And then there’s the experience of being nominated for an Emmy for that role, on Killing Eve, as well: “It felt like this place where my community is really waiting to see themselves. And I can just see that in people’s faces. There’s joy and grief in there.”
Tag: 08.12.18
The British Home Office Keeps Refusing Visas To Writers And Artists, Causing Big Problems For Festivals
The UK publisher of a Palestinian journalist whose visa was denied and denied before finally – too late for her to get to the festival, of course – being OK’d at the last minute: “It feels like we’re all sleepwalking into a new age of nativism. … We’re not just talking about classic, difficult-to-prove institutional racism. We’re talking about quiet, effective cultural censorship. The Home Office is saying, in effect: British readers shouldn’t be hearing from other perspectives at our book festivals; their voices are of less worth; British voices first.”
The Impossible Legacy Of V.S. Naipaul
This is what the NYT, and everyone, meant by calling him “controversial” – a lot more than a couple of issues. “As much as any single great writer of the 20th century, Naipaul is present in everything he wrote. His life story; his caustic, penetrating, often callous opinions; his cruelty; his genius: All are there, in his novels and nonfiction. Naipaul inflicted extreme psychological abuse on his first wife, Patricia Hale, beat his mistress, and seemed defiantly proud of his racism, misogyny, and toxic political views; to talk about separating the art from the man seems especially futile in his case.”
These Architects Turned Their Office – Logically, They Say – Into A Working Farm
And it’s in London – as in, in the city. “Many architects have a yearning for the primitive hut, but few can boast pigs outside the window of their office. ‘It does lead to some awkward phone calls. … Clients ask what the grunting noise is in the background.'”
Netflix Originals Predominate Its August Releases For The First Time, Marking A Sea-Change in Streaming
“The aggressive move toward original programming is having a palpable effect on content available to subscribers and reflects Netflix’s ambition to dominate Hollywood. The Los Gatos, Calif., company has already upended traditional distribution models and is now lessening its reliance on content from competing studios to fill its direct-to-consumer pipeline.” But without Disney and other licensed content, can Netflix compete in the streaming market for long?