Surely I Can’t Be Serious: I Bid Farewell to Movieline
Everything about writing a final post for Movieline is overwhelming, so bear with me as I wrap my head around how wonderful and challenging an experience I’ve had writing for this site for two and a half years. And what the hell? Let’s watch my favorite movie scene of all time too.
So, yes. I’m leaving Movieline to become the West Coast Entertainment Editor for AfterElton.com, where I’ll be addressing Movieline-y topics once again -- and with the same number of Sandy Dennis references. Please join me there from time to time! But before I depart, I have to thank my awesome, seriously reliable, astoundingly intelligent colleagues – including some who’ve been with me since my first post in August of ’09.
Thank you to Stu VanAirsdale, a kickass editor, confidant, and the best writer I’ve ever worked with; to Kyle Buchanan, a great friend who convinced his boss to hire me; to Seth Abramovitch, who set the standard for Movieline hilarity; to Christopher Rosen, whose jocularity and love of Katy Perry singles added vigor to my Movieline experience; to Jen Yamato, whose supportive ebullience has been wonderful; to Stephanie Zacharek, Michelle Orange, and Alison Willmore, who are so right; to Movieline’s killer commenters, you all tickle me inappropriately (especially The Winchester), and most of all, to my beloved Julie Miller, who forded a hundred Television Critics Association panels with me, listened when I needed consultation on an article, tweet, or Facebook profile photo, and responded to my every issue with ladylike, yet monotone reassurance. I already miss you all. And Anjelica Huston. You were maybe the best.
I’m always jealous when I interview a celebrity and he/she gets to play Movieline’s fun feature My Favorite Scene. So, as a last-minute act of defiance, I’m hitting you with my fave moment in cinematic history. In Rear Window, when Grace Kelly and Thelma Ritter search the courtyard for – y’know – a dead lady, James Stewart watches on in astonishment as Grace opts for autonomy, climbs into a murder suspect’s (Raymond Burr) apartment, and puts her own life at risk. Grace’s sudden empowerment is so dazzling, cool, and self-possessed, it’s like she invented Madonna in that moment. And we all know how much that means to me.
For further Virtel adventures, you can find me in my web series Verbal Vogueing and see me in my second Chelsea Lately roundtable appearance this January 18th on E! Thanks for everything, guys. My (Hitchcock) blonde ambition is more ferocious than ever.