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Entertainment & Arts

Calendar Feedback Sun., Oct. 6, 2019

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“The Laundromat,” with Meryl Streep and Jeffrey Wright in the movie, prompts comments from topic to review.
(Claudette Barius/Netflix)

Time for a thorough wash?

In regards to “Mining the Politics of Money” [Sept. 29]: Unfortunately, all that Mark Olsen’s article about “The Laundromat” (an “irate satire of the mechanics by which the richest of the rich get away with whatever they want”) succeeds in doing is confirming what we already know: that none of this will ever get fixed. Instead of rejoicing at finally having the greed and corruption of the “elite” exposed for what it is, we are simply reminded of how entrenched things are.

As much as I admire Meryl Streep, it’s unlikely I will ever see this depressing movie.

David Macaray
Rowland Heights

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It is ironic that Justin Chang’s review of “The Laundromat” [“No One Comes Out Clean Here,” Sept. 27] fails to identify Streep’s second role, in which she plays a Latina character with a prosthetic nose, tan makeup, wig and a thick accent. In an Opinion piece [“How the Invisibility of Latinx People in Media Is Enabling Trump’s Bigotry,” Sept. 27], filmmaker Gregory Nava, writer and director of “El Norte” and “Selena,” complains about the lack of Latinos and Latinas in major movies over the last 12 years.

Couldn’t they find an actress to play the part of the Panamanian woman? I guess Streep is a deity and can do no wrong, and her cultural appropriation is not important.

Where are Rita Moreno and Eva Longoria when we need them now?

Raul De Cardenas
Los Angeles

Editors note: Carolina Miranda also wrote about the Latino culture vacuum in an Aug. 15 story, “Commentery: Targeted in El Paso, Vilified by Trump. Why the Latino Culture Vacuum Is Dangerous.”

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Enough is enough. I’ve tried to be fair, but most of Chang’s reviews invariably end up being about him. He rarely misses an opportunity to impress us with his extensive vocabulary.

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He regales us with his knowledge of film by comparing the movie he is reviewing with other pictures, many of which, I would wager, 75% of his readers have never heard of.

At times, he goes on at length about his philosophy of the film. Put that stuff in the Sunday Calendar section.

If I’m going to spend $12 to $15 on a movie, I want to know what it’s about and whether the reviewer likes it or not. I’m not interested in Chang’s excursions in comparing this to obscure references to show us his wealth of knowledge of film. Do this in a separate article.

Give us reviewers who love movies and share their love.

Bix Barnaba
Van Nuys

Just call them to the ‘Abbey’ born

Regarding Mary McNamara’s column “‘Downton’ Fans Regret Nothing” [Sept. 26]: Who wouldn’t want to wander back in time to an era of frivolity and class, where women weren’t allowed to own property and the king was still the king?

Many would and certainly did. The “Downton Abbey” movie gave us a chance to forget our troubles of the day and visit with some old friends. But most important, it gave us a comfortable feeling that so many of us are missing in our lives today.

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Sherry Davis
Playa Vista

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As one of those “Downton Abby” fans, a British American who is now watching the wonderful series for the third time and who was delighted to attend a screening with Q&A guests and “Downton” actors Allen Leech and Lesley Nicol, I truly appreciated McNamara’s overview of this experience.

I have been a longtime “Masterpiece” viewer on PBS and loved “Upstairs, Downstairs.” Having been born in and lived in Britain, I was totally understanding and accepting of the historical class system under which we all lived. It was only when I moved to the U.S. that I began to put that system into a more realistic perspective.

I so enjoyed relaxing back into that British world where fictional characters augmented their status in various forms as story lines and circumstances required. Julian Fellowes, a master writer who understands so well all the peculiarities of time and place, manners and historical significance of the whys and wherefores of his fictional inhabitants, is to be applauded.

Elaine Livesey-Fassel
Los Angeles

Healing words of Sarah Silverman

Many thanks to Robert Lloyd for the article that brings to light the ironic cancellation of Sarah Silverman’s TV show “I Love You, America” before it was nominated for an Emmy this year [“Sarah Silverman Is Here to Lend an Ear,” Sept. 22].

This hyper-relevant series, which reached out to connect with a cross-section of Americans, is exactly what the country needs right now — not another commercially successful show that distracts and downplays the need for bold change in the way we view (and care for) each other.

This Hulu show needs to be revived.

Our country, and the world, are in need of good examples of how to heal ourselves. Silverman got it right. Let’s help her finish her work.

Matt Buguy
Hollywood

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Carolina A. Miranda’s article [“Memory Lame,” Sept. 29] about the remodeling of the “Brady Bunch” house to accommodate the Paramount TV interior set within the real house on location, completely ignores its designer, William L. Campbell, the original art director for the series.

Bill Ross was the supervising art director for Paramount TV, a position that allowed him to share the credit. The modernist design that Miranda celebrates is all Campbell’s work, shared with set decorators Pierre Ludlum and Anthony D. Nealis.

Norm Newberry
Burbank
Newberry is a member of the Art Directors Guild


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