The Backlash in Love: Reclaiming Choice in Sleepless in Seattle (1993) and ‘Meg Ryan Fall’

In September 2022, journalist Meg Walters lambasted the growing ‘quirky aesthetic’ of the recent online trend ‘Meg Ryan Fall’: TikToks and Tweets which seasonally recreate the fashions and dialogue of Nora Ephron’s When Harry Met Sally (1989), Sleepless in Seattle (1993) and You’ve Got Mail (1998).[i] [ii] [iii] [iv] For… Continue reading

Broadway, Hollywood, and the Problem with The Prom

Among all the necessary and welcome debates around identity in contemporary culture, few have been more pronounced in theatre and film than that of who should be cast to play characters of marginalised identities. From gender identity and religious beliefs to nationality and disability, this issue is occurring with increasing… Continue reading

Mending Fences: The Broken Bond between Theatre and Film

Play to film adaptations have fallen in prestige and numbers in recent years, and one of the main reasons for this is the decline in popularity of plays that can be adapted. For example, A Streetcar Named Desire was the 5th highest grossing film of 1951[i] while Fences was the… Continue reading

“Where is Thy Sting?”: Clifford Odets and the Problem of Audience

On September 6th 1936, The New York Times went to print with an article entitled: “Odets, Where is Thy Sting?”[i] Reflecting on the recent reception of Clifford Odets’s The General Died at Dawn (1936), Frank Nugent described the enthusiasm of the audiences who had come to see the Broadway playwright’s… Continue reading

“Do Not Forget your Dying King”: Oliver Stone’s JFK and Popular Memory

John F. Kennedy Tribute Memorial, Fort-Worth, Texas   “Do not forget your dying king,” District Attorney Jim Garrison (Kevin Costner) pleads to the jury at the end Oliver Stone’s JFK, reinforcing the Camelot aura long associated with President John F. Kennedy. Stone’s interpretation of Garrison’s efforts to convict a businessman… Continue reading