Review: "Impeachment" Doesn't Live Up to Previous "American Crime Story" Seasons

by Christopher James

Boy you know exactly what you did in that White House.Ryan Murphy’s American Crime Story is back with more facial prosthetics and famous impersonations than ever. On its face, Impeachment was billed as the story of the Monica Lewinsky scandal. However, there is definitely a lot more on the show’s plate. In fact, it feels more squarely in Linda Tripp’s perspective. This could be an interesting lens to view the Clinton scandals and it’s nice that the show has some curveballs.

Unfortunately, it appears Impeachment is more about celebrity mimicry than properly dramatizing the Clinton scandals. There are plenty of great performances, particularly from Beanie Feldstein as Monica Lewinksy and Annaleigh Ashford as fellow Clinton accuser Paula Jones. It’s enough to keep people tuning in, but we’re a far cry away from the quality of the other American Crime Story seasons...

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The Timeliness and Timelessness of "Landline"

By Spencer Coile 

During a pivotal scene in Gillian Robespierre's Landline, just out on DVD, a familiar song begins to play. Curious to figure out what it was, I quickly Shazamed it on my phone to discover that it was Angel Olsen's 2016 song "Sister." It is an epic song -- almost eight minutes long, discussing the longing nature of wanting to change. I was initially delighted to hear a song that resonated with me back when years ago. But why was a tune from the late 2010's playing in a film that takes place in 1995? 

Landline is a film that is all about time. It is rooted firmly in the mid-90's with plenty of political, social, and pop culture references (Jenny Slate's Dana remarks that her and her fiancé rented Curly Sue from Blockbuster and that "it's a good film"). The use of "Sister," however, speaks to the film's transcendence from a period piece to one that is equally as relevant in 2017...

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knowing i'm on the tweet where you live... 🎶

But seriously though...

Dear future Emmy winners:

Pls take note of @HollandTaylor in 1999. This is how you pose with an award. pic.twitter.com/gcazv8vCs7

— Stacy Lambe (@sllambe) August 2, 2017

After the jump more amusing tweets including but not limited to Marisa Tomei, Six Feet Under, and Atomic Blonde...

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Viola & Edie

Viola Davis and Edie Falco, who are both in their early 50s and SAG Award nominated again for their show carrying work on How to Get Away with Murder (S2) and Nurse Jackie (S7, the final season) were interviewed together for the New York Times on their early days as actors and success coming when you're older.

Here's one interesting tidbit on embracing acting in their youth.

You both had rough childhoods. Viola lived in extreme poverty, and Edie’s parents kept marrying and divorcing, lots of family instability. Why choose careers that put you right back in that place?

EF: It seems cuckoo, doesn’t it? I haven’t seen Robert [Iler], who played my son on “The Sopranos” since the show wrapped. We come together so intimately as actors, then break apart, which was the exact narrative I grew up in.

VD: I stumbled onto the best profession to heal my childhood. The only one that lets you release and express whatever is ugly and messy and beautiful about your life. We’re in the business of creating human beings. The more we spew, and the more honestly we do it, the better. Try that on Wall Street. It’s why they throw all the kids with bad behavior into drama. We don’t care how screwed up you are. We actors love it. You can use it.

You felt that release as kids?

VD: No, I just wanted out. As much as I loved my parents, I wanted an escape.

EF: Same here. My parents did the best they could. But I grew up with so much craziness and turmoil at home, and I was in charge of fixing all of it. Being at school, or in plays, was a relief to me. I had such responsibility beyond my years at home.

You can read the whole interview here.