last night at party i said “im suffering and im not even getting paid for it im not on vanderpump rules”
i have no sense of how good jeremy culhanes elon musk impression is because i refuse to watch videos of musk w sound on but im assuming its good
zo retweeted
I've been in politics for a quarter century. It's hard to express how staggering it is to see a conversation like this on corporate US media. The Morning Joe panel gobsmacked by the directness of @AbdulElSayed's points.
(clip via @DropSiteNews)
zo retweeted
Calling it a film about “what it means to be a man who desires other men in times of war and peace” is such a diabolically reductive reading of a film that is fundamentally concerned with political violence, historical memory, and the generational consequences of repression.
“La Bola Negra,” a new film by Javier Ambrossi and Javier Calvo, dramatizes gay repression and liberation across three interconnected stories. At first, the year is 1937 and viewers are thrust deep into the Spanish Civil War, where a Nationalist soldier and a wounded Republican freedom fighter exchange furtive glances. By the end, it’s 2017, and a Madrid-based historian need only look to Grindr to satisfy an urge. The movie “wants to be a sweeping historical epic of gay longing—a film about what it means to be a man who desires other men in times of war and peace,” Justin Chang writes. Instead, the directors have produced “a film that insists, arrogantly and aggressively, on its own monumentality”. Even compelling performances from Glenn Close, Penélope Cruz, and Lola Dueñas fail to rescue the extravagantly overwrought film. Read Chang's full review: newyorker.com/culture/the-cu…
