Films
Rose McGowan slams Meryl Streep for silent Golden Globes protest: ‘YOUR SILENCE is THE problem.’
McGowan recently went public with allegations that Harvey Weinstein raped her (Picture: AP)
Rose McG..
Rose McGowan has slammed Meryl Streep for allegedly planning a silent protest at January’s Golden Globes ceremony.
It was claimed on Thursday by The Morning Breath show hosts Jackie Oshry and Claudia Oshry that ‘of the female actresses and attendees, or most of them at least, are standing in solidarity together in a form of protest’ and that they plan to wear black ‘to protest the injustices that have been taking place in Hollywood since forever’.
McGowan, however, who has been an outspoken critic of many who she believes continue to play a role in the problems within Hollywood, took to Twitter on Saturday to criticise the actresses planning their silent protest.
Actresses, like Meryl Streep, who happily worked for The Pig Monster, are wearing black @GoldenGlobes in a silent protest. YOUR SILENCE is THE problem. You’ll accept a fake award breathlessly & affect no real change. I despise your hypocrisy. Maybe you should all wear Marchesa.
— rose mcgowan (@rosemcgowan) December 16, 2017
‘Actresses, like Meryl Streep, who happily worked for The Pig Monster, are wearing black @GoldenGlobes in a silent protest,’ she tweeted; the Pig Monster is a reference to Harvey Weinstein.
‘YOUR SILENCE is THE problem. You’ll accept a fake award breathlessly & affect no real change. I despise your hypocrisy. Maybe you should all wear Marchesa.’
Marchesa is the fashion label designed by Georgina Chapman, who was married to Weinstein; since the allegations over his decades-long harassment and assault of women emerged, she has filed for divorce.
It is not known if Streep planned to take part in the Globes protest.
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McGowan was one of the first women to step forward and claim that Weinstein had abused her, after stories in The New York Times and The New Yorker reported decades of sexual harassment and sexual assault, reportedly reaching private settlements with eight women.
Other women who have stepped forward including Ashley Judd, Gwyneth Paltrow, Mira Sorvino, Asia Argento, and Cara Delevingne.
MORE: Greta Gerwig, Jordan Peele and Wonder Woman miss out on Golden Globes nods after shock nominations
MORE: Glow’s Alison Brie reveals why sex scenes were ‘freeing and empowering’
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Films
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.
