The Amazon series Good Girls Revolt, centered on a landmark 1970 gender discrimination case at Newsweek, is the kind of period drama that’s more interested in commenting on the present than re-creating the past. The storyline about professional journalists plays fast and loose with the facts.
Grief unleashes self-centered bluster instead of contemplative sorrow in the talky drama Childless. Four relatives preparing to attend a funeral focus less on the sudden death of sixteen-year-old Katherine (Natalie Dreyfuss) and more on relationship anxieties. Mary (Diane Venora) envisions an awkward reunion with ex-boyfriend
Quincy Rose bookends his first feature with scenes of himself jogging through dark L.A. streets, Miles to Go before he sleeps. Exhausting nocturnal runs are part of a routine that stymied writer Miles (Rose) adopted after breaking up with his ideal girlfriend, Julia (Jen McPherson).
Music is used sparingly in Felix and Meira, and each song is key to expressing unspoken emotion. After Shulem (Luzer Twersky) leaves his modest home in Montreal’s Hasidic enclave to attend prayers, his wife Meira (Hadas Yaron) puts on a forbidden record, “After Laughter (Comes
Clinton Moisey (Fran Kranz), the man-child in Murder of a Cat, calls his sleuthing alter ego Doghouse Reilly, after Philip Marlowe’s jokey alias in The Big Sleep. This choice sums up the tone of Christian Magalhaes and Bob Snow’s screenplay (on the 2010 Black List),