.@tavitulle: "[Now] is an opportunity to change how these industries work; to show people with similar stories of abuse that they won’t be met with a void if they share them, and to show abusers that their actions aren’t without consequence" vult.re/3esqpTu
hello this is vulture's (volturi?) social media editor @itswolfgangruth! my #vulturemovieclub live-tweet of (the best movie ever) TWILIGHT will begin in approx. 7 minutes 🧛♀️💥
Since we couldn’t delight in a new #Oscars nominee group shot this year, we looked back at 36 years of classics. @zzzzaaaacccchhh writes vult.re/3vfxPjD
For nearly 40 years, the Oscar Nominees Luncheon — the high-profile, endearingly awkward gathering where everyone in attendance poses for a class photo — has been a mainstay of the award season. Prompted by COVID-19 concerns, that streak has been interrupted
We figured now be a good time to dive into the Academy archive. Below, you'll find all 36 class photos, along with details about that year’s major awards narratives and a guide to spotting notable luncheon attendees vult.re/3vfxPjD
"She's still giving us charming saccharine-laced pop, but she’s not the teen who sang about the best day of the week." On @MsRebeccaBlack's reinvention, @scorpiosanchez_ writes vult.re/32DQ0Dv
“Friday’s” role in pop-culture history plays right into the irony that permeates hyperpop: The remix is self-aware in its maximalism, melding perfectly into a new media landscape even more defined by overstimulation, just as the original did with internet culture at the time
We spoke with 33 former assistants and interns of Scott Rudin Productions who worked for him from 1994 to 2020. Here, a portrait of a toxic workplace — one predicated on bullying and physical intimidation vult.re/3dFKYfZ
The portrait of Rudin that emerges from their stories is remarkably consistent: constant verbal berating, sleep deprivation, and an ambient, paralytic fear dedicated to fulfilling the most mundane tasks, like ordering food or binding scripts vult.re/3dFKYfZ
As assistants described it, much of the job was taken up by an Olympic level of busywork geared toward not setting Rudin off — whether that meant getting his food order exactly right or making sure a document was handed to him in the right font vult.re/3dFKYfZ
For filmmakers, the ending can be the most arduous part of moviemaking. “A filmmaker who’s not obsessed with endings? I can’t imagine any,” says Sound of Metal director Darius Marder. “You can have a wonderful movie, but if you don’t land it, it really doesn’t work”