hollywood insider

How can I sleep at night? There’s a war inside my head.
—  Hollywood Undead
Elephant in Glass

As denofgeek.com have pointed out, Arwel likes elephants. I thought there were no elephants in TLD, and took that as a bad sign, but they’ve spotted the glass of Eurus’ cell is “Elephant Glass. Shock Proof.”

I’ve already thought the glass might be significant - Eurus’ glass cell (which draws on Silence of the Lambs) reminds me of the phrase ‘Glass closet’ - the name used for gay people and gay relationships in Hollywood, where the insiders know what’s going on, but it’s an open secret - it has not been made public. Is TJLC now in the ‘glass closet’?

Add to that the fact that the glass walls to Eurus’ cell aren’t actually real, apparently, at least in Sherlock’s scene… and the interpretation could be that TJLC is in the glass closet, but the walls aren’t really there. Or, as it looks like the walls do exist later (someone clear that up for me, please - I am so confused) - maybe only some people see the walls? Added to that are the walls in Sherlock’s cell, which are not real, and he’s able to knock them over and go to save John.

I have a feeling the glass walls being there, or not, is an important metaphor. I’m just not sure I understand it.

(Edit - Oh my goodness, just seen, Arwel actually retweeted the denofgeek article where this glass shot is pointed out!)


The funniest women on television share their most sexist Hollywood moments 

In a roundtable interview with the Hollywood Reporter, Lena Dunham (Girls), Amy Schumer (Inside Amy Schumer), Gina Rodriguez (Jane the Virgin), Ellie Kemper (Unbreakable Kimmy Schmidt), Kate McKinnon (Saturday Night Live) and Tracee Ellis Ross (Black-ish) dished on sexism, racism, performing in comedy and still fighting the trope that women aren’t funny. Their discussion was as hilarious as it was thought provoking.


Inside Hollywood’s first gay bar: Call Her Savage (1932)

This scene from Clara Bow’s 1932 comeback movie was the first of its kind (that is, the first Hollywood film to depict what is clearly a gay bar complete with same sex couples) and would be the last for the next 30 years until Otto Preminger’s 1962 Advise and Consent. In this scene heiress Nasa Springer (Bow) has asked Jay Randall (Anthony Jowitt) to show her around New York. Their detour to the above bar is fascinating both as a contemporary recreation and for the lack of snide remark or comment of any kind it elicits from Bow, her beau, director John Francis Dillon, or writers Edwin J Burke and Tiffany Thayer. Neither the bar nor its patrons require either ridicule or explanation, they simply exist. There are several rather seedy scenes in this movie but this is certainly not one. In that respect Call Her Savage stands in stark opposition to 1962′s Advise and Consent where the infamous gay bar scene is essentially a way of illustrating the corruption and general seaminess of certain characters, gay bar scenes thus functioning as a kind ‘eye into the underworld’ for several decades following. I should point out for the sake of fairness that Savage is quite an un-PC film by today’s standards. But it is revealing of Pre-Code era filmmaking that miscegenation is more taboo and elicits a greater need for censure and explanation than either homosexuality or female promiscuity.

Bow and Jowitt aside, all actors in these scenes are uncredited extras, including the very good dancing waiters.


Rick Owen’s wife, muse, creative collaborator and business partner, Michèle Lamy is revered as one of the fashion industry’s true eccentrics. She cuts a distinctive silhouette even in the fashion circles of Paris, owning to her singular gothic priestess look and gold teeth. Lamy first met Owens through his then-boyfriend, hiring him as a patternmaker for her own line, Lamy. At the time she was living in Los Angeles and running Les Deux Café, one of Hollywood’s true insider spots, based behind an unmarked door in a car park. Owens and Lamy moved to Paris in 2002 to reopen the furrier house Revillon and introduce Rick’s signature line, for which she is a muse and creative consultant. Lamy also works with London-based designer Gareth Pugh.

The Last Days of Night — announced as Eddie Redmayne’s next film project — has landed on the annual Blacklist of “most liked” screenplays that didn’t start production in 2016: http://www.hollywoodreporter.com/news/2016-black-list-screenplays-announced-updating-live-954992

Rumor control: This does not mean the project has been killed. It is, in fact, a positive thing, indicating Hollywood insiders think highly of the fact-based legal battle between George Westinghouse and Thomas Edison, masterminded by inexperienced young lawyer Paul Cravath (Redmayne). In addition to Redmayne, the project has a fine pedigree, reuniting Morten Tyldum and Graham Moore who directed and wrote, respectively, The Imitation Game, which earned Moore an Oscar.

Some of the earlier Blacklist films that have gone on to critical and awards success are The King’s Speech, Slumdog Millionaire, The Revenant, Argo, Juno, Spotlight and American Hustle.

It is disheartening that there haven’t been any casting or production announcements (while a rival film, The Current War, starring Benedict Cumberbatch, Nicholas Hoult and Michael Shannon is moving full speed ahead), but let’s keep hope alive.

I was just thinking and I find incredibly fascinating the way so say “i love you” differs A LOT if you are from Spain or from Latinoamérica.

Correct me if I’m wrong but spanish people almost never say “te amo” which is very common for latinoamerican people. Saying “te amo” is too strong for us, I think I’ve never heard anyone saying that in real life lmao but instead we say “te quiero” and if you are motivated enough and you have drunk a lot or you are feeling like you are living inside a hollywood movie you could use the passionate: “estoy enamorado de ti”, which means “i’m in love with you”.

Oh and it’s really captivating when people use “LAS amo” (which is very common when music groups are touring) because we don’t use the formal form like…  never. Just when you are writing formal letters or talking to someone very very important. Or to that old lady who is struggling on the bus and you want her to sit on your place.

Aren’t languages fascinating.


Audience reactions to seeing Halloween in 1979.

“This is actual AUDIO (with the appropriate video scenes added) taken inside a Hollywood Boulevard movie theater in October 1979. I lived in Hollywood, California at the time. But failed to see the film in 1978 when it originally came out. The following year, in October 1979, it was re-released and playing at the Vine Theater (on Hollywood and Vine), where it was doubled-featured with The Toolbox Murders (also from 1978). I took an old Radio Shack cassette tape recorder inside the theater with me and sat in the front row to try and capture some of the music audio from both films. The Toolbox Murders’ audience was quiet. HALLOWEEN’s audience was not.”