As you may have heard, the New York Press, which publishes my weekly column, has once again lost the top of its masthead. The paper’s editor-in-chief, Harry Siegel, resigned Tuesday evening along with three other editors, to protest his publisher’s decision not to republish cartoons that prompted furious, sometimes violent Muslim reaction throughout Europe and the Mideast. (Here’s a Reuters story and a Gawker item summarizing what happened.)
Being a freelancer who files via email and rarely visits the office, I don’t know anything about the political dynamics inside the paper. I can only say I’ve known Harry a few months, long enough to respect his intelligence and good humor and to deduce that he wasn’t a showboating, storm-the-barricades-for-the-publicity type. Based on his resignation letter—reprinted in a New York Observer blog item headlined ”New York Press kills cartoons: staff walks out”—I see no reason to revise either part of that opinion.
“We have no desire to be free speech martyrs,” Harry wrote, “…but it would have been nakedly hypocritical to avoid the same cartoons we’d criticized others for not running, cartoons that however absurdly have inspired arson, kidnapping and murder and forced cartoonists in at least two continents to go into hiding. Editors have already been forced to leave papers in Jordan and France for having run these cartoons. We have no illusions about the power of the Press (NY Press, we mean), but even on the far margins of the world-historical stage, we are not willing to side with the enemies of the values we hold dear, a free press not least among them.”
I do not agree that it was necessary to republish a gallery of culturally incendiary cartoons on newsprint and distribute them free all over New York City in order to be able to properly analyze them, or editorialize about them—especially not in the era of the Internet, which enables a newspaper to publish, say, one small, representative cartoon, then link to a vast gallery of other examples on a web site. (To see the verboten cartoons, click here.)
And there’s an element of disingenuous right wing piling-on in the U.S. reaction that’s disturbing in its own way, a chest-thumping swagger typified by this remark from the comments section of the New York Observer’s Politicker item on the New York Press incident. “The press in the Arab world is filled with vulgar anti-semitic cartoons making light of the Holocaust and pushing the blood libel. Now they riot when someone dares to give them a taste of their own medicine. I saw some Arab ’scholar’ on the news saying that the West is ’provoking’ Muslims by publishing these cartoons. A real provocation would be a group of Christians and Jews doing to Mecca what a group of Muslim terrorists did to the World Trade Center and the Pentagon on 9/11.” With supporters like these, Harry doesn’t need enemies.
That said, I applaud Harry’s mathematically simple reasoning, I acknowledge his titanium cojones, and I understand his desire not to be seen as a hypocrite after slagging other papers for not having the guts to publish those cartoons. And I’ve got to say, it’s hilarious to see the publishers invoking a code of conduct after doing without one for 18 years. My alternative weekly pays its bills with hooker ads and never shied away from explicit language and sexual content. During the impeachment scandal, it published an editorial cartoon showing Bill Clinton butt-fucking a jacknifed Uncle Sam whose ass was smeared with blood and shit. The paper was, and still is, a Hobbesian First Amendment playground. So the notion of its owners suddenly coming down with the vapors is pretty rich. I’m guessing the skittishness came from memories of the last religion-centered New York Press scandal, a Catholic baiting jokefest that claimed columnist Matt Taibbi and editor Jeff Koyen.
I first heard about Cartoongate Tuesday afternoon when I phoned Harry long distance from a family vacation to Florida to correct an error in a review of The Fallen Idol—I had reflexively mistyped Carol Reed’s first name as Carroll, as in the Black Stallion director Ballard—and the always unflappable Mr. Siegel told me he was sorry but he couldn’t help because he was in the process of drafting a resignation letter, and would it be all right if he transferred me to the art department so they could at least try to fix it on the proof? (The error was fixed in print but not online, where it stands as a marginal testament to that strange day.) I called twice on Wednesday to see if I could find out anything more. I was told by a receptionist that there was no one in the editorial offices, that there were rumors that the publisher and editors were in a meeting, but the rest was a question mark.
I don’t know what the future holds for the newspaper or its staffers and freelancers. If I hear anything, I’ll let you know.
Matt Zoller Seitz is the founder of The House Next Door.
Kesha Gets Her Swagger Back in Raucous “Raising Hell” Single and Video
The song reprises the driving dance beats and irreverent, IDGAF swagger of the singer’s early hits.
Clocking in at under three minutes and featuring lyrics like “I’m still here, still bringin’ it to ya,” Kesha’s new song, “Raising Hell,” feels more like an album intro than a proper lead single. But it’s a fitting re-introduction, reprising the driving dance beats and irreverent, IDGAF swagger of the singer’s early hits: “I’m all fucked up in my Sunday best/No walk of shame ‘cause I love this dress/Hungover, heart of gold, holy mess/Doin’ my best, bitch, I’m blessed.”
Though it’s not quite a return to form, “Raising Hell” is a gospel-tinged rave-up featuring Big Freedia that provides a bridge between Kesha’s breakout sound and 2017’s more introspective, roots-inspired Rainbow. Her forthcoming album, High Road, reportedly boasts a wide breadth of styles, from dance-rap bangers to dream-pop ballads, and guests Brian Wilson, Sturgill Simpson, and, yes, even a meta-appearance from “Ke$ha” on the track “Kinky.”
In the video for “Raising Hell,” Kesha plays a very-Aqua Netted televangelist who murders her abusive husband and goes on the lam. The clip, directed by Luke Gilford, sets up a narrative thread that, based on the album’s trailer, will ostensibly run through the entire project.
High Road is set to be released on January 10 on Kemosabe/RCA Records.
Watch the First Trailer for Martin Scorsese’s The Irishman
Today, Netflix has given us our first look at the film, which stars Robert De Niro, Al Pacino, and Joe Pesci.
On Monday, it was announced that The Irishman, Martin Scorsese’s adaptation of Charles Brandt’s nonfiction book I Heard You Paint Houses, will open this year’s New York Film Festival. And today, Netflix, which will release the film in select theaters and on its streaming service at some point later in the year, has given us our first look at the production, which stars Robert De Niro, Al Pacino, and Joe Pesci.
According to Netflix’s official description, The Irishman is “an epic saga of organized crime in post-war America told through the eyes of World War II veteran Frank Sheeran, a hustler and hitman who worked alongside some of the most notorious figures of the 20th century. Spanning decades, the film chronicles one of the greatest unsolved mysteries in American history, the disappearance of legendary union boss Jimmy Hoffa, and offers a monumental journey through the hidden corridors of organized crime.”
In a statement from Film at Lincoln Center, New York Film Festival director Kent Jones, a frequent collaborator of Scorsese’s, said that The Irishman is “the work of masters, made with a command of the art of cinema that I’ve seen very rarely in my lifetime, and it plays out at a level of subtlety and human intimacy that truly stunned me.”
See the kinetic trailer, which provides us with our first look of the film’s sure-to-be-controversial “de-aging” VFX techniques, below:
The Irishman will premiere at the New York Film Festival on September 27.
Disney’s Mulan Live-Action Remake, Starring Yifei Liu, Gets Teaser Trailer
The film follows a young Chinese woman who disguises herself as a warrior in order to spare her ailing father from war.
Today, during the Women’s World Cup final between America and the Netherlands, Disney premiered the first trailer for its live-action remake of the 1998 animated move of the same name. The film follows a young Chinese woman (Yifei Liu) who, after the Emperor of China (Jet Li) issues a decree that one man per family must serve in the Imperial army, disguises herself as a warrior in order to spare the life of her ailing father (Tzi Ma). According to Disney’s official description of the film: “Masquerading as a man, Hua Jun, she is tested every step of the way and must harness her inner strength and embrace her true potential. It is an epic journey that will transform her into an honored warrior and earn her the respect of a grateful nation…and a proud father.”
Mulan features a celebrated international cast that also includes Donnie Yen as Commander Tung, Jason Scott Lee as Böri Khan, Yoson An as Cheng Honghui, and Gong Li as Xianniang. The film is directed by Niki Caro from a screenplay by Rick Jaffa, Amanda Silver, Elizabeth Martin, and Lauren Hynek based on the narrative poem “The Ballad of Mulan.”
See the action-packed teaser trailer below:
Disney will release Mulan in March 2020.
Taylor Swift Drops Star-Studded, Pride-Themed “You Need to Calm Down” Video
The video takes the notion of visibility as a means of acceptance to the extreme.
After years of political agnosticism, Taylor Swift endorsed two Tennessee Democrats during the 2018 midterm elections, prompting a backlash from white supremacists and their dear leader, Donald Trump. In the span of less than a year, the singer went from being the Aryan goddess of the alt-right to being called out as an agent of sodomy in a sermon by a homophobic pastor and sheriff’s deputy in her home state.
Swift’s path to wokeness has been a long one, and while the launch of her new single, “You Need to Calm Down,” during LGBT Pride Month might feel like the equivalent of Google slapping a rainbow flag on their logo, her activism—which included a recent $113,000 donation to a Tennessee LGBT organization—seems like more than just a branding opportunity. “To be an ally is to understand the difference between advocating and baiting,” Swift posted on Tumblr after rumors circulated that she kisses former rival Katy Perry in the video for “You Need to Calm Down,” the second single from Swift’s seventh album, Lover.
The clip does, however, take the notion of visibility as a means of acceptance to the extreme, featuring cameos from RuPaul, Ellen DeGeneres, Adam Lambert, Adam Rippon, Laverne Cox, Billy Porter, Jesse Tyler Ferguson (whom she serenaded at a surprise performance at New York’s Stonewall Inn last week), and other queer celebrities, YouTube stars, and allies.
Directed by Swift and Drew Kirsch, the video opens with the pop singer waking up in a pastel-colored trailer home adorned with kitschy paintings and a framed Cher quote (“Mom, I am a rich man”). She makes herself a cotton-candy smoothie, takes a dip the cleanest above-ground pool you’ll ever see, and parades through the trailer park’s pride-themed festivities, which includes a “pop queen pageant” featuring drag versions of Swift, Ariana Grande, Lady Gaga, Adele, Cardi B, Beyoncé, Nicki Minaj, and Katy Perry.
The real Katy pops up for a heartfelt reunion with Swift that makes “You Need to Calm Down”—which seems to strive for, but falls short of, the campy eye candy that Perry has honed in her own videos over the years—feel like a bachelorette party at a gay bar. But just in case you question Swift’s allegiance to the cause, the video ends with a message urging viewers to sign her petition for Senate support of the Equality Act.
Swift’s album, Lover, is due August 23 via Republic Records.
Mykki Blanco Is a Trans Joan of Arc in Madonna’s “Dark Ballet” Video – Watch
The self-described transfeminine rapper stars in the video from the queen of pop’s upcoming album Madame X.
While presenting Madonna with GLAAD’s Advocate for Change award last month, Mykki Blanco hinted that a collaboration with the queen of pop might be imminent. Sure enough, the self-described transfeminine rapper stars in the video for “Dark Ballet,” the final track to be released in the lead-up to Madonna’s new album, Madame X.
Directed by Dutch Ghanaian visual artist Emmanuel Adjei, “Dark Ballet” echoes the themes of Madonna’s infamous “Like a Prayer” video, awash with Catholic iconography and a storyline revolving around a persecuted black person. But that’s where the similarities end. The singer only briefly appears in the clip, behind a black veil, and the burning crosses of her 1989 video are traded for a ceremonial burning at the stake.
The video is frenetic and non-linear, opening with Blanco held captive in a stonewalled room, wrapped in a dirty white robe. Wrists bound with rope, he’s led by clergymen to be executed for an undisclosed crime. He’s then seen dancing, first in a cathedral—pleading with the men, who forsake him—and then in the church’s sanctuary, dressed in a gold corset reminiscent of the iconic one designed by Jean Paul Gaultier for Madonna’s Blond Ambition Tour. Madonna is, in effect, all over the video, but her casting of a queer person of color as the oppressed, rather than herself, spotlights the disproportionate impact of the patriarchy on minorities.
Produced by Madonna and longtime collaborator Mirwais, the song itself is an ambitious electro suite featuring a heavily Auto-Tuned denouncement of gender, lies, and fame, before the track breaks into Tchaikovsky’s “Dance of the Reed Pipes” from The Nutcracker accompanied by a robot Joan of Arc proclaiming her faith. (There’s a brief, blink-and-you’ll-miss-it shot from Carl Theodor Dreyer’s 1928 film The Passion of Joan of Arc near the beginning of the video.) The song is a reminder of the wacky magic Madonna and Mirwais are capable of cooking up together.
Madame X will be released on June 14 via Interscope Records.
James Gray’s Ad Astra, Starring Brad Pitt, Gets Official Trailer
It has been a wild ride to the screen for the film, which Gray announced way back in 2016 at the Cannes Film Festival.
It has been a wild ride to the screen for Ad Astra, which director James Gray announced way back in 2016 at the Cannes Film Festival. Originally it was set to come out in the doldrums of January, then on May 24, but as a trailer had yet to be announced in the leadup to that date, it was inevitable that the release would get bumped again. And it was probably for the best, as a film with the obvious ambition as this one wouldn’t get the attention it deserved from its studio—or is it studios?—had it opened in the midst of the confusing Disney-Fox Hollywood merger continuing to play out at that time.
Anyway, today we’ve been gifted with the official trailer for Ad Astra, and the official announcement that it will be coming out on September 20, which suggests that a world premiere at a fall festival is in order. The film tells the story of an astronaut, Roy McBride (Brad Pitt), who “travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet.”
Shot by Oscar-nominated cinematographer Hoyte Van Hoytema (Dunkirk) and scored by post-minimalist composer Max Richter, Ad Astra has been likened by Gray to Joseph Conrad’s Heart of Darkness, and described as “the most realistic depiction of space travel that’s been put in a movie and to basically say, ‘Space is awfully hostile to us.’” In addition to Pitt, who’s also a producer on the film, Ad Astra stars Tommy Lee Jones, Ruth Negga, Liv Tyler, Donald Sutherland, Jamie Kennedy, John Finn, Kimberly Elise, Bobby Nish, and LisaGay Hamilton.
Watch the official trailer below:
20th Century Fox will release Ad Astra on September 20.
Terminator: Dark Fate Trailer: Going Back to the Well with Sarah Connor
Linda Hamilton at least makes a killer impression as Sarah visits fiery justice upon Gabriel Luna’s terminator.
Today, Paramount dropped the trailer for the sixth entry in the Terminator series, Terminator: Dark Fate, which promises to deliver…more of the same? With this film, Deadpool director Tim Miller aims to give the series a reboot: by pretending that none of the films that came after Terminator 2: Judgement Day ever existed (sorry, Rise of the Machines fans), maybe even Terminator: The Sarah Connor Chronicles. “Welcome to the day after judgment day,” reads the poster, promising the badass return of Linda Hamilton’s Sarah Connor. And on that front, the film looks to deliver, as Hamilton certainly makes a killer impression as Sarah visits fiery justice upon Gabriel Luna’s terminator.
But based on everything else that’s on display throughout the trailer, we’re worried that there’s not anything new that a film in this series stands to bring to the table besides running and gunning, with the occasional wink thrown in for good measure. Cast in point: Mackenzie Davis stars as Grace, an “enhanced human” who looks to fill the hanger-on role to Connor that Edward Furlong’s John Connor did to Arnold Schwarzenegger’s T-800, now apparently living in woodsy retirement, and at the ready to give sage advice. In short, we’re not impressed, and that also holds true of that cover of Björk’s “Hunter” by some zombie man singer.
Watch the official trailer below:
Paramount Pictures will release Terminator Dark Fate on November 1.
The Nightingale Trailer: Aisling Franciosi and Sam Claflin Star in Jennifer Kent’s Follow-Up to The Babadook
Today, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825.
Jennifer Kent’s The Nightingale, the Aussie filmmaker’s much-anticipated follow-up to The Babadook, premiered way back in September at the Venice Film Festival, and to mostly positive notices. Today, ahead of its U.S. theatrical release in August, IFC has released the first trailer for the film, which is set during the colonization of Australia in 1825 and follows a young Irish convict settler, Clare (played by Aisling Franciosi), who, after finishing her seven-year sentence, struggles to be free of her abusive master, Lieutenant Hawkins (Sam Claflin). According to the studio’s official description of the film:
Clare’s husband Aidan (Michael Sheasby) retaliates and she becomes the victim of a harrowing crime at the hands of the lieutenant and his cronies. When British authorities fail to deliver justice, Clare decides to pursue Hawkins, who leaves his post suddenly to secure a captaincy up north. Unable to find compatriots for her journey, she is forced to enlist the help of a young Aboriginal tracker Billy (Baykali Ganambarr) who grudgingly takes her through the rugged wilderness to track down Hawkins. The terrain and the prevailing hostilities are frightening, as fighting between the original inhabitants of the land and its colonizers plays out in what is now known as “The Black War.” Clare and Billy are hostile towards each other from the outset, both suffering their own traumas and mutual distrust, but as their journey leads them deeper into the wilderness, they must learn to find empathy for one another, while weighing the true cost of revenge.
Watch the official trailer below:
IFC Films will release The Nightingale in NY and LA on August 2.
Downton Abbey Trailer Sees the Crawley Clan Prepping for a Royal Arrival
Kippers for breakfast, Aunt Helga? Is it St. Swithin’s Day already? No, it ain’t, dear. ‘Tis Downtown Abbey Day.
Kippers for breakfast, Aunt Helga? Is it St. Swithin’s Day already? No, it ain’t, dear. ‘Tis Downton Abbey Day—that is, the release of the official trailer for the Downton Abbey movie. It’s been some three years since we’ve gotten to sip tea with the Crawley clan and hang out downstairs with the servants making sure that the biscuits are placed just right on the proper fine bone china tea set. And from the looks of the two-and-a-half-minute trailer, it would appear that nothing has changed at Downton Abbey since the series’s finale.
In the tradition of Mad Men’s episode-ending “next week on AMC’s Mad Men” teasers, it’s just a series of snappy snippets that suggest we’re in for more of the same, from Maggie Smith’s Dowager Countess of Grantham snarking up a storm to Robert James-Collier’s Thomas Barrow getting his gay on. And we are here for it. The cherry on top? The king and queen are coming to Downton! And as everything must be in tip-top shape for their arrival, the Crawleys must enlist the help of the one and only Charles Carson (Jim Carter), who is treated here with the reverence of a god, or a superhero from the Marvel Cinematic Universe.
Downton Abbey is directed by Michael Engler and written by Oscar- and Emmy-winning screenwriter Julian Fellowes. And in addition to the aforementioned actors, the film stars Hugh Bonneville, Laura Carmichael, Brendan Coyle, Michelle Dockery, Kevin Doyle, Joanne Froggatt, Matthew Goode, Harry Hadden-Paton, David Haig, Geraldine James, Simon Jones, Allen Leech, Phyllis Logan, Elizabeth McGovern, Sophie McShera, Tuppence Middleton, Stephen Campbell Moore, Lesley Nicol, Kate Phillips, Imelda Staunton, and Penelope Wilton.
Watch the official trailer below:
Focus Features will release Downton Abbey on September 20.
Watch the Teaser Trailer for Andy Muschietti’s It Chapter Two, Starring Jessica Chastain and Bill Hader
The teaser seems hell-bent on satisfying those who found the first film to be an over-directed succession of freakouts.
Today, Warner Bros. revealed the teaser trailer for It Chapter Two, Andy Muschietti’s highly anticipated follow-up to his worldwide box-office smash It. The teaser is certainly promising, if only because it seems hell-bent on satisfying above all else those who might have found the first film to be an over-directed succession of freakouts. Indeed, while the trendy retroism of that film is certainly evident across this teaser’s three minutes, there’s something rather impressive about how it forces us to spend so much time stewing in the atmosphere of dread that slowly overcomes the adult Beverly (Jessica Chastain) inside an old woman’s house as she comes to realize that she and other grown-up members of the Losers Club may not have fully shaken off the horror that is Pennywise.
In addition to Chastain, It Chapter Two stars James McAvoy as Bill, Bill Hader as Richie, Isaiah Mustafa as Mike, Jay Ryan as Ben, James Ransone as Eddie, and Andy Bean as Stanley. Reprising their roles as the original members of the Losers Club are Jaeden Martell as Bill, Wyatt Oleff as Stanley, Jack Dylan Grazer as Eddie, Finn Wolfhard as Richie, Sophia Lillis as Beverly, Chosen Jacobs as Mike, and Jeremy Ray Taylor as Ben. And, of course, there’s Bill Skarsgård, who reprises his role of Pennywise.
See the teaser trailer below:
Warner Bros. will release It Chapter Two on September 6.