Sincerest thanks to everyone at IndieWire, one of the greatest staffs I've ever worked with. These seven years have been among the most meaningful of my life. And I'll be around for a few more weeks.

The Times produces some of the finest journalism in the country — 14 Pulitzers and counting — and it'll be the honor of my life to bring that journalism to as many readers as possible and create a new level of impact for it.

The Times is positioned to foster connection in Florida like no other newspaper. As someone who grew up reading
@edeggans.bsky.social and Lane DeGregory in the Times and who was enrolled in the Poynter Institute's High School Journalism program, I couldn't be happier about this.

And to allow us to have the conversations that need to be had while respectfully disagreeing. Connection leads to engagement, and engagement leads to community.

This is a time when so much of the social fabric of our country is frayed: I believe that community-building on the local level can help to repair that fabric, and that local journalism has a key role to play in that community building.

Having lived once again in the Tampa Bay area the past few years, I'm incredibly excited to have a role that's tied directly into the community I love dearly.

My favorite thing ever is Reagan telling Beatty he wished "Reds" had a happy ending.

Check out the full article, assembled by Kate Erbland (who stumps for "Baby Boom," one of my faves as well), with intro written by me and Chris O'Falt, here.

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But put it this way: Many other actors have done their own version of Woody Allen-type characters. Post-acting career Woody Allen himself has written “Woody Allen-type characters” into his movies, even making Scarlett Johansson one.

But who’s ever been able to replicate Diane Keaton?

Or as capably channel the intellectual rigor of early 20th century leftism in “Reds”? Her aw-shucks “La Di Da” in “Annie Hall” is the kind of offbeat naturalism that rom-com actors have aspired to ever since.

It’s hard to think of an actor who more singularly conveys intelligence in ‘70s cinema than Keaton. Who else could find the subtle shades among “aspiring intellectual,” “intellectual,” and “poseur intellectual” the way she does across “Annie Hall” and “Manhattan”?

Given that the '70s was a decade of transgression that in many ways just served to bolster the power of men and reinforce a Hollywood ethos of “sexiness above all” for women, the way Keaton decidedly positioned herself as subject, never object, is its own extraordinary rebellion.

She was an independent force, whose identity rested with herself, not with the approval of others.

Kind of like the movie version of Patti Smith on the album cover of “Horses,” it was a look that signaled the thoughtful cultivation of a personal style, a true regard for her image, and unconcern for the gaze of men.

By firing Kimmel, Disney did the opposite: It damaged its own financial interests in order to placate Trump. When appeasing a president outweighs a company’s bottom line, its programming choices, and its freedom to operate, we’ve entered uncharted territory in U.S. history.

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By contrast, “Star Wars” books continued after Wendig’s firing. “The Mandalorian” didn’t skip a beat after Carano’s firing. Seven seasons and 112 episodes of “The Conners” aired after Roseanne was fired. Firing them protected Disney’s investments in these IPs.