“This is Jurassic Park: Castlemaine Redux, a shot-for-shot remake (if you squint) of Jurassic Park.” The film's director, with a $3,000 budget, has classic Australian issues: “Some sheep walked into the last shot and screwed up the continuity.” - The Guardian (UK)
But this surprise is of the good, even great sort: The theatre “has paid $9.5 million to buy back the campus it lost in bankruptcy in 1970 — a remarkable feat for a theater organization, and a building, brought back from the brink.” - Los Angeles Times (MSN)
"Weimar cabaret has a kind of punk, dirty, gritty, raw, social commentary energy about it. … It flares up in times when there’s a lot of scary shit happening in the world.” - The Guardian (UK)
“Dance has always been more fragile as an audience draw; we are so keenly aware of that and are always trying to build bridges to help audience members find ‘their stories’ in our performances.” - Wisconsin State Journal (Internet Archive)
“We’re competing against are taking our business, our assets, our storytelling and hiring their crews instead of our crews, and that’s not good for business here.” - Los Angeles Times (MSN)
As with any large-scale production - though this one also involves a lot of mechanics around the rides - there’s an army of creative workers that theme park visitors never, ever see. - Fast Company
Sarah Boardman: “President Trump is entitled to comment freely, as we all are, but the additional allegations that I 'purposefully distorted' the portrait, and that I 'must have lost my talent as I got older' are now directly and negatively impacting my business.” - BBC
Also: “We technically could create a ‘universal’ solution, but every color space is made for different purposes, and they impact how everything is displayed, from the shades of a website to the color grading of a TV show. We would be sacrificing the ability to optimize anything.” - The Verge
John Lithgow, who won best actor, “thanked the audience for ‘welcoming me to England’ and said ‘it’s not always easy when you welcome an American into your midst,’ highlighting that this moment was ‘more complicated than usual’ for” US-UK relations. - The Guardian (UK)
A nonprofit, the Upper West Side Cinema Center, bought the building with state and local funds. "It plans to revitalize the building, on Broadway near West 99th Street, with a five-screen theater, a lobby lounge and a public cafe.” - The New York Times
“Repertory theatres are not funded properly any more. ... I’d love to see regional theatres given more funding. When I was starting out, it was amazing. You could go anywhere. It was a real training ground.” - The Guardian (UK)
“Marcus was everywhere that mattered to a young, determined and very talented artist in the late 1950s and ’60s. In Provincetown, Mass., on Cape Cod each summer, painting out of a shack in the dunes. At the Cedar Tavern in Greenwich Village, holding her own.” - The New York Times
At least, that’s what Philip Kennicott thinks: “What will become of the one-man Kinkade business model if there is no Thomas Kinkade, or people lose interest in him? A stash of originals and secret works of tormented genius is a hedge against that.” - Washington Post (MSN)
