It is a strange knot that I have tied for myself. Two years ago today, I flipped the switch to go live with an ambitious little movie blog, establishing an ironic joke in which, annually henceforth, I will wish to speak most sincerely on the same day that everyone is most encouraged to speak in jest. I would like to request that you, reader, lower your April Fool’s Day guard for just a moment so that I can extend my immeasurable gratitude for all of the continued support and readership. There is currently an astounding collection of talent writing under the Audiences Everywhere brand, more than I ever could have anticipated collecting in March of 2014, but what is equally significant in our identity is your interest and participation in our discussion. I wish I could thank every reader on each visit for not letting the voices of this talented group go unheard.
All I ever wanted was to host a conversation about film that adopted the best principles and practices of passionate and informed movie fanship, and we—me, you, and the AE writers—have done that. You have provided exactly the thing I was looking for and exactly what this website needed. Thank you for that.
Moving forward, we have big plans with big ideas sitting just behind them. But in the meantime, I’d like to make a deal with all of you. We have yet to implement advertising and we are determined to never openly solicit donations or request financial patronage from our online readership. You are too vital in the formation of the Audiences Everywhere product for me to ask you to pay for that product. I promise that this site will continue to seek growth and improvement, while also continuing to host the best celebratory film conversation that we are capable of providing, as long as you keep doing what you do: paying us in the currency of your attention, engaging our writers to the degree you feel they deserve to be engaged, and sharing any articles whose insight you feel might be valuable with whatever audience you feel might enjoy them.
As a means of persuasion and celebration, I’ve gathered below links to some of our best writing over the past year, a collection of pieces that I feel best encapsulate the intelligence, talent, and celebratory spirit of Audiences Everywhere.
What a great year for film, right? I hope you all have enjoyed sharing it with us as much as we have enjoyed sharing it with you.
-David Shreve, Jr., Founder/Editor-in-Chief, Audiences Everywhere
To commemorate the 75th Anniversary of The Joker’s first comic book appearance and David Ayer releasing the first images of Jared Leto’s upcoming Suicide Squad iteration, Richard Newby tracked America’s favorite fictional villain from his genesis to the present and all the iterations in between.
After controversy erupted due to reactions, over-reactions, and counter-reactions regarding the narrative treatment of Black Widow in Avengers: Age of Ultron, Beth Reynolds (Whedon fan since the Buffy days) steps to the plate to defend the director’s known progressive track record.
In anticipation of the rising comedienne Amy Schumer’s first major big screen effort, Sara Grasberg (Redhead at the Movies) takes a look at the symbolic and functional importance of Schumer’s comedy and her place as the leading comic personality in America.
Katherine B. Shelor challenges our culture’s common preconception on what it means to be a “gamer.”
After watching the terrible film Aloha, Diego Crespo feels it important to point out the need to make every effort to stick to proper representation of culture, ethnicity, gender, etc. even when the movie is of low value.
In anticipation of the release Inside Out, Ryan MacLean takes on the unenviable task of ranking, from worst to best, all of the previous releases from Pixar Studios.
Amidst the critical praise falling upon Pixar’s latest crowd pleasing picture, Sean K. Cureton investigates the narrative sincerity of the film’s most emotionally-pointed moment and character.
On Father’s Day, Sean K. Cureton penned a touching tribute and a recollection of shared cinema between father and son.
Beth Reynolds discusses what it’s like having grown up sharing a birthday with one of her favorite writers and one of her favorite fictional characters, J. K. Rowling and Harry Potter.
Teaira Lacson sits for an insightful conversation with the filmmakers behind the new documentary The Big Flip, about an upward trend in American households with stay-at-home fathers and female breadwinners.
In anticipation of the release of the director’s comeback effort The Visit, Josh Rosenfield makes the contention that all that kept M. Night Shyamalan from his past public glory was his audience’s refusal to meet the filmmaker on his cinematic terms.
For International Women’s Day, Schyler Martin prepares an extensive list of female directors whose work is available to watch now on Netflix
To celebrate Forgiveness Day, Whit Denton explores the filmography of Martin Scorsese, whose obsession on themes of redemption seems to influence his every single film.
On the tenth anniversary of Kanye’s disruption of a televised benefit for victims of Hurricane Katrina, David Shreve investigates the moment to understand why music fans and the general American public share a history of trying to silence, dismiss, and censor the artist.
After the success of the seventh film in the series and the announcement of plans to continue, Anton Reyes suggests eight talented directors who might continue the Fast and Furious legacy of celebrating diversity and high octane action sequences.
Exactly 20 years after the film’s release, Ryan MacLean looks back on his strange relationship with the cult classic Showgirls.
On the 2oth anniversary of David Fincher’s classic serial killer noir detective film, David Shreve discusses how the director manages to give such an impression of violence in a film that largely lacks violent scenes.
David Shreve and Richard Newby team up to present a countdown of the best horror films to be offered in the current millenium.
Jack Godwin explores the frightening filmography David Lynch, the one director who seems to have his own brand of horror.
Through the month of October, our staff sat with some of the best working directors in horror to discuss the past, present, and future of the genre.
Grace Porter discusses the personal and cultural legacy of her first favorite movie on its 20th anniversary.
To prepare for the release of Spectre, Sean Fallon watched every single James Bond movie and made a case for each actor as the best in the seris.
Jason Ooi investigates films whose characters have an active and engaging character with us as the audience, and outlines what we can take from movies whose onscreen players engage with us.
As James Cameron’s Avatar loses its longstanding domestic box office record, Josh Rosenfield investigates his personal history with the film and illustrates the complex ways in which movies can become ours even if we aren’t particularly in love with them.
Diego Crespo pens a love letter to one of his favorite animates series, exactly one year after its final episode, showing the lasting power of the storytelling form done right.
On the film’s 10th anniversary, David Shreve revisits the heartbreaking classic to discuss the real tragic flaw in Heath Ledger’s most realized and human character, Ennis del Mar.
Our staff picks and ranks the best movies of the previous year.
With certain critical tones and approaches becoming stiflingly more predominant, Sean Fallon discusses the internet’s negative influence on the fun part of being a movie fan.
A month after its release, Anton Reyes revisits The Force Awakens to discuss the one thematic and narrative difference between the latest Star Wars film and A New Hope.
To commemorate Black History Month, Richard Newby pens a series of articles on the history of blaxploitation films, the future of black cinema, an the progressive future of both.
In preparation for the release of the auteur’s newest film, Whit Denton revisits the cinematic poetry of Terrence Malick’s filmography.
First, Beth Reynolds investigates TV’s sketchy history with employing bisexual characters to dramatic storylines, with particular praise extended to the CW’s The 100. Then, when, a week later the show makes a devastating decision, Beth and Diego Crespo have a few strong words of reaction.
To prepare for the release of Zack Snyder’s Batman v Superman: Dawn of Justice, Richard Newby revisits the comic book history shared by the two iconic characters.