Berlinale jury member Juliette Binoche on Harvey Weinstein: “I almost want to say peace to his mind and heart, that’s all. I’m trying to put my feet in his shoes. He’s had enough, I think. A lot of people have expressed themselves. Now justice has to do its work. I never had problems with him, but I could see that he had problems. As a producer he was wonderful, most of the time. I think he was a great producer. That we shouldn’t forget, even though it’s been difficult for some directors and actors and especially actresses. I just want to say peace to his mind and let justice do what it needs to do.”

Harvey Weinstein allegedly did what he did and has to face the legal music. I’ve read the New Yorker and N.Y. Times articles about his alleged misdeeds, and I saw Untouchable during Sundance ’19. But just imagine if Binooche’s words, shared this morning at a Berlinale press conference, had been spoken by any guy from any aspect of the film industry. That guy would be roasting on a p.c. spit. He would be in such hot water on Twitter right now that he’d be envying Liam Neeson.

Yep — they’re just calling it plain old Shaft (Warner Bros., 6.14). Obviously a tongue-in-cheek, wise-ass meta comedy — directed by Tim Story, cowritten by Kenya Barris and Alex Barnow. Jessie T. Usher is playing a sensitive, wimp-ass son of Samuel L. Jackson‘s Shaft (who was last seen 19 years ago). Richard Roundtree‘s original Blaxploitation-era Shaft (i.e., Jackson’s uncle and Usher’s grandfather) is also along for the ride. Costarring Regina Hall, Alexandra Shipp, Luna Lauren Velez. Straight paycheck project. Who remembers Shaft in Africa?

Flashback: I met Pryor at a Comedy Store press event sometime in the mid to late ’90s, when he was in a wheelchair and a thin, frail remnant of his former self. Pryor had been diagnosed with multiple sclerosis in 1986, and was confined to a wheelchair starting in ’93. We spoke for a few minutes but I could barely hear his voice. Mixed feelings, to say the least.

Just about every office-holding Democrat has called upon Virginia governor Ralph Northam to resign over a racist photo in his 1984 medical school yearbook, in which he apparently wore blackface. Then came an admission from Virginia’s Attorney General Mark Herring (who could become governor if Northam and Lt. Gov. Justin Fairfax ** resign) that he wore brown makeup and a wig to look like a rapper at a party in 1980, when he was a 19 year-old University of Virginia student.

Hollywood Elsewhere is not suggesting that these two should be cut any slack, but it seems fair to ask what form of SJW punishment has been visited upon Billy Crystal. I’m referring to Crystal having impersonated Sammy Davis Jr. in brownface in a 1986 HBO Special “Don’t Get Me Started” as well as, according to the Christian Science Monitor, during a bit on the 2012 Oscars? (Note: Crystal’s impression works because he can “do” Davis’s voice just so.)

Not to mention Robert Downey, Jr.‘s blackface performance in Tropic Thunder, which opened a little more than a decade ago.

What Northam and Herring did in the ’80s was obviously icky, but their main crime, it seems, was having been college students instead of professional entertainers. Because the culture wasn’t freaking out about blackface impersonations as recently as ten or even seven years ago.

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While reading this Bill McCuddy Twitter thread about Roma vs. Green Book, keep in mind that last year McCuddy said that Academy voters would never give the Best Picture Oscar to “aqua man” (aka Guillermo del Toro‘s The Shape of Water). Exact McCuddy quote: “I didn’t say it wouldn’t get nominated. [I said it] won’t win. Fantasy. LaLa Land.”

Camilla Gibb‘s “Sweetness in the Belly“, a culture-clash love story, was initially published 12 years ago. It’s a tantalizing title for a book — right away you want to know what it means. But it’s not a movie title. The producers are asking for trouble by sticking with it. Your average megaplex bruh or couch surfer is going to mutter “maybe the girlfriend but not me” and move on. The British-made drama has been directed by Zeresenay Berhane Mehari. The cast includes Dakota Fanning, Wunmi Mosaku, Kunal Nayyar and Yahya Abdul-Mateen II. It’s debuting at the Berlinale.

““

I was reading Alex Ben Block’s short Los Angeles hit piece on Netflix and Lisa Taback. As soon as I finished I flashed on a chat I had last night with a knowledgable hotshot — a guy who knows everyone and everything:

HE: “And I really think Rami Malek is going to win Best Actor. Don’t you? I really believe that’s locked at this stage.”
Hotshot: “He’s got it, yes. Ditto Glenn Close.”
HE: “Agreed. And Alfonso [Cuaron], for sure, is winning Best Director.”
Hotshot: “Yep.”
HE: “But I’m not entirely sure Roma will win the Best Picture Oscar. It might win, but I don’t know.”
Hotshot: “It’ll be Roma or Green Book.”
HE: “I suspect voters will probably feel better about themselves the morning after, and certainly six months or a year after, if they give it to Roma. People love Green Book‘s feel-good vibes — I felt them last September in Toronto — but Roma is a higher arthouse achievement, and more of a ‘2018 film’ than Green Book. They both address Trump’s racial ugliness, but Roma addresses the wall thing besides.”

“The Oscar race has become an annual embarrassment. The self-absorption in this half-year spectacle could choke Thanos himself. We need to stop talking about ourselves and start looking for new stories, new ways to entertain the world. Taken properly, the #MeToo and representational questions offer us ways to do that. But they can also become fixations about themselves, a chance for us to squabble endlessly about our own problems and divisions until those squabbles drown out the mission we’re here for.

“Imagine if people turned on the Super Bowl and were told that instead of a football game, we’re going to have a televised debate about kneeling during the national anthem. That’s what the Oscars have become, what Hollywood is becoming.” — also from the latest Ankler edition, written by Richard Rushfield.

From Richard Rushfield‘s latest Ankler edition, “The Showbiz State of the Union”: “Deeper and scarier is the question posed by YouTube, whose viewership dwarfs Netflix, Amazon, and every studio and network in the history of humanity times a million. While box office is roughly steady, there is a generation rolling our way that doesn’t think of Netflix as TV — it thinks of YouTube as all entertainment.

“It’s a very open question whether a generation that has been taught for ten years now to inhale multiple screens at every waking second will have the patience to watch episodes of TV, much less movies.

“The effects of the smartphone on the brain are just beginning to be understood, but there’s every reason to be terrified that after total screen immersion since birth, sitting through a traditional TV show will seem like water torture to [Generation Z]. Which is why this would be a wonderful moment for Hollywood, led by a new generation, to be searching outward into the world, finding new ways to communicate, new formats, new stories that connect with the coming age, instead of…well, that brings us to our problems at home.”