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Last year, Salon spoke to Oscar winner , one of the actresses who spoke out against in…
HarveyWeinstein  MiraSorvino  from twitter_favs
12 weeks ago by KateSherrill
My lawsuit is ongoing and I intend to take to trial.
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12 weeks ago by kaitlen
Several actresses with the movement including are in court for the hearing.…
TimesUp  HarveyWeinstein  MarissaTome  from twitter_favs
december 2018 by idil
RT : This headline will get a lot of clicks. This article, sadly, is about *another* woman who claims p…
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december 2018 by kcarruthers
This headline will get a lot of clicks. This article, sadly, is about *another* woman who claims p…
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december 2018 by kohlmannj
RT : 's net worth is at least $200 million. He paid bail of $1 million. That's .5% of his net worth. Ass…
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may 2018 by coslinks
carrying Elia Kazan biography to turn himself in
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may 2018 by chetan
RT : BX: expected to be arrested in NYC Friday after an inquiry into allegations of sexual assault on a…
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may 2018 by states37
Molly Ringwald Revisits “The Breakfast Club” in the Age of #MeToo | The New Yorker
"John’s movies convey the anger and fear of isolation that adolescents feel, and seeing that others might feel the same way is a balm for the trauma that teen-agers experience. Whether that’s enough to make up for the impropriety of the films is hard to say—even criticizing them makes me feel like I’m divesting a generation of some of its fondest memories, or being ungrateful since they helped to establish my career. And yet embracing them entirely feels hypocritical. And yet, and yet. . . . 

How are we meant to feel about art that we both love and oppose? What if we are in the unusual position of having helped create it? Erasing history is a dangerous road when it comes to art—change is essential, but so, too, is remembering the past, in all of its transgression and barbarism, so that we may properly gauge how far we have come, and also how far we still need to go.

While researching this piece, I came across an article that was published in Seventeen magazine, in 1986, for which I interviewed John. (It was the only time I did so.) He talked about the artists who inspired him when he was younger—Bob Dylan, John Lennon—and how, as soon as they “got comfortable” in their art, they moved on. I pointed out that he had already done a lot of movies about suburbia, and asked him whether he felt that he should move on as his idols had. “I think it’s wise for people to concern themselves with the things they know about,” he said. He added, “I’d feel extremely self-conscious writing about something I don’t know.”

I’m not sure that John was ever really comfortable or satisfied. He often told me that he didn’t think he was a good enough writer for prose, and although he loved to write, he notoriously hated to revise. I was set to make one more Hughes film, when I was twenty, but felt that it needed rewriting. Hughes refused, and the film was never made, though there could have been other circumstances I was not aware of.

In the interview, I asked him if he thought teen-agers were looked at differently than when he was that age. “Definitely,” he said. “My generation had to be taken seriously because we were stopping things and burning things. We were able to initiate change, because we had such vast numbers. We were part of the Baby Boom, and when we moved, everything moved with us. But now, there are fewer teens, and they aren’t taken as seriously as we were. You make a teen-age movie, and critics say, ‘How dare you?’ There’s just a general lack of respect for young people now.”

John wanted people to take teens seriously, and people did. The films are still taught in schools because good teachers want their students to know that what they feel and say is important; that if they talk, adults and peers will listen. I think that it’s ultimately the greatest value of the films, and why I hope they will endure. The conversations about them will change, and they should. It’s up to the following generations to figure out how to continue those conversations and make them their own—to keep talking, in schools, in activism and art—and trust that we care."
mollyringwald  thebreakfastclub  #MeToo  2018  film  1980s  teens  youth  identity  sexism  harassment  johnhughes  chauvinism  nationallampoon  writing  homophobia  tedmann  sexuality  sixteencandles  prettyinpink  change  harveyweinstein  adolescence  havilandmorris  insecurity  sexualharassment  misogyny  racism  stereotypes  outsiders  invisibility 
april 2018 by robertogreco
This Is Why Uma Thurman Is Angry
Yes, Uma Thurman is mad.

She has been raped. She has been sexually assaulted. She has been mangled in hot steel. She has been betrayed and gaslighted by those she trusted.

And we’re not talking about her role as the blood-spattered bride in “Kill Bill.” We’re talking about a world that is just as cutthroat, amoral, vindictive and misogynistic as any Quentin Tarantino hellscape.

We’re talking about Hollywood, where even an avenging angel has a hard time getting respect, much less bloody satisfaction.
by:MaureenDowd  from:TheNewYorkTimes  UmaThurman  HarveyWeinstein  QuentinTarantino  rape  RapeCulture  SexualAssault 
february 2018 by owenblacker

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