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What do Mad Men, The Good Wife, Gossip Girl, and Looking have in common? Aside from being four of the best TV series of this century? (I said what I said.) On the surface, they look very different. Mad Men is about advertising creatives in 1960s New York. The Good Wife is about a Chicago lawyer rebuilding her career after years spent raising children. Gossip Girl (the OG one) is Edith Wharton’s The House of Mirth — if it were about teenagers with smartphones. And Looking is about three gay friends in San Francisco trying to figure out adulthood. But underneath it all, all four shows are asking some version of the same thing:Is who we are privately the same as who we are publicly? And is who we think we should be getting in the way of figuring out what we actually want? (Questions I suspect most of us keep running into in one form or another.) But we don’t usually talk about them in the same breath — even though, if you’ve loved one of these shows, there’s a good chance the others are closer to your taste than you might think.We tend to sort shows into different categories — prestige drama, courtroom procedural, teen soap, a show about queer people — and decide what’s “for us” from there. And sometimes, that means we miss something we would've loved. Looking, especially, has slipped under the radar — HBO's first show centred on gay men, cancelled too soon, and still unlike almost anything that's come after it.Not least because it's INCREDIBLY directed — half by co-showrunner Andrew Haigh, who went on to make All of Us Strangers — and features performances from generational talents like Jonathan Groff. It's a show I wish more people had found. Because it's pretty rare to find a show about wrestling with existential questions that is also this warm, funny, and easy to spend time with. (For the record, I have never felt more seen by any TV show — even though I'm not a gay man in San Francisco — perhaps because Looking is about doing the hard work of looking inward and shaping your life to fit you.) This summer, I’m opening a new program — The Long Arc — to watch and unpack the first season of Looking together, one episode each week, and dig into how the filmmaking shapes the story.If that makes you curious... 👉 You can find all the details here Alex PS I’d love to know which of these shows is your favourite. |
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On Sunday night at 9:15 pm, I filed into the InsideOut screening of Allan Deberton’s Gugu’s World, a Brazilian film about an 11-year-old queer boy growing up with his doting but ailing grandmother — after his father couldn’t accept him as he is. Earlier this year, the film premiered in the Berlinale’s Generation section — dedicated to films about young people, for young audiences — where it won the Crystal Bear for Best Film for audiences under 12. So why was it screening at 9:15 pm? And why...
There's a moment at the beginning of Lean on Pete that seems so naturalistic and incidental, it hadn't even occurred to me it might reveal a lot about the central character, Charley. On his way out for his morning run, Charley picks up a moving box lying on the ground in front of his house and puts it in a recycling bin. When I talked to writer-director Andrew Haigh about the film, I discovered that this moment was actually written into the script. As Haigh put it, "He’s leaving the house,...
You might be wondering what it's actually like to step into The Deep Focus. So here's a little taste. The first thing I always do is point you to a moment worth looking at. Below is one from the beginning of Sentimental Value. Take a sec to see what you spot in the image. Everything counts — even (and especially) the obvious. You might have noticed: ✨ We're looking through a window (which takes up most of the frame). ✨ We're watching someone through glass. ✨ Someone is leaving. ✨ It's a...