“To Kill a Mockingbird,” adapted by Aaron Sorkin and directed by Bartlett Sher, has just been announced for Broadway. Who should play Atticus, portrayed by Gregory Peck in the movie. The candidates: 1) Tom Hanks: recently named the most-trusted man in America, he has, in popular terms, the inside track, and the cost of seeing him would make “Hamilton” tickets seem cheap; 2) Jeff Daniels: a stage veteran, he starred in Sorkin’s “The Newsroom” and knows his way around a stage; 3) Liam Neeson: at 63, he may be too old for the role, but he could make a triumphant return to Broadway; or 4) Tom Cruise: his best movie role, in “A Few Good Men,” was written by Sorkin, and he played a righteous courtroom attorney, but he lacks stage vocal technique though he’s a hard worker so would certainly train to get himself up to speed. My choice? Cruise!
Jack Coulter, 21, has a form of synesthesia, a rare neurological phenomenon that causes him to ‘hear’ color, resulting in a sensory overload that he finds both draining and beautifully enriching. He has over 50,000 followers on Instagram. Here’s an interview.
Lana Del Rey promised a music video featuring Father John Misty and she delivered. The video for “Freak” (from last year’s “Honeymoon”) is 11 minutes long, and, after a while, Lana’s music is replaced by Claude Debussy‘s “Clair de Lune.”
I find myself in vigorous agreement with blogger Jeffrey Wells today: ‘I’ve never forgotten a certain corruption metaphor that was visualized in Ken Russell‘s “The Devils” (’71). It was the sight of Christopher Logue‘s Cardinal Richelieu being wheeled around on a dolly so that he didn’t have to exert himself. That left an indelible impression, I’m afraid, and one result is that ever since I’ve regarded people who avoid walking for whatever reason as degenerate sloths…Or women in high heels who refuse to walk two or three blocks to a party or a premiere because it hurts their feet to walk any kind of distance.’
Justin Chang writes in Variety (critical compilation here): ‘The results may delight those who believe recycled gags and endless cameos to be the very essence of great screen comedy, but everyone else will likely recognize Ben Stiller’s wannabe Magnum opus as a disappointment-slash-misfire, the orange mocha crappuccino of movie sequels.’
Usually when a television show contains a giant mystery, it’s something that is revealed in the final episode of the season. But for a forthcoming Italian series, the mystery might never be solved. Italian film and television production company Wildside announced today that it is working with producer Fandango to adapt the Neapolitan novel series by Elena Ferrante. The four novels are about the intense lifelong friendship of two women, Lila and Elena, set over 50 years in a changing Italy. The identity of Ferrante, which is a pseudonym, is still unknown. Ferrante is, however, involved in the development of the project, but exactly how or to what extent is as unknown as her true identity. Each of her four novels will be adapted into an eight-episode season, for 32 episodes in total.
The New York Times reports: ‘In the art of the 20th century, comedy was tough to come by. Marcel Duchamp and his urinal were the original stand-up act, and Magritte was good for some laughs. But a long, dry stretch followed, through Abstract Expressionism and Minimalism, lightened up in the 1960s only by oddball wits like Ray Johnson and Lee Lozano. The Swiss duo of Peter Fischli (pictured) and David Weiss, who began at the end of the 20th century, have been Read more »