This week in the Voice, out today, Steven Thrasher wants to know whether “Gay Inc.” believes in free speech: “Today’s movement is quite unlike ACT UP, the Gay Liberation Front, or the Mattachine Society. In their use of confrontation, those groups looked far more like Occupy Wall Street than the Human Rights Campaign. Today’s gay organizations tend to present queer voices that are well polished and well financed. And sometimes what they endorse isn’t liberating for queers or supportive of free speech at all.”
Robert Sietsema snacks on slices at Crown Heights’ Pete Zaaz, which “makes fun of the venerable foodstuff with its very name…the premises is so narrow and dark that you pass the pizza makers — a wonderfully ragtag crew who giggle as you enter — as if they were an animated diorama in the museum.”
Chris Steffen looks at Metallica’s willingness to embrace the past: “Time and perspective have tempered frontman James Hetfield’s attitude toward looking back. ‘Just before [being inducted into] the Rock and Roll Hall of Fame [in 2009], we started to make peace a little bit with the past and stop running and embrace what great things have happened to us,’ Hetfield says.”
Melissa Anderson gives kudos to Brave‘s courageous boundary-breaking, noting that it “is the animation studio’s first film with a female protagonist, a defiant lass who acts as a much-welcome corrective to retrograde Disney heroines of the past and the company’s unstoppable pink-princess merchandising.”
Jacob Gallagher-Ross detects claustrophobia in a present production of Chekhov’s Uncle Vanya: “Its enclosed spaces are literal: Bottled up in an isolated country house, its characters chafe against each other until tempers fray, repressed feelings spill free, and uncomfortable realizations loom unavoidably. But the confinement is also existential. It’s not just the dacha that hems them in: Their lives are the closest kind of captivity of all — time, too, is a merciless prison.”
And in art, Robert Shushter dives into “Surface Tension: The Future of Water,” an avant-aquatic exhibit: “First shown in Ireland, this sprawling collection of art and design covers all aspects of the planet’s most essential substance — water! — with reverence, wit, and a great deal of ingenuity.”
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