Alison Willmore in BuzzFeedNews:
The Cannes Film Festival has been an adoring showcase for Quentin Tarantino ever since he was anointed with the big prize, the Palme d’Or, for Pulp Fiction in 1994. That only made the discomfort of his tense exchange with New York Times reporter Farah Nayeri at this year’s event more telling. Tarantino’s latest film, Once Upon a Time in Hollywood, made its world premiere at the festival in May, where it received a six-minute standing ovation. The filmmaker and his cast were holding court at the subsequent press conference when Nayeri pressed Tarantino about why the movie’s woman lead, Margot Robbie (playing real-life Manson family murder victim Sharon Tate), had so little dialogue in the shaggy 1960s-set showbiz comedy.
“This is a person with great acting talent, and yet you haven’t given her many lines in the movie,” Nayeri said, citing Robbie’s roles in I, Tonya and The Wolf of Wall Street. “I guess that was a deliberate choice on your part. And I just wanted to know why that was that we don’t hear her speak that much.” Tarantino didn’t reply to Nayeri so much as refuted her whole line of questioning. “Well, I just reject your hypotheses,” he said, leaving Robbie to smooth over the awkward moment by speaking about the challenge of playing a character who’s mostly by herself in her biggest scenes.
It was, to be fair, an oddly phrased question. Tarantino didn’t write the script around the cast; Once Upon a Time features a range of famous faces in much smaller roles than Robbie’s; and even with a writer as verbose as Tarantino, counting lines is not a surefire way to measure the quality of a part. But his curtness in dismissing the concerns of a woman journalist (dredging up memories of his painfully testy exchange with critic Jan Wahl in 2003) made the exchange explode across the internet. And it reignited a conversation that’s dogged the director for years and that has, post-#MeToo, risen in volume: As a filmmaker, is Tarantino bad to — or for — women?
More here.

It took me three tries to understand even a little of Mrs. Dalloway, Virginia Woolf’s famous 1925 modernist novel set on a single day in London. Even now, when I try to explain the book, I tend to sound like a stereotypical rambling undergraduate literary analyst, parroting lecture slides and pontificating on the meaning of life — if Good Will Hunting saw me at a bar, he’d take me outside. But confusing as it is, this is a book that makes me walk around differently. Here’s why:
Will Fitzgibbon over at the International Consortium of Investigative Journalists:
“A period is something I deal with, without thinking about it particularly, or rather I think of it with a part of my mind that deals with routine problems. It is the same part of my mind that deals with the problem of routine cleanliness.” In Doris Lessing’s 1962 novel, The Golden Notebook, the protagonist, Anna, worries about her period and how it will affect the integrity of her writing. In the early 1960s, it was unusual and brave for a work of fiction to mention menstruation, let alone explore it in such detail. Broadly speaking, in mainstream fiction, examples of menstruation are few and far between.
Michigan’s Upper Peninsula encompasses more than 16,000 square miles of northern hardwood forest, broken here and there by hardscrabble towns whose year-round population is slowly bleeding away. In “Hunter’s Moon,”
Opening a new Salman Rushdie novel after reading almost any other contemporary writer is like stepping off a plane in Mumbai, or New York in a heatwave: it immediately hits you how much milder and quieter things are back home. Quichotte overwhelms you from the first page with a lightning storm of ideas and a monsoon of exuberant prose. Dissonance, multiplicity, excess: these are Rushdie’s themes and his method. If you happen to experience, along with one of his characters, ‘a certain dizziness brought on by the merging of the real and the fictional, the paranoiac and the actual outlook’ – well, that’s all part of the fun.
Politicians and pundits from all quarters often lament democracy’s polarized condition.
Patricia S. Churchland is a key figure in the field of neurophilosophy, which employs a multidisciplinary lens to examine how neurobiology contributes to philosophical and ethical thinking. In her new book,
There are times when a dilemma that seems like agony in adolescence can not only provide the basis for a prestigious career, but also lead to a profound shift in the world of ideas. Thus it is that the predicament faced by the 17-year-old Gregory Bateson, following his brother’s suicide in 1922, turns out to be extremely relevant to us today, for it eventually led him to revolutionise the study of anthropology, bring communication theory to psychoanalysis (thus undermining the Freudian model), invent the concept of the ‘double bind’, and make one of the first coherent, scientifically and philosophically argued pleas for a holistic approach to the world’s environmental crisis. Seeking to condense Bateson’s work into one core concept, one can say that, above all, he proposed a paradigm shift in the way we think of ourselves as purposeful, decision-making actors in the world.
Last Tuesday, the House of Representatives passed a resolution,
If the fashionable idea of the 1980s was upward mobility, then the buzzword of this decade is authenticity. This ruling ideal of being true to yourself and “keeping it real” is rarely criticised. But what if the message deters individual transformation and encourages everyone to stay in their place? Is the ethic of authenticity in some ways more conservative than the Thatcherite yuppie message it replaced? I think it’s time to consider how authenticity stands in the way of progress and aspiration. We’ll begin with moral philosophy, touch on my journey from working-class kid to university academic, and consider everything from Pride to Boris Johnson and Donald Trump. We’ll even consider why authenticity can lead to problems getting up in the morning. Here we go. Imagine your partner asks “can you drive to Peterborough to pick up my passport?” and you reply, as positively as you can, “I’d be happy to do that.” You’re not really happy about it: you want to help, but you’d much rather come straight home. You could say that in this moment you are being inauthentic. In fact, we can imagine your partner calling you out on it: don’t say you are happy to if you are not. Perhaps an argument ensues.
For a few months in the first half of 2019, Chris Payze started each morning at home in Queensland, Australia, by jotting down answers to a series of questions. What time did I go to bed? How many times did I wake up? Speaking to The Scientist this April, 71-year-old Payze said she’d gotten “really into the groove” of this daily routine. “It only takes me about five minutes.” She recorded the information for a trial of melatonin, a hormone that regulates sleep-wake cycles and is often taken orally as a sleep aid, although it’s not clear how well it works. Payze has Parkinson’s disease, and for the last couple years, she, like many people with the condition, has been dealing with insomnia. “I just have awful trouble sleeping at night,” she explains. While she doesn’t feel sleep-deprived, the interrupted sleep “is just annoying me. I’d love to sleep through the night one night.”
No, but seriously. We considered other very good series for this honor but kept coming back to Fleabag, the same way Fleabag, the character created and played by the magnificent Phoebe Waller-Bridge, keeps going back to the Priest during the perfect second season of this fantastic series. The attraction can’t be denied.
When cells are no longer needed, they die with what can only be called great dignity,” Bill Bryson wrote in A Short History of Nearly Everything. The received wisdom has long been that this march toward oblivion, once sufficiently advanced, cannot be reversed. But as science charts the contours of cellular function in ever-greater detail, a more fluid conception of cellular life and death has begun to gain the upper hand.