Category Archives: Zeitgeist Movement

The Tribeca Festival has unveiled its 2022 lineup of 109 feature films from 40 countries and 88 world premieres including Joachim Backs Corner Office starring Jon Hamm and Somewhere in Queens, directed by Ray Romano starring Romano and Laurie Metcalf.

The fest, June 8-19, also features American Dreamer with Peter Dinklage, Shirley MacLaine, Matt Dillon and Danny Glover; The Cave of Adullam, produced by Laurence Fishburne; Beauty, written by Lena Waithe; Jerry & Marge Go Large by David Frankel and starring Bryan Cranston, Annette Bening and Rainn Wilson; Aisha with Letitia Wright; Alone Together, directed, written and starring Katie Holmes alongside Jim Sturgess, Zosia Mamet and Melissa Leo; My Name Is Andrea with Ashley Judd; Space Oddity, directed by Kyra Sedgwick; Acidman with Thomas Haden Church and Dianna Agron; and The Integrity of Joseph Chambers with Clayne Crawford, Jordana Brewster and Jeffrey Dean Morgan.

See full lineup below.

This 2022 feature film program leaves us proud and humbled by the boundless ingenuity and passion of our indefatigable filmmaking community, festival director and VP of Programming Cara Cusumano said. This years official selections again remind us of the vitality and urgency of independent film in a world that needs it more than ever.

Features span 10 categories with 32 directors returning and 50 first-time helmers. More than 64% (81) features are directed by female, BIPOC and LGBTQ+ filmmakers.

Performances, speakers and Q&As the fest is known for to bookend films include rapper Lil Baby; Colson Baker (aka Machine Gun Kelly); Of Monsters and Men; the WNBAs New York Liberty; LeVar Burton; and John McEnroe. The in-person, indoor-outdoor edition of the festival, which spills into NYCs five boroughs, was one of the first big group gatherings for the industry and for the city last summer.

Tribeca previously announced Halftime as its opening night film. The Netflix documentary by Amanda Micheli follows global superstar Jennifer Lopez as she reflects on her milestones and evolution as an artist, and navigates the second half of her career. Documentary Loudmouth, written and directed by Josh Alexander, followed by a conversation with its subject Rev. Al Sharpton, will close the festival.

Other documentaries include the world premieres of After Selma, directed by Sam Pollard, and Geeta Gandbhir; All Man: The International Male Story narrated by Matt Bomer; Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, a musical documentary celebrating the life and work of glam rock pioneer Marc Bolan featuring U2, Joan Jett with Ringo Starr, Nick Cave, Hal Willner, and David Bowie; Body Parts featuring Jane Fonda and Rose McGowan; It Aint Over, about the life and times of Yankee Yogi Berra with Joe Torre, Derek Jeter, Don Mattingly, Bob Costas, Vin Scully, and Billy Crystal; The Rebellious Life of Mrs. Rosa Parks; Rudy! A Documusical, the definitive Rudy Giuliani documentary; Turn Every Page The Adventures of Robert Caro and Robert Gottlieb, directed by Lizzie Gottlieb with Pulitzer Prize-winning author Robert Caro, Robert Gottlieb, Ethan Hawke, Conan OBrien, David Remnick, Bill Clinton, and Majora Carter; The Wild One narrated by Willem Dafoe; The YouTube Effect directed and written by Alex Winter.

There are 43 shorts in competition out of a record 7,200+ submissions.

U.S. audiences can watch a number of films online at the Tribeca at Home platform from June 9-26

The Tribeca Festival is curated by Festival Director and VP of Programming Cara Cusumano, Artistic Director Frdric Boyer; VP of Filmmaker Relations & Shorts Programming Sharon Badal and Head Shorts Programmer Ben Thompson; Senior Programmers Liza Domnitz and Lucy Mukerjee; Programmers Jos F. Rodriguez and Karen McMullen; VP of Games and Immersive Casey Baltes and Immersive Curator Ana Brzezinska; Curator of Audio Storytelling Davy Gardner; Music Programmer Vincent Cassous; and program advisor Paula Weinstein.

2022 FEATURE FILM SELECTIONS

OPENING NIGHT

Halftime (United States) World Premiere. A new Netflix documentary film that follows global superstar Jennifer Lopez, as she reflects on her milestones and evolution as an artist, and navigates the second half of her career continuing to entertain, empower, and inspire. HALFTIME offers an intimate peek behind the curtain revealing the grit and determination that makes Jennifer Lopez the icon she is, from her performances onscreen and on stages around the world, to her Super Bowl Halftime show, to the recent Presidential inauguration. The documentary focuses on an international superstar who has inspired people for decades with her perseverance, creative brilliance, and cultural contributions. And its only the beginning. HALFTIME serves as the kickoff to the second half of Lopezs life, as she lays bare her evolution as a Latina, a mother, and an artist, taking agency in her career and using her voice for a greater purpose. Directed by Amanda Micheli.

CLOSING NIGHT

Loudmouth (United States) World Premiere. Since bursting into the headlines in New York City in the late 1980s, preacher and activist Reverend Al Sharpton has been at the center of the national conversation around race. In the aftermath of George Floyds horrific murder in 2020, the veteran civil rights leader has further expanded the reach of his powerful bullhorn against Americas deafening complacency in the fight against racial injustice amplifying the ugly truths about the ongoing impact of structural racism on this nation many would prefer to ignore. Rabble-rouser or activist? Opportunist or trailblazer? With never-before-seen archival footage and unprecedented access, Loudmouth puts a disruptive spotlight on the pastoral prodigy turned political firebrand turned media establishment figure. Written, directed, and produced by Josh Alexander. Produced by Daniel J. Chalfen, Mike Jackson, and Kedar Massenburg.

U.S. NARRATIVE COMPETITION

Allswell (United States) World Premiere. Three Nuyorican sisters navigate the daunting life challenges of single motherhood, career, and family, all while finding humor and solace within the bonds of sisterhood in this absorbing dramedy. Directed and written by Ben Snyder, and written by Elizabeth Rodriguez. Produced by Gia Walsh, Elizabeth Rodriguez, Vince Jolivette, Ben Snyder, Ari Issler, Paul Jarrett, Kara Baker. With Elizabeth Rodriguez, Liza Colon-Zayas, Daphne Rubin-Vega, Felix Solis, Max Cassella, Michael Rispoli, Shirley Rodriguez, MacKenzie Lansing, and J. Cameron Barnett.

The Drop (United States, Mexico) World Premiere. In this clever cringe comedy, a seemingly happy married couple confronts a test of their marriage when one of them drops a baby while at a destination wedding at a tropical island. Directed by Sarah Adina Smith. Written by Sarah Adina Smith, Joshua Leonard. Produced by Jonako Donley, Mel Eslyn, Sarah Adina Smith, Joshua Leonard, Shuli Harel, Tim Headington, Lia Buman. With Anna Konkle, Jermaine Fowler, Jillian Bell.

Four Samosas (United States) World Premiere. Determined to disrupt the wedding of his ex-girlfriend by bankrupting her family, underachieving, wanna-be rapper Vinny and his neighborhood pals concoct a plan to steal her familys jewels from a supermarket safe. Directed and written by Ravi Kapoor. Produced by Ravi Kapoor, Venk Potula, Rajiv Maikhuri, Craig Stovel.

Gods Time (United States) World Premiere. A heart-racing, NYC-set dark comedy that sees two best bros in recovery for addiction trying to prevent the potential murder of their mutual crushs ex-boyfriend. Directed and written by Daniel Antebi. Produced by Emily Korteweg, Andrew Hutcheson, Reid Hannaford. With Ben Groh, Dion Costelloe, Liz Caribel Sierra, Jared Abrahamson, Christiane Seidel.

Good Girl Jane (United States) World Premiere. Bullied out of private school and at odds with her divorced parents, lonely high schooler Jane spirals out of control after falling in with a hard-partying crowd and becoming smitten with a dangerously charismatic bad boy. Directed and written by Sarah Elizabeth Mintz. Produced by Fred Bernstein, Dominique Telson, Lauren Pratt, Sarah Elizabeth Mintz, Simone Williams. With Rain Spencer, Patrick Gibson, Andie MacDowell, Odessa AZion, Olan Prenatt, Eloisa Huggins.

The Integrity of Joseph Chambers (United States) World Premiere. In this stark and brooding psychological drama, a family man hoping to prove his survivalist capabilities and manliness to his family decides to irresponsibly head off into the woods and go deer hunting by himself. Directed and written by Robert Machoian. Produced by Clayne Crawford, Kiki Crawford, Robert Machoian. With Clayne Crawford, Jordana Brewster, Jeffrey Dean Morgan.

Next Exit (United States) World Premiere. In a world where ghosts are real and front-page news, a controversial new medical procedure allows people to peacefully kill themselves. In the midst of this breakthrough, two strangers travel cross country together to end their lives, only to unexpectedly find what theyve been missing along the way. Directed and written by Mali Elfman. Produced by Derek Bish, Narineh Hacopian. With Katie Parker, Rahul Kohli, Rose McIver, Karen Gillan, Tongayi Chirisa, Diva Zappa.

Three Headed Beast (United States) World Premiere. In this poetic exploration of love and suppressed communication, the foundation of a bisexual couples healthy open relationship starts to show its cracks. Directed and written by Fernando Andres, Tyler Rugh. Produced by Fernando Andrs, Lisa Freberg, Tyler Rugh. With Cody Shook, Jacob Schatz, Dani Hurtado, Daniel Abramson, Paul Grant, Sarah Bartholomew.

Wes Schlagenhauf Is Dying (United States) World Premiere. An irreverent and eccentric road trip comedy that celebrates DIY filmmaking and bromances, Wes Schlagenhauf Is Dying follows two filmmakers who set out to make their masterpiece while on a journey toward an estranged, purportedly languishing friend. Directed by Parker Seaman, written by Devin Das, Parker Seaman, produced by Devin Das, Trent Anderson, Adam Maffei, Parker Seaman. With Devin Das, Parker Seaman, Wes Schlagenhauf, Aparna Nancherla, DArcy Carden, Mark Duplass.

The Year Between (United States) World Premiere. Forced to return home from college after her erratic behavior alienates everyone around her, Clemence begrudgingly begins a new chapter in the suburbs, hell-bent on defying her mom, dad, younger siblings, therapistand a diagnosis of bipolar disorder. Directed and written by Alex Heller. Produced by Eugene Sun Park, Amanda P. Phillips, Sonya Lunsford, Rachel Gould, Caterin Camargo-Alvarez.

INTERNATIONAL NARRATIVE COMPETITION

Blaze (Australia) World Premiere. After a young girl witnesses a violent crime, she summons an imaginary dragon to help process her anger and protect her on her journey into womanhood. Directed by Del Kathryn Barton. Written by Del Kathryn Barton, Huna Amweero. Produced by Samantha Jennings. With Julia Savage, Simon Baker, Yael Stone, Josh Lawson, Sofia Hampson.

January (Janvaris) (Latvia, Lithuania, Poland) World Premiere. An aspiring filmmaker tries to search for who he is against the backdrop of Latvian independence in this dark but dreamy coming-of-age story. Directed by Viesturs Kairiss. Written by Viesturs Kairiss, Andris Feldmanis, Livia Ulman. Produced by Inese Boka-Grbe, Gints Grbe. With Krlis Arnolds Avots, Alise Danovska, Sandis Runge, Baiba Broka, Aleksas Kazanaviius, Juhan Ulfsak. In Latvian, Lithuanian, Russian, with English subtitles.

Karaoke (Israel) World Premiere. A comedy about a married middle-class suburban couple in their 60s who are drawn to their new neighbor, a charismatic bachelor who has karaoke evenings at his apartment. Directed and written by Moshe Rosenthal. Produced by Efrat Cohen. With Sasson Gabay, Rita Shukrun, Lior Ashkenazi. In Hebrew with English subtitles.

A Matter Of Trust (Ingen Kender Dagen) (Denmark) World Premiere. Five stories on interpersonal trust and unspoken truths intertwine in Annette K. Olesens artful, elliptical, and bittersweet relationship drama. Directed and written by Anette K Olesen. Produced by Jonas Frederiksen. With Trine Dyrholm, Jakob Cedergreen, Lisbet Dahl, Morten Hee Andersen. In Danish with English subtitles.

My Love Affair with Marriage (United States, Latvia, Luxembourg) World Premiere. Some people spend their lives wondering why a marriage didnt last. Signe Baumane set out to get some answers. The result is this animated film, which combines ancient mythology and contemporary neuroscience. Directed and written by Signe Baumane. Produced by Sturgis Warner, Signe Baumane. With Dagmara Dominczyk, Michele Pawk, Matthew Modine, Cameron Monaghan, Ieva Katkovska, Kristine Pastare, Iluta Alsberga.

Pink Moon (Italy, Netherlands, Slovenia) World Premiere. An adult daughter kidnaps her father, whisking him away to a cabin in the snow, hoping to alter his unexpected announcement that he has had enough of life and will end it by his next birthday. Directed by Floor van der Meulen. Written by Bastiaan Kroeger. Produced by Derk-Jan Warrink and Koji Nelissen. With Julia Akkermans, Johan Leysen, Eelco Smits, Anniek Pheifer, Sinem Kavus.

Two Sisters and a Husband (India) World Premiere. Tara and Amrita are sisters. One is married to hotel manager Rajat, while the other is expecting his child. Set in the beautiful Himalayan foothills, this is a compelling drama about a thorny domestic arrangement. Directed by Shlok Sharma. Written by Shilpa Srivastava, Shlok Sharmaand. Produced by Navin Shetty, Shlok Sharma, Anurag Kashyap. With Avani Rai, Dinker Sharma, Manya Grover, Himanshu Kohli, Ashutosh Pathak. In Hindi with English subtitles.

The Visitor (Bolivia, Uruguay) World Premiere. In the atmospheric and visually-compelling drama The Visitor, an ex-convict returns home in search of a new life and a chance to reconnect with his estranged young daughter, only to be met with resistance from his father-in-law an influential pastor in the Evangelical community in town. Directed by Martn Boulocq. Written by Martn Boulocq, Rodrigo Hasbn. Produced by Andrea Camponovo, Alvaro Olmos. With Enrique Aroz, Csar Troncoso, Mirella Pascual, Svet Ailyn Mena, Romel Vargas, Teresa Gutirrez. In Spanish with English subtitles.

We Might As Well Be Dead (Wir knnten genauso gut tot sein) (Germany, Romania) International Premiere. The disappearance of a dog and the sudden isolation of a security guards daughter start a bizarre chain of events in an apartment complex obsessed with keeping up appearances. Directed by Natalia Sinelnikova. Written by Natalia Sinelnikova, Viktor Gallandi. Produced by Julia Wagner. With Ioana Iacob, Pola Geiger, Jrg Schttauf, iir Elolu, Moritz Jahn, Susanne Wuest, Knut Berger, Mina zlem Sad. In German, Polish with English subtitles.

Woman on the Roof (Poland, France, Sweden) World Premiere. One morning a 60-year-old midwife does something extremely unexpected, which breaks her family and life apart. Inspired by a true story, this is a complex character portrayal told with outstanding cinematic realism. Directed and written by Anna Jadowska. Produced by Maria Blicharska. With Dorota Pomykala, Bogdan Koca, Adam Bobik. In Polish with English subtitles.

DOCUMENTARY COMPETITION

An Act of Worship (United States) World Premiere. An Act of Worship is Pakistani-American filmmaker Nausheen Dadabhoys lyrical portrait of the last 20 years of Muslim Life in America as told through the lens of Muslims living in the United States. In Arabic and English with English subtitles. Directed and written by Nausheen Dadabhoy. Produced by Sofian Khan, Kristi Jacobson, Heba Elorbany.

Battleground (United States) World Premiere. Heading distinctly different anti-choice organizations, three women lead the charge in their single-minded quest to overturn Roe v. Wade, as they face down forces equally determined to safeguard womens access to safe and legal abortions. Directed by Cynthia Lowen. Written by Cynthia Lowen, Nancy Novack. Produced by Rebecca Stern, Cynthia Lowen. With Alexis McGill Johnson, Jenna King, Nancy Northup.

The Cave of Adullam (United States) World Premiere. Living by the mantra its easier to raise boys than to repair broken men, martial arts sensei Jason Wilson tenderly guides his often-troubled young Detroit students with a beautifully effective blend of compassion and tough love. Directed by Laura Checkoway. Produced by Laurence Fishburne, Helen Sugland, Roy Bank, Joe Plummer, Laura Checkoway. With Jason Wilson, Kevin L. Collins Jr., Gabriel Davenport, Daniel White, Tamarkus Williams.

Hidden Letters (China, Germany, Norway, United States) World Premiere. In modern-day China, two women strive to preserve Nushu, an ancient secret language that bonded generations of Chinese women together through centuries of oppression in a clandestine support system of sisterhood and survival. Directed by Violet Du Feng. Written by Violet Du Feng, John Farbrother. Produced by Violet Du Feng, Mette Cheng Munthe-Kaas, Jean Tsien, Su Kim. With Xin Hu, Simu Wu, He Yanxin. In Chinese and Mandarin with English subtitles.

Katrina Babies (United States) World Premiere. Katrina Babies is a first-person account of the short-term and long-term devastation wrought by Hurricane Katrina, as told by young people who were between the ages of 3 and 19 when the levees broke. Directed by Edward Buckles Jr. Written by Edward Buckles Jr., Luther Clement Lam, Audrey Rosenberg. Produced by Edward Buckles Jr., Audrey Rosenberg, Rebecca Teitel. With Miesha Williams, Cierra Chenier, Arnold Burks, Damaris Calliet, Calvin Baxter, Quintina Thomas Green. An HBO Documentary Films release.

Lakota Nation vs. United States (United States) World Premiere. Poet Layli Long Soldier crafts a searing portrait of her Oyates connection to the Black Hills, through first contact and broken treaties to the promise of the Land Back movement, in this lyrical testament to the resilience of a nation. Directed by Jesse Short Bull, Laura Tomaselli. Written by Layli Long Soldier. Produced by Benjamin Hedin. With Nick Tilsen, Phyllis Young, Candi Brings Plenty, Krystal Two Bulls, Nick Estes, Henry Red Cloud.

My Name Is Andrea (United States) World Premiere. A rousing portrait of feminist writer Andrea Dworkin, one of the most controversial and misunderstood figures of the 20th century, who fought passionately for justice and equality for women. Directed and written by Pratibha Parmar. Produced by Shaheen Haq. With Ashley Judd, Soko, Amandla Stenberg, Andrea Riseborough, Allen Leech, Christine Lahti.

Naked Gardens (United States, France) World Premiere. With a cheekily contemplative tone and an empathetic lens, Naked Gardens takes us inside an isolated nudist community in Florida where residents find a place to feel accepted, deal with their past traumas and jointly pursue forming a utopian society. Directed by Ivete Lucas, Patrick Bresnan. Written by Ivete Lucas. Produced by Patrick Bresnan, Ivete Lucas, Tabs Breese, Julia Nottingham, Roberto Minervini, Denise Ping Lee. With Jeremy, McKayla, Jamie, Gretchen, Deedee, Serenity, Morley.

Sophia (United States) World Premiere. This stirring and visually-immersive documentary brings us inside the spirited pursuits of David Hanson a restless inventor aiming to perfect the worlds most life-like A.I. With freewheeling energy and storytelling gusto, Kasbes & Moselles probing film masterfully ponders the future of artificial intelligence and humanitys shared need for connectedness. Directed by Jon Kasbe, Crystal Moselle. Written by Daniel Koehler. Produced by Bits Sola. With David Hanson. In Chinese, English with English subtitles. A Showtime Documentary Films release.

A Story Of Bones (UK) World Premiere. A Story of Bones chronicles Annina van Neels tireless work to reclaim and honor the neglected history of St. Helena after the remains of thousands of formerly enslaved Africans are uncovered on the remote island. Directed by Joseph Curran, Dominic Aubrey de Vere. Produced by Yvonne Ibazebo. With Annina Van Neel, Peggy King Jorde.

Subject (United States) World Premiere. Subject unpacks the ethics and responsibility inherent in documentary filmmaking by examining well-known documentaries of the past decade and revealing the impact their commercial success has had on the lives of the onscreen subjects. Directed by Jennifer Tiexiera, Camilla Hall. Produced by Camilla Hall, Jennifer Tiexiera, Joe Caterini. With Arthur Agee, Ahmed Hassan, Margie Ratliff, Michael Peterson, Mukunda Angulo, Jesse Friedman, Elaine Friedman, Lisa Walsh, Susanne Reisenbichler.

The Wild One (France) World Premiere. Jack Garfein Holocaust survivor, theater and film director, key figure in the formation of the Actors Studio vividly, animatedly, passionately recalls a life where historical tragedy and personal art formed a unique, driving, uncompromising vision. Directed, written, and produced by Tessa Louise-Salom. With Jack Garfein, Willem Dafoe, Peter Bogdanovich, Irne Jacob, Boby Sotto, Dick Guttman, Blanche Baker, Patricia Bosworth, Foster Hirsch, Geoffrey Horne, Kate Rennebohm.

SPOTLIGHT NARRATIVE

Acidman (United States) World Premiere. After a decade apart, Maggie tracks down her elusive father. His fixation with UFOs has intensified over the years, which frustrates her attempts to communicate some big news. Directed by Alex Lehmann. Written by Alex Lehmann, Chris Dowling. Produced by Liz Cardenas, Alex Lehmann, Dianna Agron, Christian Agypt. With Thomas Haden Church, Dianna Agron, Sameerah Luqmaan-Harris.

Aisha (Ireland) World Premiere. Aisha, a young Nigerian woman seeking asylum in Ireland, is floundering in a maze of social services and bureaucracy. As her situation becomes increasingly dire, Aisha struggles to maintain hope and dignity against the looming threat of deportation. Directed and written by Frank Berry. Produced by Tristan Orpen Lynch, Donna Eperon, Aoife OSullivan, Sam Bisbee. With Letitia Wright, Josh OConnor.

Alone Together (United States) World Premiere. Strangers June and Charlie have to learn to coexist when they accidentally book the same AirBnb to get away from the pandemic. Alone Together is the ultimate New York lockdown love story. Directed and written by Katie Holmes. Produced by Yale Productions, Lafayette Pictures. With Katie Holmes, Jim Sturgess, Derek Luke, Becky Ann Baker, Zosia Mamet, Melissa Leo.

American Dreamer (United States) World Premiere. In this winsome comedy, an entitled Economics professor pursues a tactic to buy an ailing widows mansion for nothing but he quickly realizes that his seemingly foolproof strategy wont be as easy as he thought. Directed by Paul Dektor. Written by Theodore Melfi. Produced by Toyo Shimano, Emily Shimano, Theodore Melfi, Kimberly Quinn, Peter Dinklage, David Ginsberg, Paul Dektor. With Peter Dinklage, Shirley MacLaine, Matt Dillon, Danny Glover, Kimberly Quinn, Danny Pudi.

Beauty (United States) World Premiere. A gifted young Black woman struggles to maintain her voice and identity after shes offered a lucrative recording contract. Directed by Andrew Dosunmu. Written by Lena Waithe. Produced by Lena Waithe, Michael Ellenberg, Rishi Rajani. With Niecy Nash, Aleyse Shannon,Giancarlo Esposito, Gracie Marie Bradley, Kyle Bary, Michael Ward, Sharon Stone. A Netflix release.

Cha Cha Real Smooth (United States) New York Premiere. Fresh out of college and stuck at his New Jersey home without a clear path forward, 22-year-old Andrew begins working as a party starter on the local bar/bat mitzvah circuit, where he strikes up a unique friendship with a young mom and her teenage daughter. Directed and written by Cooper Raiff. Produced by Dakota Johnson, Ro Donnelly, Erik Feig, Jessica Switch, Cooper Raiff. With Dakota Johnson, Cooper Raiff, Vanessa Burghardt, Evan Assante, Brad Garrett, Leslie Mann. An Apple Original Films release.

Corner Office (Canada) World Premiere. In this office satire, Jon Hamm plays Orson, a straight-laced employee who retreats to a blissfully empty corner office to get away from his lackluster colleagues. But why does this seem to upset them so much? Directed by Joachim Back. Written by Ted Kupper. Produced by David Milchard. With Jon Hamm, Danny Pudi, Christopher Heyerdahl, Sarah Gadon.

Dont Make Me Go (United States) World Premiere. This stirring drama stars a charming John Cho as a single father who takes his teenage daughter on a road trip to find her estranged mother. Directed by Hannah Marks. Written by Vera Herbert. Produced by Donald De Line, Leah Holzer, Peter Saraf. With John Cho, Mia Isaac, Mitchell Hope, Jemaine Clement, Stefania LaVie Owen, Kaya Scodelario. An Amazon Studios release.

The Forgiven (UK) US Premiere. A getaway for a couple visiting Morocco turns deadly after they accidentally kill a local boy, resulting in a volatile chain reaction of events throughout the villa theyre visiting. Directed and written by John Michael McDonagh. Produced by John Michael McDonagh, Elizabeth Eves, Trevor Matthews, Nick Gordon. With Ralph Fiennes, Jessica Chastain, Matt Smith, Sad Taghmaoui, Caleb Landry Jones, Christopher Abbott. A Roadside Attractions release.

Good Luck to You, Leo Grande (UK) New York Premiere. Emma Thompson shines in this British comedy about the connection between Nancy, a conservative retired teacher, and Leo, a younger man she hires to help her experience an orgasm for the first time. Directed by Sophie Hyde. Written by Katy Brand. Produced by Debbie Gray, Adrian Politowski. With Emma Thompson, Daryl McCormack. A Searchlight Pictures release.

Jerry & Marge Go Large (United States) World Premiere. In this charming, feel-great comedy inspired by a true story, recent retirees Jerry and Marge discover a new sense of drive (and a whole bunch of money) when they find a legal loophole in the lottery system. Directed by David Frankel. With Bryan Cranston, Annette Bening, Rainn Wilson, Larry Wilmore. A Paramount+ Release.

Land of Dreams (United States) North American Premiere. A census taker acquires information about the dreams of Americans in this grounded science-fiction drama turned political satire. Directed by Shirin Neshat. Written by Jean-Claude Carrire, Shoja Azari. Produced by Sol Tryon, Amir Hamz, Christian Springer. With Sheila Vand, Matt Dillon, William Moseley, Isabella Rosselini, Joaquim De Almeida, Christopher McDonald, Anna Gunn. In English and Farsi with English subtitles.

Official Competition (Spain, Argentina) US Premiere. When a billionaire entrepreneur decides to get into the movie business, he commissions international auteur director Lola Cuevas, Hollywood heartthrob Felix Rivero, and titan of the stage Ivan Torres to collaborate on a cinematic masterpiece. But when these larger-than-life egos arrive for the shoot, they encounter an unexpected series of rehearsals set by Lola in this sharp showbiz satire. Directed by Mariano Cohn, Gastn Duprat. Written by Andrs Duprat, Mariano Cohn, Gastn Duprat. Produced by Jaume Roures. With Penlope Cruz, Antonio Banderas, Oscar Martnez. In Spanish with English subtitles. An IFC Films release.

Somewhere in Queens (United States) World Premiere. An Italian-American dad from Queens gets increasingly involved in ensuring his sons high school basketball success in Ray Romanos directorial debut. Directed by Ray Romano. Written by Ray Romano, Mark Stegemann. Produced by Albert Berger, Ron Yerxa, Ray Romano, Mark Stegemann. With Ray Romano, Laurie Metcalf, Tony Lo Bianco, Sebastian Maniscalco, Jennifer Esposito.

Space Oddity(United States) World Premiere. A space-obsessed man gets the opportunity of a lifetime thanks to a Mars colonization program but finds his plans compromised by his feelings for a woman who brings him down to Earth. Directed by Kyra Sedgwick. Written by Rebecca Banner. Produced by Valerie Stadler, Kyra Sedgwick, Meredith Bagby, Richard Arlook, Jack Greenbaum, Mark Maxey. With Kyle Allen, Alexandra Shipp, Madeline Brewer, Carrie Preston, Simon Helberg, Kevin Bacon.

There There (United States) World Premiere. Andrew Bujalski is back with a warped series of short scenes featuring two characters at a time that toy with our perceptions and expectations in an unhinged reality not far from our own. directed and written by Andrew Bujalski. Produced by Houston King, Dia Sokol Savage, Sam Bisbee. With Jason Schwartzman, Lili Taylor, Molly Gordon, Lennie James, Avi Nash, Annie LaGanga.

SPOTLIGHT DOCUMENTARY

After Selma: The Lowndes County Freedom Party (United States) World Premiere. Told by those who were on the frontlines in 1960s Georgia, After Selma recounts the courageous campaign of citizens and activists who faced violence and oppression in the struggle for the right to vote. Directed by Sam Pollard, Geeta Gandbhir. Produced by Jessica Devaney, Anya Rous, Dema Paxton Fofang.

All Man: The International Male Story (United States) World Premiere. A nostalgic and colorful peek behind the pages and personalities of International Male, one of the most ubiquitous and sought-after mail-order catalogs of the 80s and 90s. Directed by Bryan Darling, Jesse Finley Reed, written by Peter Jones, produced by Peter Jones, Bryan Darling, Jesse Finley Reed, Taylor Vracin-Harrell. With Carson Kressley, Matt Bomer.

American Pain (United States) World Premiere. American Pain tells the jaw-dropping story of twin brothers Chris and Jeff George who open up a chain of pain clinics in Florida where they hand out pain pills like candy. Directed by Darren Foster. Produced by Darren Foster, Julie Goldman, Christopher Clements, Carolyn Hepburn, Diane Becker. A CNN Films Release.

Angelheaded Hipster: The Songs of Marc Bolan & T. Rex (United States) World Premiere. A musical documentary celebrating the life and work of glam rock pioneer Marc Bolan, combined with a behind-the-scenes look at the tribute album of the same name. Directed and written by Ethan Silverman. Produced by Bill Curbishley. With Marc Bolan, Gloria Jones, Rolan Bolan, Ringo Starr, Nick Cave, Hal Willner, Joan Jett, David Bowie.

The Big Payback (United States) World Premiere. Funded by a tax on cannabis, Evanston, IL, earmarked $10 million to compensate descendants of enslaved Africans for 400 years of unpaid labor. Alderwoman Simmons leads her constituents through this historic campaign for reparations for the Black community. Directed by Erika Alexander, Whitney Dow. Produced by Ben Arnon, Xan Parker.

Body Parts (United States) World Premiere. An eye-opening investigation into the making of Hollywood sex scenes, shedding light on the real-life experiences behind classic scenes of cinema and tracing the legacy of exploitation of women in the entertainment industry. Directed by Kristy Guevara-Flanagan. Produced by Helen Hood Scheer. With Jane Fonda, Joey Soloway, Angela Robinson, Karyn Kusama, Rose McGowan, David Simon.

CIVIL (United States) World Premiere. An intimate yet expansive profile of Ben Crump, the lawyer dubbed Black Americas attorney general. Directed by Nadia Hallgren. Produced by Lauren Cioffi. A Netflix release.

Endangered (Brazil, Mexico, United States) World Premiere. With riveting access and kinetic visual flair, Endangered is a sobering look at the erosion of democracy & freedom of the press in the United States and abroad. Directed by Heidi Ewing, Rachel Grady. Produced by Heidi Ewing, Rachel Grady, Alex Takats. With Patrcia Campos Mello, Carl Juste, Sshenka Gutirrez, Oliver Laughland. In English, Portuguese, Spanish with English subtitles. An HBO Documentary Films release.

Fashion Reimagined (United Kingdom, United States) World Premiere. Fashion designer Amy Powney is at the peak of her career, but shes troubled by her industrys wasteful practices. Fashion Reimagined follows her transformative global journey to create a collection thats sustainable on every level. Directed by Becky Hutner. Produced by Becky Hutner, Linsday Lowe, Andrea van Beuren. With Amy Powney, Chloe Marks.

It Aint Over (United States) World Premiere. The life and times of Yankee Yogi Berra, whose unique personality and unforgettable Yogi-isms sometimes got in the way of his being recognized as one of baseballs very greatest catchers. Directed and written by Sean Mullin. Produced by Peter Sobiloff, Mike Sobiloff, Natalie Metzger, Matt Miller. With Joe Torre, Derek Jeter, Don Mattingly, Bob Costas, Vin Scully, Billy Crystal.

Leave No Trace (United States) World Premiere. In February 2022, The Boy Scouts Of America reached a $2.7 billion agreement over sex abuse claims, the largest such settlement in history. Leave No Trace explores how this all-American institution went so horrifyingly wrong. Directed by Irene Taylor. Produced by Nigel Jaquiss, Sara Bernstein, Justin Wilkes, Emily Singer Chapman.

Lynch / Oz (United States) World Premiere. Victor Flemings 1939 film The Wizard of Oz is one of David Lynchs most enduring obsessions. This new documentary goes over the rainbow to explore this Technicolor through-line in Lynchs work. Directed and written by Alexandre O. Philippe. Produced by Kerry Deignan Roy. With Amy Nicholson, Rodney Ascher, John Waters, Karyn Kusama, Justin Benson & Aaron Moorhead, David Lowery.

Nothing Compares (Ireland, UK) New York Premiere. Over the course of just six years, Sinead OConnor went from an international superstar to a pariah. Nothing Compares tells the story of OConnors life as a musician, mother, and iconoclast in her own words. Directed by Kathryn Ferguson. Produced by Eleanor Emptage, Michael Mallie. A Showtime Documentary Films release.

Of Medicine and Miracles (United States) World Premiere. This riveting documentary chronicles the monumental task of curing cancer, as seen through the harrowing experiences of one young girl, her family, and a doctor on a mission. Directed by Ross Kauffman. Produced by Robin Honan, Nicole Galovski.

On the Line: The Richard Williams Story (United States) World Premiere. Through exclusive interviews and home movies, this film follows the outspoken patriarch of the Williams family who beat impossible odds to help daughters Venus and Serena become two of the greatest athletes of our time. Directed by Stuart McClave. Produced by Chavoita LeSane, Brit Marling, Brenda Robinson, Duncan Montgomery, Gary Ousdahl, Jack Selby.

The Rebellious Life of Mrs. Rosa Parks (United States) World Premiere. Beyond her historic role in the Montgomery Bus Boycott, this comprehensive dive into Civil Rights icon Rosa Parks sheds light on her extensive organizing, radical politics, and lifelong dedication to activism. Directed by Johanna Hamilton, Yoruba Richen. Produced by Christalyn Hampton. A Peacock release.

Rudy! A Documusical (United States) World Premiere. The definitive Rudy Giuliani documentary, charting his fall from the cover of Time Magazine to the parking lot of Four Seasons Total Landscaping. Directed and written by Jed Rothstein. Produced by Ross M. Dinerstein, Sarit G. Work.

Turn Every Page The Adventures of Robert Caro and Robert Gottlieb (United States) World Premiere. Delight in the fascinating, intersecting stories of the iconic Pulitzer Prize-winning author Robert Caro and his editor, the literary giant Robert Gottlieb, in this chronicle of a unique 50-year professional relationship. Directed by Lizzie Gottlieb. Produced by Joanne Nerenberg, Jen Small, Lizzie Gottlieb. With Robert Caro, Robert Gottlieb, Ethan Hawke, Conan OBrien, David Remnick, Bill Clinton, Majora Carter.

The YouTube Effect (United States, Brazil, Germany, India, Taiwan R.O.C., Chile) World Premiere. YouTube has garnered over 2.3 billion users and is worth up to $300 billion dollars. At its center is its algorithm, something that threatens to destroy not only the platform, but the entire Internet. Directed and written by Alex Winter. Produced by Alex Winter, Gale Anne Hurd, Glen Zipper. With Caleb Cain, Steve Chen, Carrie Goldberg Loann, Ryan and Shion Kaji, Anthony Padilla, Andy Parker, Susan Wojcicki, Brianna Wu, Natalie Wynn.

VIEWPOINTS

88 (United States) Feature Narrative, World Premiere. The Financial Director for a democratic super PAC behind a frontrunner presidential candidate investigates donations uncovering a conspiracy. Eromose returns to Tribeca after his acclaimed Legacy (2010) capturing the zeitgeist of government mistrust and institutional racism in a timely political thriller. Directed and written by Eromose. Produced by Hunter Arnold, Linda Rubin, Eromose, Brandon Victor Dixon, Warren Adams. With Brandon Victor Dixon, Naturi Naughton, Orlando Jones, Thomas Sadoski, William Fichtner, Amy Sloan.

Breaking the Ice (Austria) Feature Narrative, World Premiere. An Austrian woman escapes from the pressure of running her familys vineyard by playing ice hockey. Then a new player arrives to challenge her rigid worldview, leading to a life-changing night on the streets of Vienna. Directed and written by Clara Stern. Produced by Michael Kitzberger, Wolfgang Widerhofer, Nikolaus Geyrhalter, Markus Glaser. With Alina Schaller, Judith Altenberger, Tobias Resch. In German with English subtitles.

Carajita (Argentina, Dominican Republic) Feature Narrative, New York Premiere. The relationship between a spoiled white Argentinian teenager and the Black Dominican nanny who raised her is pushed to its limit when a night of partying leads to a troubling disappearance. Directed and written by Silvina Schnicer, Ulises Porra. Produced by Ulla Prida, Alexandra Guerrero, Federico Eibuszyc, Brbara Sarasola-Day. With Cecile Van Welie, Magnolia Muez, Adelanny Padilla, Genesis Buret, Javier Hermida, Richard Douglas. In Spanish with English subtitles.

Carol & Johnny (United States) Feature Documentary, World Premiere. Two of the most infamous bank robbers in American history, Carol Marie Williams & Johnny Madison Williams Jr., tell their love story in their own words. Directed and written by Colin Barnicle. Produced by Barnicle Brothers with Words and Pictures. With Johnny Madison Williams, Carol Hawkins Williams.

Dreaming Walls: Inside the Chelsea Hotel (France, Belgium, United States, Netherlands, Sweden) Feature Documentary, North American Premiere. Manhattans Chelsea Hotel is a counterculture legend as well as a brick-and-mortar structure. Dreaming Walls documents a critical juncture in Chelseas history, as it prepares to evict longtime residents and transform into a luxury hotel. Directed by Amlie van Elmbt, Maya Duverdier. Produced by Hanne Phlypo, Quentin Laurent. A Magnolia Release.

Hommage () (South Korea) Feature Narrative, North American Premiere. A struggling filmmaker finds unexpected solidarity and validation when she takes on the job of restoring a classic 1960s film directed by the first known female South Korean director. Directed and written by Shin Su-won. Produced by Francis C.K. Lim, Shin Su-won. With Lee Jung-eun, Kwon Hae-hyo, Tang Jun-sang. In Korean with English subtitles.

Land of Gold (United States) Feature Narrative, World Premiere. When truck driver Kiran hears pounding on a shipping container and finds a young Mexican-American girl inside, his already tumultuous life takes a drastic turn as he seeks to reunite her family. Directed and written by Nardeep Khurmi. Produced by Keertana Sastry, Pallavi Sastry, Simon TaufiQue. With Nardeep Khurmi, Caroline Valencia, Pallavi Sastry, Riti Sachdeva, Iqbal Theba, Dhruv Uday Singh, Karen David. In English, Punjabi, Spanish with English subtitles.

Lift (United States) Feature Documentary, World Premiere. The New York Theatre Ballets LIFT program offers scholarships to children experiencing homelessness, helping them develop untapped skills as classical dancers. Spanning 10 years, this moving film follows their turbulent journeys from shelter to stage. Directed by David Petersen. Produced by Mary Recine. With Steven Melendez, Victor Abreu, Yolanssie Cardona, Sharia Blockwood. In English, Spanish with English subtitles.

Liquor Store Dreams (United States) Feature Documentary, World Premiere. So Yun Ums debut feature is a moving portrait of two Korean American children of liquor store owners reconciling their dreams with those of their immigrant parents, against the backdrop of struggles for racial equity in Los Angeles. Directed by So Yun Um. Written by So Yun Um, Christina Sun Kim. Produced by So Yun Um, Eddie Kim. With So Yun Um, Hae Sup Um, Danny Park, May Park, Mark Burton. In English and Korean with English subtitles.

Our Father, The Devil (Mon Pre, le Diabe) (United States) Feature Narrative, North American Premiere. Caretaker Marie finds her peaceful life in France upended by the arrival of a new priest who reminds her of her traumatic past. Directed and written by Ellie Foumbi. Produced by Ellie Foumbi, Joseph Mastantuono. With Babetida Sadjo, Souleymane Sy Savan, Jennifer Tchiakpe, Franck Saurel, Martine Amisse. In French with English subtitles.

Peace in the Valley (United States) Feature Narrative, World Premiere. In the aftermath of a senseless act of violence, a young mother must learn to manage her overwhelming griefnot only for her own peace of mind but for the sake of her young son. Directed and written by Tyler Riggs. Produced by Andrew Carlberg, Brit Shaw. With Brit Shaw, Michael Abbott Jr., Dendrie Taylor, William Samiri.

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Tribeca Festival Lineup Includes Corner Office With Jon Hamm, Ray Romanos Somewhere In Queens, More - Deadline

Nurturing the horror genre through the early noughties, American filmmaker Eli Roth is a crucial part of the cinematic makeup of Hollywood at the turn of the new century. An actor, producer and director, Roth is a multi-talented creative, helping to bring multiple successful projects to life, from Quentin Tarantinos frenetic war drama Inglourious Basterds to his own, grimey 2002 horror Cabin Fever.

As a crucial part of the torture-porn movement that flourished during this time, sparked by the success of James Wans Saw in 2004, Roth contributed with his own vision in the Hostel series, telling the story of three backpackers who fall victim to torturous businessmen in a Slovakian city. Whilst such films were popularly denounced in the mainstream for their graphic violence, they undoubtedly remain a crucial part of the evolution of horror throughout the 21st century, speaking to an innate fear of the contemporary zeitgeist.

Roths career certainly peaked throughout this period of time, with his later efforts Knock Knock starring Keanu Reeves and cannibal movie The Green Inferno failing to drum up the same excitement from horror fans. Despite this, Roth remains a key figure in the genre thanks to his work as a producer and pioneer, having worked with the likes of Ti West, Daniel Stamm, Robert Rodriguez and Quentin Tarantino.

As a key voice in the cinema community, Roths opinion still holds considerable weight, so when he told Larry King his top five favourite horror movies of all time, fans sat up and listened.

His first pick went to the classic video nasty Cannibal Holocaust directed by Ruggero Deodato, a film that Roth directly attempted to recreate in his disappointing 2013 effort The Green Inferno. Known for its surprisingly incredible soundtrack, the original 1980 movie follows a rescue mission to find a missing documentary crew in the Amazon rainforest that goes violently wrong.

Sam Raimis iconic horror movie The Evil Dead takes his second spot, with the strange zombie hybrid movie going on to influence much of his own work, not least Cabin Fever. Starring Bruce Campbell and Ellen Sandweiss, the film spawned sequels, remakes, spin-offs and more, remaining one of the most beloved horror properties of all time.

Sticking to the classic, the William Friedkin horror movie The Exorcist takes Roths third position, a movie often called the scariest of all time. Influencing the future of filmmaking in general, the power of The Exorcist would change how the horror genre was perceived by general audiences, largely thanks to some incredible performances from Linda Blair, Ellen Burstyn, Max von Sydow and Jason Miller.

Cinematic master Stanley Kubrick claims the fourth position with the Stephen King adaptation, The Shining, starring Jack Nicholson and Shelley Duvall, an eerie, atmospheric journey into the insanity of one mans mind. Still considered a classic of horror cinema, The Shining is considered among Kubricks best, sitting alongside 2001: A Space Odyssey and Dr. Strangelove.

Topping off the list, Roth goes for (arguably) the best horror movie of all time with The Texas Chain Saw Massacre directed by Tobe Hooper, a film that would help kick off the slasher craze of the 1980s alongside such classics as Psycho by Alfred Hitchcock and Halloween by John Carpenter. With intense DIY filmmaking and a grubby overall aesthetic, you can see Hoopers influence quite clearly on the filmography of Eli Roth.

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Eli Roth names his five favourite horror movies of all time - Far Out Magazine

Tune into baseball for long enough in 2022 and youre almost assured to come across an unfamiliar term. The sweeper is the newest weapon being deployed against MLB hitters.

It is revitalizing the repertoires of some prominent pitchers and could have, um, sweeping implications for the seasons of the Los Angeles Dodgers and New York Yankees two of the franchises most invested in it.

But what is a sweeper, exactly?

Its a variation of breaking ball distinguished by horizontal movement more across than up and down. Sweepers are essentially a subset of sliders, an endpoint on a spectrum that includes traditional sliders in the middle and hard, darting cutters on the other end.

The pitch is not new so much as it is increasingly prominent and intentional. And if teams are making a point of bending sliders into sweepers, maybe we should make a point of understanding the difference.

If a style of pitch is going to become a pitch with its own name, one of the most prominent people who needs to be convinced is Harry Pavlidis. He founded the pitch classification service Pitch Info and oversees research and development for Baseball Prospectus.

Pitch Info has, this season, added sweeper as a distinct pitch category in addition to slider, curveball, cutter and so on. The difference, to Pavlidis?

Movement, he told Yahoo Sports via email this week. The sweeper, as the name implies, sweeps laterally more than a conventional slider, which will tend to move but several inches less than the sweeper.

Visually, its easy to catch on. Heres a (very good) traditional slider from New York Yankees ace Gerrit Cole, courtesy the omnipresent PitchingNinja Twitter account.

And heres Corey Kluber throwing what we are learning to call a sweeper.

See how its defining movement is veering off to the side instead of diving? If you were mimicking the shape of a traditional right-handed slider in your car, youd power over a blind hill that slopes slightly to the left. If you were mimicking a sweeper, youd take an exit ramp on the right and loop under the highway.

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As Pavlidis points out, sweepers have been sweeping away batters in America and Japan for years. Yu Darvish is one of the most prominent pitchers who has deployed the pitch.

Weve seen it for years, its prevalent in NPB, and pitchers have been throwing it in MLB, he said.

Klubers diabolical version helped him earn his two Cy Youngs in Cleveland. It was just particularly difficult to label. Many gave up and just called it a breaking ball. Others dubbed it a slurve. Pavlidis said the sweeper may be nothing more than a rebrand of slurve. That particular designation tended to carry a negative connotation, an accusation that a pitcher was struggling to separate two supposedly different pieces of his arsenal.

Not every variation on a pitch merits its own name. What makes the difference? For one, teams and pitchers themselves are adopting the term. And the league is noticeably adopting the pitch.

The Dodgers, who have added it or transformed existing pitches into it with Blake Treinen, Julio Urias and others, call the pitch a sweeper. The similarly enthusiastic Yankees had called it a whirly in 2021 before sweeper took hold in the industry.

Pavlidis also cited the increasing sophistication of pitch data that allows his group and the public at large to identify key differences that make a sweeper a sweeper, to the point where they can be separated out even when a pitcher also throws a regular slider.

One of those factors is the grip. This close-up view of Tampa Bay Rays starter Drew Rasmussen shows the transition from traditional slider to sweeper, what Pavlidis called a full reorientation of the seams.

This is how granular a revolution can be in baseball now. And its why sweepers definition and proliferation go hand in hand.

The change makes the sweeper grip two-seamed, a shift that gives the pitch its crucial, hitter-fooling qualities. That advanced information that helps identify the pitch can also help savvy evaluators and coaches identify and recreate those underlying qualities.

New Dodgers acquisition Andrew Heaney has added a sweeper and thrown it more than anyone else in baseball. (Photo by David Berding/Getty Images)

When the Los Angeles Dodgers World Series favorites who often shop in the future Hall of Famer aisle made homer-plagued Andrew Heaney the biggest addition to their starting rotation, every baseball nerds spidey sense went off. They must know they can make him better. At Baseball Prospectus, Michael Ajeto quickly and accurately predicted the plan.

Ditch the curveball. Add a sweeper that pairs better with the arm-side run of Heaneys fastball.

His blistering start for the Dodgers two starts, 10 1/3 innings, 16 strikeouts and only one unearned run has made Heaney the face of a zeitgeist-y moment for the sweeper even though his is a pretty borderline example of the form.

Among the more textbook examples: Blue Jays starters Alek Manoah and Jose Berrios, Dodgers relievers like Treinen and Evan Phillips, and a parade of Yankees including Lucas Luetge and surprise star Nestor Cortes.

As Kluber has demonstrated so effectively for the past decade, sweepers and two-seam fastballs can look identical for much of their flight to the plate, then slay hitters by zigging or zagging in opposite directions. That concept is known as tunneling, and its a major part of the logic for adding a sweeper. So is seam-shifted wake. That daunting phrase is still a new frontier in baseball research with a lot of extremely technical questions we cant yet fully answer, but the gist is this: Because of how balls thrown with that two-seamed grip interact with the air when spinning, sweepers move in ways that hitters eyes and brains dont expect. Its the same force involved in making sinkers and changeups difficult for hitters to square up.

At least in the public sphere, were still in the process of figuring out the impact of the sweeper. Does it help counteract a league of hitters that has worked to lock in on lifting the ball and hitting home runs? Is it perhaps an easier wipeout pitch to master without the use of sticky substances?

As front offices dig deeper into the numbers to find new advantages, there will be more realizations to come. May they all have names this catchy.

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Tune into baseball for long enough in 2022 and you're almost assured to c - EMEA TRIBUNE

Imagine youre the literary editor for a major US newspaper, like The New York Times or The Washington Post. You know that getting a good notice in your paper can launch the career of a young writer and youre far from indifferent to the fate of literary culture. You majored in English and once nurtured dreams of being a novelist yourself. But tens of thousands of fiction titles are published each year and it sometimes feels like most of them are piled up on your desk.

Review: Inside the Critics Circle: Book Reviewing in Uncertain Times Phillipa K. Chong (Princeton University Press)

So, what are you to do? How do you decide what gets covered and what ignored? Spoiler alert: its not meritocratic.

You are to some degree condemned to judge books by their covers. You quickly get quite good at it. Anything by a Big Name author, a new title by Margaret Atwood or Jonathan Franzen, is a publishing event and of course needs to be reviewed by one of your go-to writers. That piece will go the front of the section with a large author photo.

As to the others? Some genres dont stand a chance. Romance fiction? No way. Sci-fi, fantasy, thrillers? No, no, no. In general, that which seems like literary fiction will attract your eye and its not hard to pick those out from the pile, based on the blurb or the publisher. Occasionally, you might do a round up of recent crime writing.

But remember, youre working for a newspaper, so it helps if the book treats a story that is topical or in some way relatable to current events. Every so often you can cover a suite of books under an eye-catching theme, and make it into a longer piece about fictions response to Climate Change or the #MeToo movement, a phenomenon that a recent n+1 editorial about the dismal state of criticism has derisively dubbed CRT the Contemporary Themed Review.

These pieces might risk coercive homogeneity, ironing out differences in tone, theme, structure or style, in order to intervene in the Zeitgeist, but with any luck these will get a bit of reaction on Twitter, which is the name of the game.

Books of the year and best of lists are other ways you can get into the slipstream of social media. It is fandom, not analysis, that gets most attention, spiced up with the occasional eye-catching takedown or hatchet job.

We are a long way from critics as the arbiters of taste, the gatekeepers of culture who might introduce readers to vital and new literary forms and thereby provide an antidote to the algorithmic conformity and banality that hangs over contemporary book culture.

Phillipa K. Chongs Inside the Critics Circle gives us a snapshot of contemporary reviewing from the perspective of a sociologist. Unlike a lot of state of culture interventions, the book is not a polemic or a jeremiad, but a dispassionate inquiry into the world of editors and reviewers in the USA based on some forty interviews.

Inside the Critics Circle is about critics as journalistic reviewers, a category she distinguishes from literary essayists and literary academics, both a little further along the chain in the process of consecration through which an author is deemed significant enough to enter the literary canon. What emerges is a tale of contingency, precarity and uncertainty, from the moment books get selected for review all the way to the future prospects of newspaper critics and criticism.

While the book is US (indeed New York) focussed, there are surely lessons here for Australia. The same precarity afflicts reviewing culture here, with the dwindling of on-staff critics in most newspapers and the need to compete for online attention.

There are still prominent book reviewers who are not themselves novelists (Geordie Williamson, chief reviewer for The Australian comes to mind). But the circuits of book festivals and dinner parties are small, with an even greater potential for coteries and back-scratching.

But in some ways the everyday little accidents of fate are the most chilling. How many major new novels, for example, get overlooked because the editor cannot think of a suitable reviewer on one particular day? Chongs interest here is exclusively on fiction reviewing and one of the distinctive and consequential features she highlights is that, in the US at any rate, there is currently a tendency to ask novelists to review novels.

And why wouldnt they, you might ask (and so might they). Novelists understand the form, having practised it themselves and are, therefore, qualified to evaluate their fellows. True, we dont expect films to be reviewed by directors or restaurants to be reviewed by chefs, but then novelists and critics both seem to be using the same material the written word. And now, since most newspapers have far fewer if any on-staff critics than they used to, and most reviewing is done on a freelance basis, many fiction writers are only too happy to have a bit of extra income, especially when the gig might also increase their visibility.

Yet there are some drawbacks to this arrangement. I dont want to open the Romantic can of worms between the creative and the critical sensibility, but lets just say that one does not guarantee the other. Sure, there are examples of great novelist-critics. But there are also (looking at you, Susan Sontag) those whose criticism overwhelmingly outclasses their attempts at fiction.

Im reminded of that scalding quip by the Cambridge critic Eric Griffiths on A.S. Byatts Possession (1990): the kind of novel Id write if I didnt know I couldnt write novels.

Read more: The critical friend: for whom does the art critic speak?

The palming off of reviewing as a side-gig is a sign of the dwindling status and prestige of the role of the critic and there are some regrettable unintended consequences. Indeed, some of the stories that Chong tells suggest that President Biden should sign an executive order forbidding the practice.

You see, novelists, when reviewing someone elses efforts, often have more skin in the game than a professional critic and arguably can muster less distance. They know how hard it is to write a novel, and how devastating and embarrassing a snarky review can feel.

More selfishly, why would a novelist give a bad review to someone that might be reviewing their novel the following week? What if that writer is a judge on a prize committee? What if others judge the negative review to be motivated by malice or envy?

There are unpredictable and even long-term consequences. Chong records one instance when a reviewer was confronted, years later, at a party by the wife of someone who had been on the receiving end of a bad review: You know, youve ruined his life!

So instead of writing bad reviews, reviewers tend to play nice or couch what they feel. What if they really loathe the book? They can talk around it, giving a plot summary or reflecting on the wider literary field of which the book forms a part, maybe throwing in some tempered evaluation in the final paragraph.

However, all these considerations disappear when reviewing the book by a really famous author. You should never go hard on a first-timer, but big game is fair game. There is an unspoken rule that you can punch up, but not down. The celebrities can take a bit of rough handling. It wont have the same effect on their sales and they go to different parties to you anyway. Bad reviews and contrarian takes can get people talking, which is why the hatchet jobs end up getting anthologised.

That readerly pleasure is far less guilty if aimed at a tall poppy. If youve decided to let loose in your review on the latest Franzen, there is a bit of incentive to go in hard and not to be mealy mouthed. Its a good way of getting noticed. Franzen doesnt rely on reviews for his success, the way a fledgling novelist might, and look at the amount of space that gets devoted to him in the books section, space that might be nurturing up-and-coming talent.

Still, you never really know who will read your review. Once it flies into the world, its outside your control and always to some extent a risky business, as one of the chapter titles here puts it.

Uncertainty of various sorts is the structuring theoretical frame of Chongs book, which is divided into three parts, each about one sort of uncertainty.

Epistemic uncertainty refers to the absence of clear criteria on which one can base aesthetic judgements. Reviewers evaluate characterization, plot and language, but ultimately any assessment will have a subjective element that could potentially be at odds with that of other critics.

Social uncertainty refers to the unpredictable way readers (and editors) will respond to a review and how critics write to accommodate this unknown.

Institutional uncertainty refers to the overall purpose of newspaper reviewing, how it fits into the cultural ecosystem, and how critics think about the future of criticism.

The arc of the book follows the review process, beginning with editors deciding what books should be reviewed and by whom, then considering how reviewers go about the process of evaluation, then concluding with their reflection on the value and impact of reviewing as whole.

Yes, many broadsheets have cut back on review sections and others have replaced it with the sort of feature articles or profile pieces which puff up celebrity at the expense of critical discernment. Yes, the on-staff book critic has been outsourced to pay-per-gig freelancers. Nonetheless, paid reviewers (albeit paid per review) are still with us, despite predictions since the rise of the new media that they would go the way of the rag-and-bone man and the bus conductor.

One reason for that is because old-fashioned print media has found a way to move into and work with the internet, rather than compete with it as a medium. If this shift has entailed some vulgar chasing after clickbait, it has also enabled online review sections and longer form writing.

Online only publications like the Los Angeles Review of Books and the Sydney Review of Books have enriched reviewing culture immensely, while older publications like the London Review of Books, the New York Review of Books and Australian Book Review, have adapted to digital culture, and reached new audiences, without losing their quality or altering their core identity.

Of course, the wider blogosphere means that all niche and minority interests can find assessments and conversations online. Interested in reviews of those derided genre novelists? You can glut yourself on your smartphone. Have a hankering for experimental avant-garde poetry? Ditto.

The conversation about quality literature is more diffuse than a generation or two ago, which is one reason that the social standing of a major newspaper reviewer has declined. Yet the reviewers interviewed in Chongs book still justify their work with appeals to a wider good, as well as to an investment in their own professional standing.

Read more: Every critic counts: why Fairfax must keep its arts journalists

So what is the good of book reviewing? How do we or more pointedly how do the paid reviewers themselves justify the existence of newspaper critics in an age of Yelp, TripAdvisor and Goodreads? A world in which, in other words, it often feels everyone is reviewing everything all the time?

The critics interviewed here, maybe understandably in the current precarious circumstances, are a little bit too ready with their elbows when it comes to asserting their own worth and purpose. They insist that they fill a vital niche between the amateurs on the one hand, the mere enthusiasts that populate the blogosphere, and the academics who are too arcane, specialised and out of touch.

I do sometimes think that bloggers are kind of dumb, as a general rule, confesses one charmer.

Allegedly, the amateurs on the internet treat books as mere entertainment and the serious business of self-improvement needs the paid reviewers in the newspapers. But they themselves must not get too high falutin, lest they become as abstruse and naval-gazing as the academics. Yes, there is porousness between the three categories and it is not uncommon for academics, for instance, to review for newspapers.

But they code-switch when they do so successfully, adjusting the register for a wider audience. One reviewer quoted by Chong, himself an academic, criticised another reviewing academic for being too pretentious in his intellectual outlook and for being so far above his own readers that in the end, rather than doing a service he does a disservice to the book that he is reviewing.

As for literary theory, predictably and very unoriginally it evokes the greatest populist swagger from the literary journalists. Outside invading small countries, the worst thing that men do is to invent literary theories, proclaims one respondent, possibly a recovering academic, who has a PhD in English.

Read more: Book reviewing is an art, in its own way

Perhaps surprisingly, apart from a glancing mention of the gender politics in the conclusion, there is a very little in Chongs book about diversity, race, and sexual identity, issues which have been prominent in recent public discussion of the arts and its organs of dissemination.

If this is so for the USA, where many cultural institutions made public commitments to racial inclusiveness following the events of the summer of 2020, it is also true in Australia, where there are frequent calls for decolonisation and racial justice and organisations like Stella campaign for gender equity in the literary world.

One would expect that the subject position of a reviewer and the increasing expectation for diversity of the books reviewed must be a consideration in editorial decisions and in the self-positioning of reviewers. If so, we dont get much discussion of it here.

That also means that any incipient tension between the demands of aesthetic and political realms remain unexplored. Does the need to represent a multiplicity of voices and experiences in the media, especially those voices which have been marginalised and silenced, make it harder or easier to argue for the function of criticism at the present time? Does the current self-examination by institutions of culture, including universities, museums and newspapers, about their own historical implication in oppressive or discriminatory power relations make the role of the reviewer-as-expert, as privileged purveyor of judgement, harder to sustain?

Chongs respondents are all anonymous, presumably in the interests of scholarly objectivity, but it would be interesting to hear their views about these most livid areas of our current cultural conversations.

Reading this book was, for me, something of a cross-disciplinary encounter. In my own subject, literary studies, self-reflexivity borders on the obsessive. Literary academics, like a lot of scholars in the humanities, are forever examining the whys and wherefores of what they do. Whats the value of doing English? How do we justify our discipline in an age when the social and cultural capital of the humanities is frequently challenged by the econometric thinking of politicians and policy makers?

Its salutary to look at how a sociologist handles the value of criticism question, which is, bluntly, with a lot more lucidity and less theoretical agonising. Chong goes to the practising reviewers and asks them to describe what they do and why they do it, then subjects their answers to qualitative analysis. The questions she raises what status do we give to someones taste? Is there an extra-subjective element to aesthetic judgement? are pretty venerable ones.

Chong doesnt go to Kant or Hume to come up with answers, but rather goes to the reviewers themselves. There are benefits to that approach, but also costs: questions go a-begging and many presumptions remain unchallenged.

More than a philosophical angle, I would have welcomed some more genealogy and intellectual history. How did the reviewing ecosystem evolve into its current state? What was it like thirty years ago? How has reviewing culture shifted in recent decades and what are the cultural, social, and institutional explanations for these changes?

In saying that, I may be violating a fundamental rule of fair-minded reviewing you review the book the author has written, not an imaginary alternative. Chong has given us a valuable, clear-headed inquiry into contemporary journalistic book reviewing. Her research brings calm illumination to these troubled waters. Her own non-judgmental approach gives us a crystal exposition of how and why judgements are made by those, editors and reviewers, seeking to navigate these uncertain straits.

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So what is the good of book reviewing? A review of a review of the reviewers - The Conversation

Fashion But Make it Euphoria: Season two of the wildly successful HBO Gen Z drama, which wrapped in February, was a coming-out party for the shows cast, viewership, and cultural impact. Collectively, the stars of the teen series have amassed more than 180 million Instagram followers and materialized into a marketing powerhouse.

The Euphoria High aestheticcat-eye glitter makeup, dainty cut-out dresses, 90s-style sets, retro skater comforthas captured the fashion worlds consciousness, boosting the profile of cult independent brands such as the edgy Australian label I.Am.Gia, a favorite of Kendall Jenner; Instagram-centric Omighty, known for sassy embroidered tees and loud prints; and Naked Wolfe, a Spice Girls-chic footwear brand out of Hong Kong whose sky-high platform boots and trendy chunky sneakers have earned influential fans like Ariana Grande and Hailey Bieber. (Sydney Sweeneys character, Cassie, flaunts a pair of the Mercy Heels in the seventh episode of season two.)

Cassie also inspired the tonal palettes and feminine silhouettes in the Fall/Winter 2022 collection of JoosTricot, L.A.based writer and stylist Natalie Jooss sustainable body-con knitwear line. Meanwhile, Miu Mius Spring 2022 collection caught attention with pleated micro-mini skirts and belly-exposing cardigan crop tops that would be right at home in the halls of East Highland High School. Miu Miu, along with luxury names including Jean Paul Gaultier and Roberto Cavalli, appears in season two as part of a noticeable shift toward upscale labels.

Cat Eyes: Euphorias vibrant, fantastical makeup styles are one of its defining attributes, spawning a new era of maximalism glam. Australian-born South Asian makeup artist Rowi Singh went viral on TikTok thanks to her series of Euphoria-themed looks featuring bright eyeliner and bejeweled motifs. Her facial accessories company, Embellish By Rowi, has been shouted out by the likes of FKA Twigs. The high-fidelity beauty movement has proven so popular that the shows in-house makeup artist, Doniella Davy, debuted a range of face stickers with Face Lace and is set to unveil her own beauty line, Half Magic, in May. On the website, its layered formulas are teased as designed for space cowboys, glitter queens, and neon boys next door.

Fresh Faces: Beyond shaping the look and feel of the contemporary fashion zeitgeist, Euphorias cast members have become darlings of big-name luxury houses. Zendaya (Valentino, Bulgari), Barbie Ferreira (YSL Beauty), Hunter Schafer (Prada), Sydney Sweeney (Savage Fenty, Tory Burch), Angus Cloud (Ralph Lauren Fragrances), Jacob Elordi (Boss, Calvin Klein), and Maude Apatow (Ami) have all starred in major campaigns and were a ubiquitous sight during this years fashion month. Launched congruently in January with season two, Schafers Prada ads garnered $16 million in earned media that month alone.

Quotable: Hopefully the show is inspiring not just young people, but people in their 30s and 40s, and whoever wants to try a Maddy cat-eye or wear something a little more risqu than they normally would, says costume designer Heidi Biven, whose work on the show has garnered two Emmy nominations.

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The Euphoria Casts Fashion-World Takeover - Surface Magazine

David Bowie took a little time to get into the swing of being a successful rockstar. After numerous attempts at making a name for himself throughout the mid-to-late-1960s, he felt somewhat rejected. Much like an alien fallen to earth from Mars, Bowie needed time to fall into the groove of popular music. He needed to adapt his individual style into something accessible for the rock n roll zeitgeist of the time.

Early on, he was limited by the nature of his material which seemed somewhat detached from the normal boundaries of rock and roll with its tongue in cheek sound that often seemed to belong in some bizarre nursery rhyme stage production. Following the disappointment of his eponymous debut album, Bowie remained relatively quiet on the music front for a couple of years. When he returned in 1969 with Space Oddity, he still hadnt quite hit the mark with the album as a whole, but he had his first glimmer of success with the eponymous single.

Moving into the 1970s, Bowie moved from strength to strength and released his first extensively impressive album in 1971s Hunky Dory. Bowie was no time waster; when Hunky Dory hit the shelves, he was already working on his first career-defining album, The Rise and Fall of Ziggy Stardust and the Spiders From Mars, which introduced his first on-stage persona. The release of the album in 1972 launched Bowie to worldwide recognition, and he became a big hit in the USA.

After breaking into the consciousness of the USA mainstream, Bowie became increasingly influenced by the States in return. The now-famous rockstar had toured America extensively with The Spiders from Mars, and he had begun to see all of the beauties and societal pitfalls the country had to offer.

When looking to record his sixth studio album in late 1972-73, Bowie wrote mostly from fresh experiences in his newfound lifestyle as a star. What resulted was Aladdin Sane, an album that brings together the blues-rock style of The Rolling Stones with the contemporary glam-rock style. The themes depicted often run against the energy of the music, depicting a bleak image of modern American life.

Aladdin Sane was released on this day (April 13th) in 1973. In celebration of its birthday, we have ranked all of the tracks on the album in order of greatness.

While theres nothing wrong with Bowies cover of The Rolling Stones Lets Spend the Night Together, theres nothing particularly intriguing about it either. It is a heartwarming nod to Bowies friends from whom he learned so much. It is the only cover on the album and seems to humbly admit the Stones huge influence on the music found throughout the rest of the album, especially on the more energetic rock hits.

Bowies take on the Stones classic is a little faster than the original and carries an updated glam vibrancy with it. At the time of the albums release, critics saw the song as a camp take on what was originally a heterosexual song, tying in with Bowies bisexual status at the time.

The Prettiest Star was originally recorded in 1970 as the follow-up to Bowies 1969 breakthrough single, Space Oddity. The lyrics were written for his first wife, Angela Barnett, whom he married shortly after the release of the original. The original was one of Bowies earliest collaborations with producer Tony Visconti, and it featured T. Rexs Marc Bolan on guitar.

The version recorded for Aladdin Sane was updated with a heavier glam feel to it as Ronson recaptures Bolans original skeletal guitar solo. While the re-recorded effort comes with a vibrancy that improved it somewhat, the song still comes as one of the weaker tracks on the album.

Bowie wrote Cracked Actor following a stay on Los Angeles famous Sunset Boulevard. As with much of the album, the track paints a bleak image of western culture as Bowie tells the story of an ageing film star who is falling into a spiral of illicit drug abuse and salacious activity with prostitutes.

The song appears to paint a more realistic picture of the America Bowie saw upon his arrival in the early 1970s. The picture was something quite different from what has long been depicted in Hollywood films. While Bowie was in LA, this reality hit him and had a profound impact on the creative direction of Aladdin Sane.

The album opens with the energetic rock out, Watch That Man. Bowie was inspired to write this song after seeing the New York Dolls perform live. New York Dolls had been an important group in the US in the early 1970s as a response to the emerging glam-rock movement in the UK championed by groups like Slade, T. Rex and Roxy Music.

Watch That Man seems like a direct marriage between the sounds of The Rolling Stones and New York Dolls with its rhythm and blues roots and its piano drive. The song isnt a terrible idea, but the finished product seemed a little rushed with poor production quality.

Panic In Detroit was inspired by Iggy Pops stories of the Detroit riots in 1967 and the rise of the anti-racist White Panther Party, focusing on their leader John Sinclair. In the lyrics, Bowie likens Sinclairs ideals to those of communist martyr Che Guevara.

The song is a bleak image of Americas urban decadence and issues with increased gun-related violence, drug abuse and suicide. The pace and intrigue of the track are carried by Mick Ronsons simple blues-inspired three-chord progression.

Time began life as a 1971 demo entitled We Should Be On By Now recorded during the sessions for Hunky Dory. The lyrics were adapted for the Aladdin Sane sessions after Bowie was inspired by the death of the New York Dolls drummer Billy Murcia who had died while on tour in England in 1972. Murcia was invited to a party where he lost consciousness following an accidental overdose. In an attempt at revival, he was put in a bathtub and force-fed coffee, which resulted in death by asphyxiation.

The bouncing theatrical verses bring a unique and quintessentially Bowie sound to the song, which morphs into the more classically glam sounding chorus that includes the original refrain of We Should Be On By Now.

Of the four singles on Aladdin Sane, the lead single Jean Genie has stood the test of time as a staple of greatest hits compilations. The bouncy hit was what Bowie described as a smorgasbord of imagined Americana. Bowie also revealed that the lyrics were an ode of sorts to his friend from The Stooges, Iggy Pop. The songs character is a white-trash, kind of trailer-park kid thing the closet intellectual who wouldnt want the world to know that he reads.

The Jean Genie is one of Bowies greatest danceable glam hits that has its fun without detaching from dignity. The song garners most of its appeal from the stomping guitar riff which is a glam infused blues lick inspired by Bo Diddley.

Following Aladdin Sane is the third track on the album, Drive-In Saturday. This is one of the songs on the album that truly presents the American influence on Bowies creative process while writing the material. The song continues the 50s doo-wop inspired glam that launched Bowie to global stardom on his previous album, The Rise and Fall of Ziggy Stardust and the Spiders From Mars.

Bowie wrote the lyrics following an overnight train journey between Seattle and Phoenix in early November 1972. He saw a scattering of silver domes in the distance and assumed they were secret government facilities to be used in the event of nuclear fallout. In the track, the radiation has affected peoples minds and bodies to the point that they need to watch films in order to learn to have sex again.

The title track comes as the second on the album and brandishes most of its brilliance from Mike Garsons stunning piano performance. The name of the song is a play on words meaning a lad insane. The song was inspired by Evelyn Waughs 1930 novel Vile Bodies, which Bowie had read during his trip back to the UK aboard the RHMS Ellinis.

The concept has also been linked to Bowies interest in psychological disorders. Bowies older half-brother Terry Burns was diagnosed with schizophrenia which had a deep impact on Bowie as a creative. Burns condition has been cited as the inspiration behind the persona of Ziggy Stardust and the shifting egos thereafter.

The final track on the album comes as a solemn and theatrical goodbye. The ballad is one of Bowies true unsung gems. The tumbling keys and classical acoustic guitar sections flow like a gentle stream as Bowie gives a blinding vocal display that hears him reach his highest vocal note across any of his studio albums.

The song is allegedly an account of Bowies first meeting with the American soul singer Claudia Lennear in 1972. After Bowies death in January 2016, Lennear revealed that the late Starman had called her in 2014 and told her that it had been written about her. The pianist appearing on the track, Mike Garson, described his performance as about as romantic as it gets French with a little Franz Liszt thrown in there.

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Ranking the songs of David Bowie album Aladdin Sane in order of greatness - Far Out Magazine

The Kardashians are snatching back their reality TV crown. What does their success tell us about the world right now? Kelly Dennett reports.

Fifteen years ago Variety journalist Brian Lowry sat down having watched the very first episode of Keeping up with the Kardashians, and wrote, Once you get past Kims prominently displayed assets, theres not much of a show here, and no discernible premise.

Lowry reported what most critics chorused in 2007, after the debut of the reality series. It is purely about some desperate women climbing to the margins of fame, the New York Times chirped. And as the show, unbelievably it seems, gained popularity, one particularly cruel Washington Times piece asked, How can a glorified porn star rise from bed to national esteem in such a few short years?

This week the Kardashians new series with American streamer Hulu, The Kardashians, returns the tight-knit power family to screens. With the deal reportedly worth $100 million, you could say the clan are laughing all the way to the bank. We dont have to sing or dance or act, Kim Kardashian unapologetically told Variety in March. We get to live our lives - and hey, we made it. I dont know what to tell you.

READ MORE:* A journey back through the Kardashians as their TV show ends* The 'Kardashians' TV show is ending, but the Kardashians will never go away* Khloe Kardashian reveals why Keeping Up With the Kardashians almost didn't happen

Despite those loudest critics, Keeping Up with the Kardashians, starring momager Kris Jenner, eldest daughters Kim, Kourtney and Khloe, and younger beauty and modelling moguls Kylie and Kendall Jenner, held onto audiences of millions for 15 years, 20 seasons, and several spinoffs. The women, former virtual nobodies, are now a veritable delight of billionaire, businesswomen, influencer, and occasional social issue advocate.

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Keeping Up with the Kardashians. The famous family has ditched E for a new show with Hulu.

While they launched off the back of the likes of Paris Hiltons The Simple Life and Hugh Hefners Girls of the Playboy Mansion, which focused on looks, wealth and making it, the Kardashians heralded the arrival of a new Hollywood: less limousines-chandeliers-butlers-with-silver-spoons, and more customised Range Rovers, high-spec architectural homes, and personal trainers.

Their profile had already been woven into the tapestry of celebrity infamy by their late patriarch Robert Kardashian, who helped defend OJ Simpson, while matriarch Kris Jenner was married to an All Black equivalent, beloved Olympian Bruce Jenner. And yes, Kim Kardashian had a sex tape. (Its worth noting the tape was released without her consent.)

While the Kardashian-Jenners have prevailed despite repeated allegations of cultural appropriation, unattainable beauty standards, and tone-deaf privilege, the irony is that theyre at the height of their fame. Kim Kardashian, that lowly porn star, has 280 million followers on Instagram alone, and her shapewear company Skims has been valued at $US3 billion.

Despite the proliferation of rich people on reality TV, more so than ever audiences both cannot seem to stand the not-doing-it-tough crowd, nor get enough of them. The Kardashians are both #girlboss goals, and infuriatingly oblivious to the connections and ready-made wealth that brought them there.

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Kim Kardashian arrives at the 2022 Vanity Fair Oscar Party.

And so while the world continues to grapple with the Covid-19 pandemic, the climate crises, and the Ukraine war to name a few it will also sit down this week to watch the cashed-up Kardashians continue to live their best lives.

I think [in the future] academics will write books on, wow, what we were thinking, says University of Auckland social anthropologist Dr Kirsten Zemke. Well analyse ourselves as society - what was going on with us that made us so fascinated with this family? What is it telling us about how things are going with humans in the world, that this is what were taking pleasure from?

Zemke, who grew up in the same Los Angeles area the Kardashians made famous, Calabasas, admits she knows the Kardashians names, their babies names, and their partners names, but twice repeats: I wouldnt call myself a fan. She laughs Theres obviously a lot of people who must not be admitting it.

Indeed I ask around, anyone want to talk about the Kardashians? Nobody wants to admit to watching, not even hate watching, and a colleague asks, genuinely, why I would want to write about them. Of all the people I contact, model and mum Juniper Moon is the only one wholl chat and in true fan style, for a week after she continues to send me all the latest Kardashian gossip.

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Are the Kardashians simply the modern-day Brady Bunch?

Like many others Moon was mesmerised by the familys completely stunning wealth. Like, how someone can have that kind of wealth, let alone multiple members of a family, says Moon. It wasnt until they all became seriously rich, rich, that I was like, OK, clearly theyre doing something right, maybe not moral or ethical or logical, but theyre doing something.

While viewers have witnessed marriages, divorces, cheating scandals, substance abuse, health scares, the birth of children, and the depiction of Caitlin Jenners transition journey, alongside the selfie sticks and photo shoots are a family that sticks together. Critics drew comparisons with The Brady Bunch.

Zemke compares the family to the royals, in terms of their commercial appeal. Theyre also funny, and trendy they keep viewers in the zeitgeist.

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Kim Kardashian and her now estranged husband, rapper Kanye West.

Despite their glittering lifestyles, Keeping Up didnt stray too far from the original premise of reality TV. In 1948 Candid Camera pranked members of the public on film (when not capturing their personal lives falling apart, the Kardashians routinely played practical jokes on each other). In 1973 An American Family was the first fly-on-the-wall-style filming of a suburban family called the Louds. That was followed up in 1992 by The Real World, about young flatmates. In Australia in the 2000s, Big Brother drew huge audiences.

But sometime in the past decade a subgenre of reality TV, opening the doors on luxurious lives and petty problems of the privileged (Selling Sunset, Real Housewives of Beverly Hills), proliferated. Keeping Up managed to blend suburban family antics with the lives of the mega rich.

Schadenfreude, says Zemke. People enjoy watching people and their perils, and rich people have problems too. Perhaps there is some pleasure in that...When life is not going well you can look over there and watch something entertaining. Theyre the capitalism dream if you work hard, you can have this, too.

How many billionaires do you know who invite you into their homes and let you see that billionaire lifestyle? says public relations expert Deborah Pead. Its quite extraordinary really.

Pead sees the Kardashians influence even in New Zealand, where their relevance is arguably diluted. Nonetheless, young women in particular have embraced the more is more look in a world that once valued a size zero. Kim Kardashian has excellently timed single-handedly bringing back the tracksuit.

I dont even have to look at Instagram, or TikTok. I can just go down to the Viaduct on a Saturday evening and see the impact, says Pead. [Women] dress like the Kardashians, they style their hair like the Kardashians, they accentuate their curves like the Kardashians.

Pead says despite the common cop that the clan are famous for being famous, the Kardashians have carved out a global superbrand among the likes of Coke or Apple - and that doesnt necessarily come easy, requiring constant evolution to stay commercially and culturally relevant. She contrasts the Kardashians to the once-glamorous Playboy brand, which failed to stay current amid a women's empowerment movement.

Jordan Strauss/AP

From left, Khloe, Kourtney, Kim, Kris and Kylie.

Their bankability has seen New Zealand brands seeking their influence. Collagen company Dose and Co partnered with Khloe Kardashian in 2020, and Manuka Doctor signed on Kourtney Kardashian as an ambassador in 2016. Pead says one of her clients made inquiries about getting so much as a single Instagram endorsement and the starting price was US $500,000 (NZ $719,000).

We said wed think about it, laughs Pead.

With their capital appeal, Moon wonders if there is a sexism element to the critique of the Kardashians, and anyone who admits to watching. The Guardian has reported research showing female reality TV stars are more likely to labelled as evil, annoying, or attention seeking. While researchers focused on shows involving strangers, like Love Island, they discovered, having trawled through tens of thousands of social media posts, that women were shamed for their choices, including their relationships and how they looked.

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Public relations expert, Deborah Pead: The Kardashians have the sticking power of the Queen.

Moon says owning up to being a Kardashian watcher is hard to admit. Im not sure if its because of the heavy criticism they receive. or if its one of those things where women/girls are shamed by society for liking anything at all. I think for me its the equivalent of men watching high profile sportsmen, youre seeing your (often) problematic hero live your dream life.

Zemke agrees. There has always been a denigrating of things that women like... whereas perhaps men can like rugby or sport. Perhaps there is some gendered thing, that its not as important or as artistic or real.

While Pead doesnt think the Kardashians deliberately set out to offend, characterising their missteps as mistakes, silly slip ups, Zemke acknowledges the age-old problematic fave conundrum separating the artist from the art.

Most egregious would be that theyre materialistic, Zemke says. Im sure they try to use their platform for something positive, but they don't seem to be doing something out of self-service. Which is not that problematic, who are we to judge? I dont know if they're toxic, but they represent some toxicity in our society. We could do better than to valorise them.

I asked AUT professor of film and popular culture, Lorna Piatti-Farnell, whether the Kardashians exhibit any positive role modelling.

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Professor Lorna Piatti-Farnell from AUT says they may seem relatable, but viewers should take the Kardashians depiction of their lives with a grain of salt.

While pointing out we all have a different idea of what a role model is, she suspects the relatability of some of their storylines will be a factor, however curated and carefully narrated that might be... For example Kylie's recent unexpected candid posts and pictures about the difficulties of motherhood, the second time around...this is very different from when she had her first child, and her posts projected a very 'perfect' and idealised image of being a mum.

That said, the Kardshians do live a life of privilege...so it is important that we maintain an awareness about how their experiences, in many ways, cannot possibly resonate fully with many.

Pead believes Kardashian, who is studying to be a lawyer and has already used her profile to help free prisoner Alice Johnson, will have an evolving sense of purpose as she ages. I wouldnt be surprised if she becomes some kind of human rights ambassador, or goes into politics. There is sort of a blueprint by Ronald Reagan and Donald Trump.

As for the rest of them: Theyve demonstrated their staying power. In the celebrity world theyre the ultra-marathon runners. The only celebrities to have outrun them would be Keith Richards, Mick Jagger, and the Queen.

Zemke points out that the Kardashians children may be the next generation to take up the mantle. Should the adults wish to get away or retire, it would be interesting, I dont think the media would let them go that easily.

The Kardashians will debut on Disney+ in New Zealand on April 14.

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Keeping up with the Kardashians' confounding popularity - Stuff

More accurate, more robust, smaller, thinner...these are goals that have motivated watchmakers for centuries. Now, however, the watch world has just seen a milestone in the latter: the newly announced Bulgari Octo Finissimo Ultra, which is barely thicker than a U.S. quarter and the thinnest mechanical watch in the world.

Sorry about your still highly impressive 2mm-thick Altiplano, Piaget, but Bulgari has snatched the mantle with a mechanical watch measuring a fraction of a millimeter thinner; the new one is just 1.8mm thick. A difference of 0.2mm might not sound significant, but cramming all 170 of the movement's intricate little parts into that space is no mean feat; in fact, it involves eight patented solutions.

Like the Piaget Altiplano, part of how Bulgari achieved this extreme svelteness was by combining elements of the case and dial into the movement itself. For example, the movement's mainplate (its foundational structure) doubles as the caseback. Materials like titanium for the 40mm-wide case and and tungsten carbide for the caseback/mainplate were used to maintain overall rigidity because at this level of thinness you have to worry about things like the watch itself bending or breaking. The crown has been replaced with two horizontal knobs (one for winding and one for setting the time), and even the bracelet and its clasp required new engineering solutions to match the case.

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Bulgari's Octo collection turns 10 years old in 2022, and it's long been the brand's technical playground in its competition for thinness and world records. The Finissimo Ultra is its eighth record, following very specific achievements like the "thinnest automatic watch with monopusher chronograph and tourbillon." Of course, the "thinnest mechanical watch" overall (without all those qualifiers) is the grail of Bulgari and the other brands with a horse in this race.

The Finissimo Ultra is notable for its thinness, but also for highlighting ten years of the Octo collection which has become the brand's flagship. It derives from the pen of Gerald Genta, the designer of watches like the Audemars Piguet Royal Oak (which is turning 50 this year) and the Patek Philippe Nautilus, which are very much in the zeitgeist right now. Sharing some common design traits with those watches, Bulgari's announcement is timely in a few ways.

Aside from its nearly two-dimensional appearance, a striking visual element of the Octo Finissimo Ultra is the QR code laser-engraved on the movement's ratchet wheel. Each watch also comes with (sigh) an NFT that helps authenticate it, as well as offers "exclusive access to a dedicated digital universe."

It's hard to imagine watches getting any thinner than this, and if they do it'll be by minuscule increments. But technical challenges such as this are where innovation still feels most relevant in the watch industry. While it might be hard to get your hands on one of the only 10 examples of the Octo Finissimo Ultra being produced and costing ~$440,000 each, the solutions used here may ultimately trickle down to thin watches that might be more affordable.

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Bulgari Releases the Thinnest Mechanical Watch in the World - Gear Patrol

More than four years after his abrupt resignation amid a sexual harassment scandal, former Amazon Studios chief Roy Price publicly remarked on the damning expose that forced his ouster.

As Price sees it, his exile has more to do with timing than anything else.

Speaking to Bloomberg for a podcast detailing the rise of Amazon Studios and the broader Amazon Prime Video empire, Price seemed to indicate that the gravity of his career crisis was influenced by its proximity to the zeitgeist-shifting Harvey Weinstein scandal.

Writer Kim Masters' expose on Price's ill-fated 2015 interaction with producer Isa Hackett was published on October 12, 2017, the same week that the New York Times and New Yorker published separate stories that not only destroyed the career of movie mogul Harvey Weinstein and led to his criminal prosecution and imprisonment, but also spawned the global #MeToo movement.

Amazon's investigation of the 2015 Price-Hackett event, which was reported immediately to Amazon higher-ups by Hackett and originally detailed in an August 2017 report in The Information, came to an indefinite conclusion. However, Price said the timing of Masters' THR report -- which came out two months later, right as the Weinstein reports hit -- was too much for the seminal Amazon video executive to overcome.

"That was not a good week to have a bad article," said Price, 55, who has not worked since leaving Amazon.

Certainly for Price, timing couldn't have been everything.

Hackett, the married executive producer of Amazon original series Man in a High Castle, claimed Price made unwanted and lewd overtures to her in an Uber ride to a 2015 pilot screening event at ComicCon in San Diego.

Commenting publicly for one of the few times since his departure, Price doesn't dispute the interaction occurred, but claims he wasn't coming onto the producer, merely engaging in a self-deprecating joke that was misunderstood.

"It was obviously unfortunate and unintended," Price told Bloomberg, conceding there was "banter in the Uber" amid the "very short" 1 a.m. ride that also included another Amazon employee.

"I deeply apologize if the banter was overboard," Price added. "Everyone has the right to define their own line of humor..."

The son of FrankPrice, who served as chairman of Columbia Pictures and Universal Pictures, the Hackett event wasn't the only socially awkward, sexually charged moment tied to Price during his 13-year tenure as Amazon's first video exec.

Price hasn't given many interviews since his departure. But in November 2020, he told the Los Angeles Times that he wasn't looking to "elicit sympathy," but he doesn't think his #MeToo transgressions rise to the level of Weinstein, comedian Louis C.K. and former Fox News anchor Bill O'Reilly.

I just didnt believe that, like, a false, vicious, totally contrary-to-fact narrative like that could be articulated, that it could actually be accepted and impact your reputation and all of your friends and family, Price told the L.A. Times. It just seemed like such a bizarre set of circumstances out of some Russian novel.

The L.A. Times also spoke to unnamed Amazon co-workers who said the "punishment didn't fit the crime," and who also implied that Price's firing was influenced by "internal and external pressures" occurring at Amazon in 2017.

Masters' report detailed broader cultural issues under Price. And there was plenty fo circumstantial smoke tied to his Amazon exit. Not only did Amazon Studios under the former top executive's watch sign a multiyear deal with another noted #MeToo transgressor, Woody Allen, two of the biggest stars for two of Amazon Studios' seminal hits, Casey Affleck (Oscar contender Manchester By the Sea) and Jeffrey Tambor (original series Transparent), ended up under on-set sexual harassment scrutiny, as well.

However, as Bloomberg noted, at the time of Price's ouster, Amazon Founder Jeff Bezos -- enthralled and absorbed by the Hollywood industry he'd originally sought to disrupt and unseat -- was putting Price under pressure, seeking to broaden the reach of Amazon Studios beyond niche, artist-driven shows like Transparent into globally impactful hits.

"Over time, your audience gets bigger as your service grows around the world. And you really need some tentpole shows," Price told Bloomberg. "So you've got to have, whatever it is, your Game of Thrones."

Bezos even told Price at a meeting, "Bring me my Game of Thrones."

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Former Amazon Studios Chief Roy Price on His Downfall: 'That Was Not a Good Week to Have a Bad Article' - Next TV

Informing the viewer about a previously unreported incident or inspiring them to make a real-life change, the documentary medium is one of the most noble genres of filmmaking, often striving to better the world we see around us.

From classics of the genre such as The Thin Blue Line, Titicut Follies and Grey Gardens to modern greats like Flee, Summer of Soul and Free Solo, the hunger for quality documentary features have never ceased, with viewers constantly interested in films that may challenge their perception of the world around them. Whilst many documentaries come, inform and then leave, others will force genuine personal change.

Nearly every modern documentary will describe itself as life-changing or a genuine must-watch, so weve sifted through such popular claims to bring you ten films that hold the power to genuinely change your life. Including the films of Werner Herzog, Asif Kapadia and Michael Apted, as well as modern Netflix specials, lets delve into ten original stories and unique life lessons.

This influential documentary from Jennie Livingston tells the story of the New York drag scene during the 1980s, focusing on the eccentric individuals who brought life and vitality to a movement that would impact the world. Shedding light on the complexities of the scene and those who make it such a wild success, Livingstons film is essential viewing for anyone interested in how the modern zeitgeist was moulded by the 80s scene.

Also touching on issues of racism, poverty and homophobia, Paris is Burning explores the necessity of inclusion whilst celebrating a scene that thrives on its sheer vigour and zest.

Asif Kapadias documentary about the great Amy Winehouse is a modern tragedy highlighting the shortcomings of modern media companies that force young talent to destruction. Lovingly told, the film explores the background of the singer, charting her childhood, her meteoric rise to stardom and her tragic fall from grace, passing away on July 23rd, 2011.

Encouraging the viewer to consider their own place in the media firestorm aimed at celebrities that is so often heightened by everyday people on social media, Amy is a crucial modern classic.

The role of advertising and fake news is so rife in modern society that its genuinely difficult to discern when we are being marketed to at all. Filip Remunda and Vt Klusk realised this way back at the start of the new century with their film Czech Dream which studied the role of advertising in persuading the masses to follow a fabricated truth, no matter what they read about the matter was real or not.

Watching this often hilarious Czech documentary will, no doubt, make you pause for thought before you fall victim to an advertising ploy, or indeed are lied to by key political figures.

Known as one of the greatest documentary filmmakers of all time, Werner Herzog has long deconstructed the role of man in the existential modern world. Following a man who spends his annual summer living with grizzly bears on an Alaskan reserve, Herzog examines the indelible connection humans have with animals, asking if it is indeed insane or indeed strangely noble to spend so much time with them.

Quiet and reflective, Grizzly Man invites internal discussion as to ones own peace with the wilderness, viewing nature in an entirely different way thanks to Herzogs unique touch.

Many food-related documentaries have tried to change attitudes to human consumption across the years, with Food, Inc. and Super Size Me both presenting compelling, now outdated, arguments for change. One message that has never faltered, however, is that of Shaun Monsons Earthlings, a film that is responsible for turning hundreds of people across the world into animal rights advocates.

Presenting the disturbing reality for so many mistreated animals across the world, Earthlings, narrated by Joaquin Phoenix will genuinely change the way you look at animals.

War documentaries can too often get bogged down with explosive visuals and dramatic real-life moments, though its the small, intimate journey of Waad Al-Kateab in the disorientation of war that truly prompts serious thought. Directed by the subject of the film as well as Edward Watts, the story details the female experience of war, focusing on a couple raising a child in the chaos of the Syrian Civil War.

Swirling an emotional whirlwind, Waad Al-Kateab and Edward Watts create a truly compelling film that details the story of wars most forgotten victims, the women, children and everyday citizens of a town under siege.

A vast exploration of race relations in the USA, I Am Not Your Negro is based on an unfinished project by writer and activist James Baldwin named Remember This House. Detailing the lives of three revolutionary public figures, and close friends of Baldwin including Martin Luther King, Jr, Malcolm X and Medgar Evers, Pecks film is a galvanising, bold project.

Whilst offering a comprehensive insight into the efforts of multiple civil rights pioneers, Peck also explains just how far society is yet to go to reach true equality, shedding light on the racism of Hollywood among other institutions.

There is simply no better document that explores the horror of the holocaust than Claude Lanzmanns incredible, explorative documentary Shoah which is sure to alter your perspective on one of the greatest tragedies of human history. Clocking in at over nine hours, Lanzmanns film presents interviews with survivors, witnesses and perpetrators during visits to multiple German extermination camps across Poland.

Brutal and hard-hitting, Shoah is one of the toughest documentaries to get through, though once you have, your perspective on the mid-20th century tragedy will be forever changed.

English filmmaker Adam Curtis has made a name for himself as a documentarian who is able to access the very heart of the contemporary zeitgeist, breaking down the internal structures that govern the modern world with staggering intricacy. HyperNormalisation, one of his many modern efforts, tells the story of how fake news and oversimplification has formed a strange world of artificial thought.

A near three-hour exercise for the brain, there is no doubt that Adam Curtis film will change your view on modern life, allowing you to see through the lies of modern consumerism and see the western world in an entirely new light.

Described by the American film critic Roger Ebert as an inspired, even noble, use of the film medium, the Up series, largely directed by Michael Apted, tracks the lives of 14 young boys and girls from various backgrounds, revisiting them every seven years to track their progress. Starting in 1964, the series has produced nine episodes, with each one providing a fascinating insight into how the 14 subjects have changed and adapted with every significant stage of their life.

Life-affirming, melancholy and utterly enveloped with the positive human spirit, the Up series will change the way you recall your own childhood and will adapt the way in which you perceive those around you. As Ebert states, it is indeed a noble, cinematic classic.

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The top 10 documentaries that can genuinely change your life - Far Out Magazine