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Martin Scorsese: tell me about great movies, not content | Martin scorsese

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I have long harbored an irrational loathing for the word content, especially when used as an occasional substitute for something like a movie, TV show, or work of art or music.

I suspect that often when people use the word it is to make them feel like they are Succession, as everything was languishing in a never-ending episode of The apprentice. It’s representative of the kind of sneaky business talk that has become normal for non-traders, like personal branding or blue sky thinking. Don’t get me started on the contact base.

Imagine my pleasure, then, when I read Martin Scorseses test for Harpers about Federico Fellini, who despises the notion of art as content. Scorseses’ play is ostensibly about the Italian director, although it is also an extension of his ideas on the industry’s risk aversion, which he first presented in 2019, speaking of the success of super movies. heroes and the way they are not cinema. I love a Marvel movie as much as the next nerd, except the ones that cross the three hour barrier, because none of them need to be that long and they just show off, but Scorsese argued that releasing a superhero sequel after a superhero sequel simply satisfies an existing demand, rather than allowing films to be surprising or unexpected, which could create new demand.

He returns to a similar territory in Harpers, with a long and learned work on the art of cinema, making reference to Truffaut, Godard, Cassavetes and Antonioni, with some thoughts on the problems of algorithms dictating the films of which we, spectators, are aware. I enjoyed his praise for curated platforms such as Mubi, although my own Mubi subscription persists as a regular reminder of how terrible I am to spend the evening watching another reality show about dogs. who don’t know how to behave, when I should be watching an overlooked French classic about heartbreak and infidelity before it goes.

Scorsese contends that the art of cinema is systematically devalued, sidelined, demeaned and reduced to its lowest common denominator, content, noting that a word used almost exclusively in the context of business is now applied to all moving images. It’s worse than that. It is used for everything. A song, for example, is happy, so is the material around it, just like an interview to promote it, just like a post someone writes about how much they love it. Scorsese takes a stand, but I fear it is already too late.

The countdown is not the place of spite

Anne Robinson: a consonant, please.
Anne Robinson: a consonant, please. Photograph: Dan Wooller / Shutterstock

My lockdown-three bingo card, handcrafted from sourdough and salty tears, had of course called on Conservative backbenchers to call for an early end to restrictions, science be damned.

What he didn’t have was that Anne Robinson was scheduled on Twitter for something she said on an episode of The weakest link, a quiz that ended in 2012. When she was appointed the new host of Countdown a clip resurfaced, showing it wickedly snobbish to a competitor.

It was the kind of wickedness you didn’t see a lot in pop culture now, although it was common before wickedness was outsourced to trolls. The weakest linkThe selling point of s was that she was tough on applicants; she purred insults at them, and they joined in, expecting to be insulted.

It was also the time of The X factor spotlight people who couldn’t sing and make fun of them for daring to think they could. The past two years have seen attempts to rethink this period, with documentaries like Jade: the reality star who changed Britain, Celebrity: a 21st century story and Coaching Britney Spears showing how cruel the spotlight could be.

The times have changed. Robinson succeeds Nick Hewer, who became famous on The apprentice, a show not known to be kind to its budding tycoons. He did not host Countdown as if Alan Sugar was about to fire every competitor. I’m sure Robinson will avoid berating anyone for his personal life when all they would like is a consonant, please.

Jason Donovan Should Be On Danger Money

Back pain: Jason Donovan.
Back pain: Jason Donovan. Photograph: ITV / REX / Shutterstock

reancing on Ice fans will be disappointed to learn that there will be no live dancing on ice or otherwise on ITV this weekend, after a combination of Covid and injuries Drastically reduces the number of celebrities who can participate in the episode.

You know what they say: Losing one competitor is unwise, but losing five maybe a sign that the competition is over. Hunger games than the Olympic Games. Jason Donovans’ back pain meant he would miss another show, as Emmerdales Joe Warren-Plant had to step down after testing positive for Covid, just like Rufus Hound did earlier this month.

The well-being of everyone involved is important to us and we felt it was prudent to take a week’s break at this point, a spokesperson for the BBC said, to which you can only respond, duh. Dancing on the ice is, inexplicably, on its 13th series, and I say inexplicably, because I can’t understand how celebrities remain unharmed.

If it ever ends, maybe they could try another activity. I propose Everything on this basis, a new concept in which celebrities try the basic jump and hope they can learn the skills in time.

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