Whit Stillman fans know that the director counts Jane Austen (she of the indelible wit) as one of his major …Read More
Earlier this year, John Waters — whose last movie, A Dirty Shame, was released a full decade ago — finally got the offer he’d been waiting for all this time. According to his hitchhiking chronicle Carsick, his very first driver was “Harris,” “an art school type” with a sideline in weed dealing who called himself a fan. They talked for a bit about movies before Harris asked the (five) million-dollar question: “How come you aren’t making a movie?”
Gilmore Girls is a show about a mother and a daughter, Lorelai and Rory Gilmore, who are more like two pop culture-besotted best friends in the small New England town of Stars Hollow, Connecticut — a place where it is always fall and there is always a goofy community festival happening. This smart, funny, brilliant show was a last gasp of human storytelling about ambitious and complex women on the WB/CW before teen takes on genre drowned out anything more ambitious, and it’s been unavailable on Netflix streaming for quite some time.
For some people, the name “Adam Brody” will forever evoke visions of Seth Cohen, the nerd hero of the ’00s Fox teen drama The O.C. To a generation of teens, Seth Cohen was it: he made Chrismukkah and indie rock like Death Cab for Cutie and Bright Eyes mainstream — in fact, the long slog from “college rock” to bands like Modest Mouse playing big venues likely owes a lot to this character — and he won the heart of his dream-girl crush who looks hella good in a Wonder Woman costume, Summer Roberts (Rachel Bilson).
It began with three brief items in his notebooks. “A film about deception and lost earrings,” went one. “Everybody has a past,” went another. And finally, “Friend on the couch. Affair with the wife.” The filmmaker jotted down those three ideas in 1986; three years later, the movie those three ideas spawned became the sensation of the nascent Sundance Film Festival, the winner of the Palme d’Or at Cannes, and an international box office smash. The young writer/director was Steven Soderbergh, the film was sex, lies, and videotape, and its release 25 years ago was, author Peter Biskind would later write, “the big bang of the modern indie film movement.”