Starring the Computer is a website dedicated to the use of computers in film and television. Each appearance is catalogued and rated on its importance (ie. how important it is to the plot), realism (how close its appearance and capabilities are to the real thing) and visibility (how good a look does one get of it). Fictional computers don't count (unless they are built out of bits of real computer), so no HAL9000 - sorry.

Starring the Computer previously [2012], now with 12 additional years of computers, organized by title of Movie/TV Show and brand of computer.

Hollywood's Brief Cocaine Binge On '87-'88's Less Than Zero, Bright Lights, Big City, and Clean and Sober (Scott Tobias for The Reveal)

Could Elaine May Finally Be Getting Her Due? [ungated] - "A new biography gives a compelling sense of a comic and cinematic genius, and also of the forces that derailed her Hollywood career."

Among the many merits of "Miss May Does Not Exist," a deeply researched, psychologically astute new biography of May by Carrie Courogen, is that the author sees continuities and patterns in a career that is unified, above all, by the force of May's character. Courogen also assesses May's fortunes in the light of social history, giving a detailed account of the many obstacles that May, as a woman, faced in the American entertainment industry of the late fifties and early sixties—a time of few female standup comedians or playwrights and no female movie directors working in Hollywood... She offers a vision of a society in which the crudely learned behavior of crudely socialized men brutalizes the women in their orbit even as it leaves the men vulnerable to calamities and catastrophes of their own making. The core of May's work is the horror of romantic relationships as experienced by women—the physical violence and mental cruelty endured by women at the hands of men... May is essentially a social filmmaker, one whose comedy involves more than her distinctive worlds: in their looseness, her movies defy the geometry of the frame and suggest ragged, shredded edges that reach out and tie in to the real world at large. Her next film would do so even more explicitly—and she'd pay the price for her audacity. After the eleven years in movie exile that May endured for "Mikey and Nicky," she made "Ishtar," a film that's far more famous for its negative publicity than its intrinsic qualities. Owing to reports of its out-of-control budget and May's domineering direction, her career was instantly, definitively crushed, and May has, for all intents and purposes, been serving a life sentence. The injustice of a great film being submerged under ignorant disdain is grievous enough; the wickedly punitive aftermath is an outrage... Alongside the film's scathing anti-Reagan politics, it's a tale of earnest grimness on a subject of fundamental importance to May: creative obsession... As discerningly intricate as her movies are about love and friendship, they're never limited to the private sphere but plugged into the wider world of power. She filmed with a bitterly realistic view of what people do to one another for the sake of perceived advantage, necessity, desire, or compulsion. The theme that unites these films is betrayal. Growing up poor and female, as the child of a man who was a desperate failure and a woman who was a desperate survivor, and in a household linked with the Mob, she felt the cold pressure of institutions and families alike, and witnessed the death grip of whoever had the upper hand. She saw the cruel side of show business from childhood, and entering show business, in her early twenties, negotiated its maelstrom of personal demands and implacable financial pressures. Even with no alter ego in her movies, they're filled with the dramatic essence of her experiences—and with their ravaging emotional effects. She revealed the unspeakably painful and the outrageously hostile, unseemly sympathies and scandals from behind antic masks and with the irresistible power of involuntary laughter. It's among the most vital bodies of work in modern cinema. But in 1987 her accomplishments mattered little. She instantly became a pariah and a has-been.

(previously: 1,2,3,4)