‘I was born without self-esteem’: Hannah Einbinder on Hacks, her buzzy queer horror – and being Hollywood’s most outspoken star

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The Hacks lead was cast in meta-slasher sensation Teenage Sex and Death at Camp Miasma for her ‘deranged physicality’ – but it’s a fitting role for an actor who has made a point of confronting shame and speaking her mind ‘God is good all the time,” laughs Hannah Einbinder. She’s fresh off a plane from Los Angeles and curled up barefoot in an armchair. This, she says, is “a crazy time in life. Starring in Teenage Sex and Death at Camp Miasma in the midst of Hacks ending … it’s definitely an embarrassment of riches.” Hacks is the HBO comedy that ended earlier this year; in May, Teenage Sex and Death at Camp Miasma, Jane Schoenbrun’s queer meta-horror, became the breakout hit of this year’s Cannes film festival. Continue reading... from Film | The Guardian https://ift.tt/EBR5uPv via IFTTT
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Eek-cute: the rebirth of the frothy romcom sociopath

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The online era is pushing screen romantics to alarming extremes. Whether posing as a stranger’s fiancee or framing someone as an obsessive stalker, happy endings look harder than ever to find

It’s a long-running romcom trope that the couples we’re supposed to root for are often hiding lies that threaten the chances of any happy relationship blossoming. From classics such as The Shop Around the Corner to modern blockbusters such as How to Lose a Guy in 10 Days, the genre thrives whenever it presents the audience with the most alarming red flags it conceals from its characters, raising the stakes by seeing if sparks can still fly when an ulterior motive behind each meet-cute is hidden in plain sight.

In the romantic comedies we’ve seen so far this year, this trope has not only been revived but pushed far beyond its breaking point, cementing a new romcom archetype: the unlucky-in-love sociopath. This week’s new release Finding Emily is the starkest example to date, introducing psychology student Emily (Angourie Rice), whose desperation to find a good case study for her dissertation essay on the self-destructive nature of love leads to her concocting a machiavellian scheme to paint university student Owen (Spike Fearn) as an obsessive stalker.

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