A review of tonight's "Masters of Sex" coming up just as soon as I have an appointment with a travel agent... As I said last week, I'm going to tinker with the format of the weekly reviews for this show, since some weeks I have an essay in me, while others I just have a bunch of random observations. This is one of the latter, so let's hit it: * On Friday, The Hollywood Reporter ran an interview with Michelle Ashford discussing, among other things, the new disclaimer at the end of each episode about the TV show's kids being wholly fictional. She's not allowed to discuss much, but said that "certain things that had to be done in our storytelling that had to do with legal issues." On the family front, this episode gets even deeper into fictionalizing things, since Virginia didn't have a third, late-in-life child, nor did she...
- 7/20/2015
- by Alan Sepinwall
- Hitfix
Argo satirises the events of the Iran hostage crisis, yet, despite being branded 'an offensive act' and added to a list of 'anti-Iranian' films, Affleck's approach is strangely apologetic
In December 1979, a handmade placard outside the occupied Us embassy in Tehran read: "As an Iranian I want you corresponders + journalists + film-takers [to] tell the truth to the world." Whatever the truths of the Iranian revolution – most would agree it began as a popular uprising driven in part by plausible claims against Us policies – film-makers addressing its aftermath from inside Iran have had to depend on allegorical techniques, while those free to address it less obliquely from abroad have had much read into their motives.
Iran's rulers regard foreign productions on Iranian subjects – whether by émigrés or non-Iranians – with prejudice. Warnings of "soft war" and "psychological warfare" waged through culture and entertainment are a recurring theme in Iranian state media. Such...
In December 1979, a handmade placard outside the occupied Us embassy in Tehran read: "As an Iranian I want you corresponders + journalists + film-takers [to] tell the truth to the world." Whatever the truths of the Iranian revolution – most would agree it began as a popular uprising driven in part by plausible claims against Us policies – film-makers addressing its aftermath from inside Iran have had to depend on allegorical techniques, while those free to address it less obliquely from abroad have had much read into their motives.
Iran's rulers regard foreign productions on Iranian subjects – whether by émigrés or non-Iranians – with prejudice. Warnings of "soft war" and "psychological warfare" waged through culture and entertainment are a recurring theme in Iranian state media. Such...
- 11/8/2012
- by Roland Elliott Brown
- The Guardian - Film News
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