wnyc:
“When I was doing Virginia Woolf, and when George and Martha had their scene together and George said, ‘Our son is dead.’ You know, that big scene? ‘Our son,’ he yells in my face, ‘is dead.’ And I went ‘No!’ At the height of my force, I said no to him. And I had an orgasm for the first time in my life.”
—Elaine Stritch speaking with Alec Baldwin on Here’s The Thing
(Source: yeshairy)
You can change the direction this train is moving just by thinking about it.
this is tripping me the f out
"What Jolie also knows is that typically, when a celebrity’s breasts are under public discussion, the issues raised about them—Are they big enough? Are they sexy enough? Are they really hers?—are objectifying and demeaning. [She now challenges this perception] … by speaking of her celebrated body with words typically reserved for the doctor’s office: ducts, tissue, bruising, pain. Jolie’s medical decision says again what shouldn’t need re-saying: that a woman’s body is hers, that breasts are for something other than ogling, and that hard choices are made for strong reasons. Her decision to make her choice public is bold and brave and admirable. It is what celebrity is for."
(Source: newyorker.com)
Why Did Jodon Romero Kill Himself On Live Television?
Last September, a car chase through Arizona turned from afternoon diversion to tragedy to referendum on media ethics, but lost in the noise was any sense of who was on the run or why. This is the story behind the spectacle.
thanks The Feature!
(Source: the-feature)
"
Try this blind test: A politician and a workaholic have a passionate extramarital affair that endangers their careers and national security. A scheming Washington insider murders an innocent and makes it look like a suicide to further his own career. A person assumes a false identity after a gruesome incident and uses that identity to build a new life. To protect his legacy, a man preemptively murders a former ally once essential to his success.
These are all descriptions of plot points on “Scandal” — but also on “Homeland,” “House of Cards,” “Mad Men” and “Breaking Bad,” respectively. “Scandal” may not look or feel like TV’s other prestige dramas, in which (usually male) antiheroes mix it up under the oversight of an (almost always male) auteur who has complex feelings about entertaining his audience. Rhimes feels no such ambivalence. Even more than Olivia and Fitz’s racy clinches, that’s what makes the show exciting: Rhimes is making a different kind of quality television.
"Network TV Is Broken. So How Does Shonda Rhimes Keep Making Hits?
