Editor’s Note: Projecting features a selection of great film and television focused writing from around the internet.
Brian Tallerico looks at the career of legendary artist John Alvin, for RogerEbert.com:
A true artist, the most important movie poster designer of the ‘70s and ‘80s took the visuals of the industry and turned them into art. When I was a teenager, I actually collected movie posters, framed and hung on my wall, and I believe that Alvin’s approach to the form greatly influenced my love of movies. This wasn’t advertising, it was art—an extension of the art of filmmaking in the way it distilled the essence of a story down to imagery.
Britt Hayes sees Jenna-Louise Coleman’s Doctor Who exit as an opportunity for more companion diversity, for Screen Crush:
Where ‘Doctor Who’ has gotten more interesting in the modern run has been in introducing more diverse companions: Catherine Tate as Donna Noble, a woman in her mid-30s, who is small-minded and skeptical of the Doctor — not all awe-struck and gooey-eyed like his younger companions. Then there was Martha Jones, played by Freema Agyeman, a young black medical student who falls in love with the Doctor but whose feelings are unrequited. Along the way, there’s also Rose Tyler’s working class boyfriend Mickey Smith (also black) who joins up as an additional companion for a handful of episodes; Rory Williams, Amy Pond’s fiancé and later husband; and Jack Harkness, the first non-heterosexual character and sometimes-companion, who would later spin off to his own series, ‘Torchwood.’
Wil Jones defends so-called egotistical, self-obsessed criticism, for Film Divider:
To expect a film review to tell you whether a film is ‘good’ or ‘bad’, or even if you should go and see it, are missing the point completely. Badass Digest’s Devon Faraci recently said on the Fogelnest Files podcast that he didn’t see the point in reviewing something like A Haunted House 2 anymore. If you happen to think that film is worth going to see in the cinema, and I’m not judging you if you do, I don’t believe you do so because you read a glowing review.
Alison Wilmore examines how Eva Green stole two Frank Miller sequels on her path to becoming the queen of sexy-scary, for Buzzfeed:
The men might die for the women, seek solace in them, get them killed, and avenge them, but the women themselves are rarely the focus. And yet…as Artemisia and Ava, Green disrupts this pattern by refusing to be an object who is primarily gazed at or acted upon. In Sin City: A Dame to Kill For, she’s just as sexualized as her fellow female cast members (including Alba, Rosario Dawson, Jaime King, Jamie Chung, and Juno Temple), but she’s fully in control.
