchyp—as Cantor was seen by many as the next speaker—and effectively kills any chance of immigration reform passing through the House any time soon. ’I think this is a scale eight earthquake. I think it will shock the Washington establishment; it will shock the House Republicans,’ former House Speaker Newt Gingrich said. ’It certainly upsets the balance of power inside the Republican conference. And combined with the results last week in Mississippi, it sends a pretty strong signal that while money matters, voters may matter more, and people have to have a little respect for the right of the voter to have attention paid to them, and the right of the voter to throw people out if they’re not happy with them,’ added Gingrich, a 2012 Republican presidential candidate and co-host of CNN’s ’Crossfire.’”
2. “The Trials of Entertainment Weekly.” One Magazine’s 24 Years of Corporate Torture.
“The early and mid-90s Entertainment Weekly was a trade magazine for the masses: A publication that promised to make consumers, whether 11 or 45, into near-experts. It took a while to figure out the format—at first, it was a little too snobby New Yorker and not enough Henry Luce-style middlebrow—but by the mid-90s, it had hit its stride. But doing what its readers liked and doing what its parent company Time Warner needed did not always, or even often, coincide. Entertainment Weekly premiered just about a month after the completion of the merger of Time Inc. and Warner Communications in 1990, and they were entrusted to convey to stockholders, to industry observers and to the world that the union of two media empires, with two distinct styles of operation and implicit and explicit goals, was, in fact, an act of corporate genius.”
3. “Jewish-Themed Movies, Without Jews.” Wes Anderson’s The Grand Hotel Budapest and James Gray’s The Immigrant: period fantasies that shy away from real Jews.
Although The Immigrant and The Grand Hotel Budapest [sic] project an Old Country nostalgia that Jews might feel, while acknowledging a sense of transience or displacement that Jews could remember, Jewish subjectivity is displaced. The Immigrant has its designated Jewish characters (the cops call them ’kikes’), a category that does not include the title character, who is forced into prostitution, as many Jewish women were, on the Lower East Side. The Grand Hotel Budapest [sic] has a protagonist who seems far too established to be Jewish and yet in his rootless cosmopolitanism might well be a crypto-Jew—the movie, according to Anderson, was inspired by the writings of the best-selling Austrian-Jewish author Stefan Zweig, who committed suicide in exile.”
4. “Clint Eastwood Interview.” Cowboy Led Jersey Boys Down a New Trail.
“Yet for all his fidelity to the Broadway source, the director has made a Jersey Boys movie that ultimately differs from the stage version in several key respects. It’s an altogether moodier, more real, edgier piece of work, more Bird than Bye Bye Birdie, giving equal weight to the personal tragedies of Valli and his bandmates—busted-up marriages, estranged children, embezzlement scams and dangerous entanglements with the Jersey mob—as to their professional triumphs. Onstage, misfortune was frequently softened by the show’s overarching uptempo mood. But onscreen, Eastwood hits as many blue notes as four-part harmonies.”
5. “Why Deny the Obvious: Hollywood’s Backward Stance on Abortion.” Obvious Child is the belated inheritor of a pro-choice movement gestating in Hollywood for decades—a movement aborted the moment politics turned contentious.
“Obvious Child is not ’the abortion movie’ that its own marketing and reception might lead you to anticipate. Robespierre and star Jenny Slate have made a movie about a woman, not an abortion. There are no impassioned speeches about women’s rights, no bad guys protesting outside the clinic, and no after-the-fact breakdowns. Donna’s life does not revolve around her choice, and neither does the movie. It is at every turn more relaxed, more confident, and more rewarding than what we as an audience have been conditioned to expect from this kind of movie—the kind with a capital-I ’Issue’ at its heart. Maybe the most political thing about Obvious Child is that it makes abortion feel as if it isn’t an issue at all.”
Video of the Day: From E3, the trailer for The Legend of Zelda U:
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