I have this memory that in the ’90s and certainly in the ’80s, a mildly diverting, old-fashioned comedy like Peter Bogdanovich‘s She’s Funny That Way would have hung around in first-rate theaters or plexes for two or three weeks and then downshifted into sub-runs. Playing in respectable situations for 14 or 21 days gave marginal films an aura, a certain cultural presence. Now they’re a data burst on the way out the door. She’s Funny That Way is playing in two Laemmle theatre for seven days (mainly to get reviews and interviews from critics in thrall to the Bogdanovich oeuvre and legend) concurrent with VOD access. I didn’t care for She’s Funny That Way very much. It can’t hold a candle to Noah Baumbach and Greta Gerwig‘s Mistress America, which is much better at adapting the spirit of screwball comedy to the 21st Century. But I feel for and respect the people behind the Bogdanovich film, and I feel badly that it’s getting the bum’s rush. Two-day-old LexG tweet: “Remember when a 7-day run was like a HOLY SHIT embarrassment that denoted a real bomb, not the DEFAULT for 60% of theatrical releases?”