Apple, Fiona and Eryn Wise. "In Her Own Words: Fiona Apple on New Album Fetch the Bolt Cutters & Acknowledging Indigenous Lands." Democracy Now (April 28, 2020) ["In a broadcast exclusive, world-renowned singer-songwriter Fiona Apple joins Democracy Now! for the hour to discuss her critically acclaimed new album, “Fetch the Bolt Cutters,” which was released early amid the pandemic. “I’ve heard that it’s actually making people feel free and happy,” Apple says, “and it might be helping people feel alive or feel their anger or feel creative. And that’s the best thing that I could hope for.” Her record includes an acknowledgment that the album was “Made on unceded Tongva, Mescalero Apache, and Suma territories.” We also speak with Native American activist Eryn Wise, an organizer with Seeding Sovereignty, an Indigenous-led collective that launched a rapid response initiative to help Indigenous communities affected by the outbreak."]
Biller, Anna. "75 Classic Hollywood Funnywomen." Letterboxd (April 2020) ["Here is my list of 75 of the films with the best female characters in classic Hollywood comedies from the 1930s–1960s. There are many more fantastic comedies I could have included, (and I’m sure I will kick myself for the ones I forgot), but I tried to give a sampling of the work of the great comedy actresses here. I personally find it good for my mental health to see great actresses on the screen showing off their formidable talents in uplifting, well-written films. These characters are admirable, clever, resourceful, and human. And from Shirley Temple to Barbara Stanwyck to Margaret Rutherford, they are dressed, made-up, and coiffed by the greatest designers, lit by the greatest cinematographers, scripted by the best writers, directed by the greatest directors, and playing against the greatest leading men. These movies are a testament to the indomitable spirit of women everywhere, and they speak to us especially strongly today, when there is such a paucity of great female characters in movies. "]
Gates, Bill. "Vision for Life Beyond the Coronavirus." The Ezra Klein Show (April 27, 2020)
Gostin, Lawrence. "WHO Adviser on Meat Plants: If We’re at War, the Weapons We Need Are Tests and PPE, Not Pork." Democracy Now (April 30, 2020) ["As President Trump invokes the Defense Production Act to bar local governments from closing meatpacking plants around the United States, we get response from a longtime adviser to the World Health Organization. “When Congress passed that act, it certainly did not have in mind that the president has the power or the right to put workers’ lives and health at risk,” says Lawrence Gostin, professor of global health law at Georgetown University and director of the World Health Organization Center on National and Global Health Law. Gostin also discusses why he joined 40 leading center directors in a declaration this week that urges Trump and Congress to restore and increase WHO funding."]
Koresky, Michael. "Queer Now and Then: 1955 (All That Heaven Allows)." Film Comment (March 25, 2020)
Koski, Genevieve, et al. "Home Sickness, Pt. 1 — Safe (1995)." The Next Picture Show #221 (April 7, 2020) ["We continue our shelter-in-place film series with a pair of films featuring magazine-perfect housewife archetypes struck by mysterious illnesses that are inextricably linked to their oppressive environments: Todd Haynes’ 1995 feature SAFE and Carlo Mirabella-Davis’ debut film SWALLOW. In this half we dig into the many shifting metaphors at play in SAFE, how they reflect both the film’s era and our current moment, and how they’re all held together by Julianne Moore’s remarkable central performance. And what to make of that ending? Is there any sense of optimism or closure to be drawn from Haynes’ film?"]
---. "Home Sickness, Pt. 2 — Swallow." The Next Picture Show #222 (April 14, 2020) ["Where the unsettling illness metaphor at the center of Todd Haynes’ 1995 film SAFE tendrils out in a manner that defies easy resolution, Carlo Mirabella-Davis’ newly released debut SWALLOW tracks a similarly metaphorical affliction toward a more finite ending point. But within those two very different arcs, the two films explore complementary ideas about isolation, gender roles and archetypes, and societal expectations about sickness and recovery, all of which we get into following an in-depth discussion of SWALLOW’s successes and failures as both film and metaphor."]
Mull, Amanda. "The Art of Disastertising." On the Media (April 29, 2020) ["Want to do your part in this pandemic? Why don't you try becoming a Couch Potatotriot, someone who stays home to save lives, but also eats Burger King? It's part of the company's brand pivot — one of many that companies have performed in order to keep their goods and services relevant. Another trend? Lots of somber piano music. Despite the fact that most people are stuck at home watching Netflix, advertisers are still vying for their bucks — promising that consumers can buy what they’re selling without winding up on a ventilator. This stark change in tone and approach is what Amanda Mull, staff writer at The Atlantic, dubbed "disaster-tising" in her recent piece, "How to Advertise In a Pandemic.""]
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