Film Theory Vérité: Introduction – On Lewis Hyde’s ‘The Gift’
“Even when it sparks anger, fear, silence or screams, the response is a gift, and what we do with that gift is integral to the future of criticism and filmmaking in general.”
Alex Landers
Critic, Playwright, and Visual Artist.
The Work: FEUD ‘You Mean All This Time We Could Have Been Friends?’ (Recap)
“I think ‘Feud’ believes we should take another look, turn on another spotlight or two (or three, or four) and see people beyond the work… for all the things they are.”
It Was Never Enough: FEUD ‘Abandoned‘ (Recap)
“‘Feud’ may not be the most honest depiction of Joan Crawford and Bette Davis as human beings, but it provides an authentic depiction of the way it feels to be a woman trapped in a system that isn’t made for them or by them.”
The Sweet Smell of Rot: FEUD ‘Hagsploitation’ (Recap)
“At its best, ‘Feud’ seeks to prove, and admirably so, that trash — as John Waters and William Castle can attest — is hardly the worst thing one can be.”
I Didn’t See That She Was There: FEUD ‘And the Winner is… (The Oscars of 1963)’ (Recap)
“While men may act as puppeteers — pulling all the strings, setting women up for failure — it is the women themselves who commit the most petty and egregious acts of terror.”
Right Hand Ladies: FEUD ‘More, or Less’ (Recap)
“The American Dream is alive and well in ‘Feud,’ though it may be buried deep below the surface of in-fighting, old rules and men that can’t see the tide rolling in.”
Supporting Actress: FEUD ‘Mommie Dearest’ (Recap)
“Bette, Joan, the children, Victor… we all have a mother. And whether we like her or not, she has a part of us.”
Horror’s the Future: FEUD ‘The Other Woman’ (Recap)
“‘Feud’ seems to be driven as much by male insecurity and fear of failure as it does anything to do with the women.”
Aspics and Cocktails: FEUD ‘Pilot’ (Recap)
“What could be a simple dramatization of events is given the potential to deviate from reality; to acknowledge that truth through gossip is rarely what it seems to be.”