Chloe Sevigny

Whit Stillman Proves A Smooth Fit for Jane Austen in ‘Love & Friendship’

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PARK CITY, UT: On one hand, the notion of writer/director Whit Stillman (Metropolitan, Damsels in Distress) doing a Jane Austen adaptation is a little jarring – after all, the closest thing he’d made to a period piece was 1998’s The Last Days of Disco, still a good couple of centuries before the Georgian era. On the other, as he joked after the Sundance Film Festival premiere of Love & Friendship, “I think our films have been accused of being set in Georgian times, all the time.” And he’s sort of right; his examinations of young Northeastern preppies and the Upper West Side enclaves from which they hail are more connected to that time than most of his contemporaries, concerned as they are with matters of class, social advancement, and familial obligation.
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‘AHS: Hotel’ Recap: Even Oversized Fetuses Are Murderers

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In keeping with the theory that the showrunners of American Horror Story have no idea what’s going to happen from episode to episode and rather allow for scripts that read as strange improv games where plots must build off one another on the spot, Season 6 Episode 6’s arbitrary addendum is that the Countess (Lady Gaga) has a superlatively unattractive, growth-stunted baby (who’s actually a gargantuan three-week-old fetus from her failed abortion in 1926). His name is Bartholomew and he of course has murderous tendencies. 
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‘AHS: Hotel’ Recap: Aileen Wuornos Drops in for a ‘Monster’s’ Ball

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Like all of American Horror Story‘s Halloween episodes, Season 5 Episode 4 (“Devil’s Night”) isn’t apprehensive about making sacrifices: apart from the actual human sacrifices present at a dinner party, there’s the sacrifice of temporarily halting the narrative flow to engage in unparalleled (if not somewhat redundant, given that it’s already American Horror Story) Halloween-y costumery and sanguine celebration.
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