Harvey Weinstein Has Been Expelled From the Producers Guild of America


Following his expulsion from the Academy of Motion Picture Arts and Sciences October 14, Harvey Weinstein has also been kicked out of the Producers Guild of America. The PGA’s National Board of Directors and Officers met this morning, calling sexual harassment a “systemic and pervasive problem requiring immediate industry-wide action.” Their vote was unanimous.

Here’s the statement released by the PGA:

This morning, the PGA’s National Board of Directors and Officers decided by unanimous vote to institute termination proceedings concerning Harvey Weinstein’s membership.

As required by the PGA’s Constitution, Mr. Weinstein will be given the opportunity to respond before the Guild makes its final determination on November 6, 2017.

Sexual harassment of any type is completely unacceptable. This is a systemic and pervasive problem requiring immediate industry-wide action. Today, the PGA’s National Board and Officers — composed of 20 women and 18 men — created the Anti-Sexual Harassment Task Force specifically charged with researching and proposing substantive and effective solutions to sexual harassment in the entertainment industry.

The PGA calls on leaders throughout the entertainment community to work together to ensure that sexual abuse and harassment are eradicated from the industry.

Weinstein was also terminated by the Weinstein Company, which he co-founded. Dozens of women have accused him of harassment, assault, and rape.

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‘Game of Thrones’ Guest Actor Roy Dotrice Dies at Age 94


Roy Dotrice, a British actor well-known for his role in Milos Forman’s Best-Picture Oscar winner “Amadeus,” has died at the age of 94. According to a family statement, he “died peacefully on Monday, October 16 in his London home surrounded by family,” as reported by BBC News.

More recently, Dotrice was most known for voicing the audiobook version of “A Song of Ice and Fire” by George R. R. Martin, the source for HBO’s hit series “Game of Thrones.” For the first novel, “A Game of Thrones,” he voiced no less than 224 different characters. Thanks to this astonishing feat, Dotrice was awarded the Guinness World Record for most character voices in an audiobook back in 2004.

However, it was not just on paper and voice that Dotrice contributed to the high-fantasy world of Westeros. Initially, Dotrice was cast to play Grand Maester Pycelle in the show before Julian Glover. However, he was unable to do so because of health issues. Instead, he also starred as the pyromancer Hallyne in the Season 2 episodes “The Ghost of Harrenhal” and “Blackwater” back in 2012, in what ended up being his last on-screen role. You may remember his character for introducing wildfire, the highly radioactive weapon that was used in the Battle of the Blackwater.

Dotrice was also an icon in the London theatre scene. He is survived by his three children, Karen, Michele and Yvette, and seven grandchildren.

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The Legacy of Leatherface: Looking Back as We Look Forward to the Latest ‘Texas Chainsaw Massacre’ Film


(Editor’s Note: IndieWire has partnered with DIRECTV and Lionsgate to present the premiere of Leatherface – now available exclusively on DIRECTV and in theaters October 20th.)

With the October 20th release of Leatherface, the new Lionsgate prequel to The Texas Chainsaw Massacre series, let’s lurch back in time and appreciate the beloved and feared franchise for what it is: A good-and-bloody, and bloody good, icon that has shaped the horror genre – and popular cinema at large – for over 40 years.

So grab your farm tools and running shoes (and hope that your car is tanked up), because we’re putting the whole The Texas Chainsaw Massacre franchise in the rearview mirror…if we can.


Don’t you just love the smell of gasoline and cannibals in the morning?

The original 1974 film The Texas Chainsaw Massacre, directed by the late, great Tobe Hooper and co-written by Hooper and Kim Henkel, still stands alone as one of the grisliest and most groundbreaking horror movies ever made. Set in—you guessed it—rural Texas, the film follows a group of attractive young people in town to visit their grandfather’s family homestead. After picking up and kicking out a mysterious, violent hitchhiker, the motley (yet pretty) crew arrives at Grandpa’s home and makes themselves comfortable—swinging on tire swings and checking out the local swimming hole, as care-free, still-breathing teenagers tend to do.

When the group ventures into a nearby home looking for gasoline, however, they get more than they—and contemporary movie audiences—bargained for, setting off a bloody circus of events that includes meat hooks, chainsaws, dinner with dead grandparents, and semi-helpful semi drivers. At the source of the murderous madness, of course, is Leatherface, the skin-masked, cross-dressing psycho killer who remains one of the greatest and scariest murderers in cinematic history.

While the original film was marketed as a “true story”—one of the first movies to recognize the appeal of such a tactic by capitalizing on the audience’s morbid curiosity—Tobe Hooper only loosely based his film upon the highly-publicized exploits of real-world serial killers Ed Gein (who also partially inspired Alfred Hitchcock’s Psycho) and Elmer Wayne Henley.

The rest of the film’s “true” horrors were far more real and terrifying to audiences. The original movie essentially invented many of the now-ubiquitous horror tropes that audiences have come to love and expect, including…

  • The disfigured serial killer who takes sadistic pleasure in hunting and killing young victims
  • The perverse terror of mundane tools used as murder weapons
  • The uneasy isolation of middle America that mirrors the feelings of many restless teenagers
  • The “final heroine” battling against both her male tormentors and the society that enables them
  • The evil “system” that can’t be trusted (the original not-so-accidentally coincided with the Watergate investigation and close of the Vietnam War)
  • Themes of vegetarianism that subtly compare the barbarism of cannibalism with that of factory farms and slaughterhouses

All of these were brought to bear on audiences with lasting, staggering effect, and have continued to echo through other horror franchises ever since.

Upon its release, the film was outright banned in several countries, and many American theaters stopped showing it after receiving complaints from audiences. Today, however, the movie is recognized for what it is: One of the best and most influential horror films in cinema history. It has been listed in numerous lists of Best Horror Films, Best Cult Films, and even Top Films in History, plus has been cited by genre giants Rob Zombie, Wes Craven, and George A. Romero as a major influence on their work.


The original 1974 film was so successful—grossing $30.9 million on a $300,000 budget—that it spawned a number of subsequent movies in the franchise, each different, each riotously bloody, and each of which (while not quite able to recapture the commercial magic and shock of the first) managed to further the legend of Leatherface in the minds of moviegoers.

The Texas Chainsaw Massacre II (1986)

Both set and released twelve years after the events of the first movie, The Texas Chainsaw Massacre II took a different approach to the teen-murdering parade established in the first film. The sequel is a true black comedy, making excellent use of over-the-top gore, hormonal lasciviousness, and bonkers practical special effects provided by Hollywood makeup guru Tom Savini—all adding up to a movie nearly as insane as Leatherface himself.

If you like watching cocky jocks get their hilariously violent comeuppance (and the added “bonus” of Leatherface literally swapping faces with a victim), this X-rated romp is for you.

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BOOK: Martínez-Vergne on Charity and Its Wards in Nineteenth-Century Puerto Rico


Teresita Martínez-Vergne, Shaping the Discourse on Space: Charity and Its Wards in Nineteenth-Century San Juan, Puerto Rico. University of Texas Press, 1999.

via UT Press:

How municipal officials and the Casa de Beneficencia shaped the discourse on public and private space and thereby marginalized the worthy poor and vagrants, “liberated” Africans, indigent and unruly women, and destitute children.

Source: Shaping the Discourse on Space Charity and Its Wards in Nineteenth-Century San Juan, Puerto Rico By Teresita Martínez-Vergne

Filed under: Teresita Martínez-Vergne Tagged: #adphd, african diaspora, book, caribbean, colonial, featured, gender, history, indigenous, puerto rico, slavery

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