This Week, You Will Learn About Partnership Between:

• movie reviewers
• a show and new cast members
• a hit band and a movie bomb
• revered sites and evil corporate masters

Thanks to Simon del Monte , Ruck Cohlchez, and Miller for contributing this week. Send articles throughout the next week to ploughmanplods [at] gmail, post articles from the past week below for discussion, and Have a Happy Friday!

A meeting of Dissolvers as Scott Tobias interviews Matt Singer on his new book about Siskel & Ebert at The Reveal:

I don’t have a first memory. This is the thing I’ve realized doing these interviews. I should have an amazing first like, “I was watching late at night. I was flipping the dial and I said, “By Jove, who are these two chaps in sweaters?,” or something. […] I think it hit me at the right time, the right age, where I was just starting to get interested in movies. They were like my first film teachers, in a sense. They were the ones saying, “This is the old movie you should go to your video store and rent. This is the movie that, if by some chance you can convince someone to drive you to an art house theater a half an hour away, in the college town nearby, this is the movie you should go to see,” or that sort of thing.

The Hollywood Reporter‘s Lesley Goldberg talks to the creator and the showrunner of Rick and Morty about new casting for the show after the ouster of voice of both lead characters:

[Co-creator Dan] Harmon Our metric of absolute success in the transition would be if the hypothetical casual viewer who was out of the loop on any behind-the-scenes drama about the show were to keep right on watching it and say, “This season’s better than the other one” or “This may be my favorite episode.” If that person is able to continue their journey from the womb to the tomb with Rick and Morty and a furniture-like stability, that is the best we can do in this particular job. That would preclude being meta and mining this stuff. I used to do that all the time on Community. If you watched Community, you followed along with Tumblr, you were given big insight into my various personality disorders and relationships with fans. This, I don’t think, is the right way to play it on this one. We want to suck it up and play it grown-up style and get back to work.

For Pitchfork, Max Evry excerpts a new oral history on Toto’s soundtrack for David Lynch’s Dune:

[Toto member David] Paich: I was able to play my main theme for David Lynch. They loved it and hired us on the spot. He had a Walkman, and put this set of phones on me and said, “Tell me if you can make this kind of music for my movie?” He put on two Shostakovich symphonies. He made me listen and said: “I want this music low, and I want it slow.” I thought, Well, I can handle that. This isn’t Star Wars. He’s making the anti-Star Wars movie. He wanted me to avoid anything that’s uplifting, that’s happy, that’s joyous, that’s compelling. He hates popular movies that make people come and eat popcorn and stuff. Super-nice guy, though.

Emily Colucci notes some notable absences in the new Birthday Party documentary at Filthy Dreams:

While giving Anita [Lane] and Genevieve [McGuckin] their due might require some extra legwork, it’s worth it in order to make a film that features the proper story, as well as, even better, one that is mercifully not dripping with the tired rock bro misogyny that has plagued music for decades. The last thing anyone needs is another documentary—or book, or article, or whatever—that heaps praise upon those male genius rebels while relegating women to unremarkable decoration sitting at the side of a stage, in a rundown flat in Earls Court, or otherwise orbiting the men’s endless talent.

The crew at Inside Hook ranks everything — EVERYTHING — Martin Scorsese has ever directed:

52. “The Key to Reserva” (2007): Commissioned, bafflingly, by Freixenet, a Spanish maker of sparkling wines, “The Key to Reserva” is Scorsese’s sole collaboration with both the great cinematographer Harris Savides and Simon Baker, star of CBS’s The Mentalist. It’s a charming, meta-cinematic short starring Scorsese as himself in one of his cuddliest, finickiest on-screen appearances (alongside Thelma Schoonmaker!), and featuring a slick suspense centerpiece pastiched from Hitchcock — count the references, beginning with the music cue from Bernard Herrmann, scoring a Scorsese film from beyond the grave, just as he did on Taxi Driver and Cape Fear.

At Welcome to Hell World, Miranda Reinert lays out the destruction at Bandcamp at the hands of another evil corporate takeover:

It’s hard, right now, to imagine something that could be able to take Bandcamp’s place because it’s hard to imagine something that will be as usable and as convenient without the money vultures picking it clean. Maybe something will come along – the nature of the internet is that things will be cycled out when something new arrives – but, as of now, I think we may have to just move away from the idea that a convenient service is also going to be a stable, long term home for community.