“My point is that while the Oscars aren’t perfect, they continue to change. ‘Oscar bait’ as we know it today is incredibly different from the tastes of a decade ago.” A dose of Academy Award snarcasm from Jon Negroni.

Grace, a linguist-in-training, digs beyond the innocent facade of Disney’s animated features and discovers persistent racial stereotypes and female heroines who speak less with every passing decade.

“I made this film for one reason: with the hope of creating change agents.” At the Sundance Film Festival, Flavorwire film editor Jason Bailey reviews Nate Parker’s film, The Birth of a Nation.

“This is the point of art and music and films and books. They are meant to ignite passion and love and interest.” Hannah Mary on the death of actor Alan Rickman, collective public grief, and why we all have our reasons for being sad.

An epic illustrated oral history of the making (and near unmaking) of Paul Thomas Anderson’s ensemble film Boogie Nights, published on Grantland.

Actress Heather Matarazzo recalls when she lost a role in a movie because she wasn’t f*ckable: “I can still feel the pain, shame, and humiliation that came over me in that moment…. I had to really look at myself and see my beauty, and once I could accept the harsh reality that I was indeed, not only f*ckable, but fu*cking beautiful, everything started to change.”

If Aziz Ansari is right that there’s limited space for Asian actors on television, then Arnab Chanda is out of luck — but he’s not giving up, and the industry has to change.