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William Shakespeare, Arthur Miller, Oscar Wilde, Samuel Beckett and Harold Pinter; when it comes to playwrights who have had their work go from stage to silver screen, the list sees no end. Whilst everyone cannot resist a new portrayal of a timeless piece of literature incorporated with modern twists and/or special effects, audiences are constantly being introduced to plays through the expression of cinema. While this is a positive notion, it does however highlight the contrary:

Screwball comedy is a predominantly American film genre popularised during the Great Depression. The golden era of screwball comedy was the 1930s and early 1940s, with hundreds of films being produced and the genre fast becoming one of Hollywood’s most popular. However, from the mid 1940s, evolving circumstances saw it becoming increasingly obsolete, with true screwball comedies beyond the 1960s being few and far between.

Much attention has been drawn to Hollywood of late, and several condemnations of its practises issued. While the recent #OscarsSoWhite kerfuffle is certainly indicative of a problem, I think the real issue stretches beyond race only. As a colleague here has pointed out in a recent article, we aren’t all fooled.

Should you feel like bringing up Woody Allen in conversation there is a good chance you will either be met with a proclamation of love or a snort of disdain. The Brooklyn-born filmmaker, now in his eighth decade, is divisive for a whole range of reasons (not all of which are related to his films), but he has a solid fan-base that has allowed him to become one of the most consistently working directors around. Averaging out at one film per year, Allen has an extensive back catalogue that is often overlooked.

Lately, due to the #OscarsSoWhite,#OscarsSoMale and #AltOscarParty campaigns, a lot of attention is being paid to how The Academy, and Hollywood in a more general sense, fails to reward women and people of color for their work. It’s no longer just a group of angry Tweeters: The conversation is actually, finally reaching the mainstream, and more people than ever are paying attention to what is happening during awards season this year.

Since 1989, when Batman became a mainstream film series for DC, and in 2002 when Spider-Man kicked off Marvel’s campaign, the legacy of the superhero on the silver screen has progressively grown. Particularly throughout the 21st century and through to the 2010s decade, superhero adaptations and the science fiction genre have practically dominated the Hollywood film industry, with the vast majority becoming massive commercial triumphs. We have seen a number of films released each year, and in 2016 we are awaiting a variety of superhero/comic book adaptations from Marvel, DC and others.

Between fronting various rock bands, starring in ’80s B-Movies and baring it all for dinner guests in the Aloha state, Jon Mikl Thor has been existing on the fringes of American pop culture going on 5 decades now. The subject of the new documentary I Am Thor, my review of which you can read here, he is poised to come roaring back onto the heavy metal scene and beyond. Jon was gracious enough to take the time to speak with me about the documentary, his career, and all that lays ahead.

The outcry against this year’s vanilla list of contenders for the 2016 Academy Awards is reverberating across the country with Spike Lee and Will and Jada Pinkett Smith boycotting Hollywood’s most prestigious fete of the year. Even Mark Ruffalo, nominated for Spotlight, considered joining the boycott before ultimately opting to attend the award ceremony. The Academy of Motion Picture Arts and Sciences made an announcement on Friday regarding new diversity initiatives, but I would hardly say that they’re ‘leading’ the industry by placing some restrictions on lifetime voting and finally attempting some diversity recruiting.