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Alonso Duralde
Alonso Duralde
Alonso Duralde
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Alonso Ampuero Duralde (born May 18, 1967)[1] is an American film critic, author, and podcaster. He has been a writer and editor for The Film Verdict, The Wrap, The Advocate and MSNBC.com.

Key Information

Early life

[edit]

Duralde was born in East Point, Georgia, the youngest of seven children born to Spanish immigrants.[2] He attended Vanderbilt University.

Career

[edit]

He was the artistic director at the USA Film Festival/Dallas for five years. He was also the former arts and entertainment editor at the national gay and lesbian magazine The Advocate. In 2007, he became the film critic for MSNBC.com, and in 2009, his reviews began appearing regularly on The Rotten Tomatoes Show.

Duralde is a member of the Los Angeles Film Critics Association and the National Society of Film Critics. His writing has appeared in The Village Voice, Movieline, and Detour.

In January 2010, Duralde was a contestant on Jeopardy![3][4][5]

From 2011 to 2023, Duralde was the senior film critic for The Wrap,[6] which also syndicated his reviews to the Reuters wire. He also co-hosted the TYT Network program What the Flick?! alongside Ben Mankiewicz of Turner Classic Movies, Christy Lemire of The Associated Press and Matt Atchity of Rotten Tomatoes. After What the Flick?! was cancelled, he and Lemire began hosting the film podcast Breakfast All Day.[7]

In 2023, Duralde joined the website The Film Verdict as its chief U.S. film critic.[8]

Preferences

[edit]

Personal life

[edit]

Duralde currently[when?] lives in West Hollywood, California with his husband, fellow writer and film critic Dave White.[14] They co-host the podcast Linoleum Knife, which began in late 2010. He was raised Catholic, but identifies as an atheist.

Work

[edit]

Filmography

[edit]

Film

[edit]
Year Title Role Notes
2006 Fabulous! The Story of Queer Cinema Himself
The Divine Ms. Susann Himself
The Dish on Dolls Himself
Gotta Get Off This Merry Go Round: Sex, Dolls, and Showtunes Himself
2007 A Groundbreaking Success: Brokeback Mountain Himself
Schau mir in die Augen, Kleiner Himself
Indie Sex: Censored Himself TV movie
Indie Sex: Teens Critic TV movie
Indie Sex: Extremes Himself TV movie
2008 Starz Inside: In the Gutter Himself TV movie
2009 Starz Inside: Sex and the Cinema Himself TV movie
Pornography: A Thriller Video Store Customer
2010 The Real Story of Christmas Himself TV movie
2011 Celebrity Naked Ambition Himself TV movie
A Night at the Movies: Merry Christmas! Interviewee TV Movie
2013 I Am Divine Film Critic
2014 Hannibal: This Is My Design Himself
2017 The Fabulous Allan Carr Film Critic
2022 Tis the Season: The Holidays on Screen Commentator TV special
2024 Doc of Chucky Himself
Best Christmas Movies Ever! Himself TV special

Television

[edit]
Year Title Role Notes
2009-2010 The Rotten Tomatoes Show Himself 49 episodes
2010 Jeopardy! Contestant 1 episode
Stage 5 Host Episode: "June 2010"
The Grid Himself 6 episodes
2011 50 Documentaries to See Before You Die Film Critic/Author 4 episodes
2011-2017 What the Flick?! Himself 148 episodes
2013 The Young Turks Guest 2 episodes
2016 Screen Junkies Movie Fights Himself Episode: "What is the Most Influential Film? - CLASSIC FILM FIGHTS!!"
2017 America: Facts vs. Fiction Himself Episode: "Smoking, Drinking, and Gambling"
2017-2020 Movie Trivia Schmoedown Himself 6 episodes
2018 Movie Trivia Schmoedown Exhibition Commentator Episode: "Holiday Movies! Reilly/Howard/Chandler/Rocha
2019 The Movies Himself 6 episodes
2022 Queer for Fear: The History of Queer Horror Himself 4 episodes
2024 On the Rocks Guest Episode: "Film critic/podcaster/writer Alonso Duralde's Take on Queer Hollywood History"

Audio

[edit]
Year Title Role Notes
2014 Bret Easton Ellis Podcast Himself Episode: "Alonso Duralde"
2018-2024 Deck the Hallmark Himself 169 episodes
2019 The Film Scene with Illeana Douglas Guest Episode: "Alonso Duralde's Top 5 Christmas Films"
2021 My Brother, My Brother, and Me Himself Episode: "MaxFun Block Party: Movie Advice with Maximum Film"
2022-2024 Feminist Frequency Radio Guest 2 episodes
2024 Go Fact Yourself Contestant Episode: "Blair Socci & Alonso Duralde"
The Cinematography Podcast Himself Episode: "Hollywoods rainbow: Hollywood Pride with Alonso Duralde"

Bibliography

[edit]
  • 101 Must-See Movies for Gay Men. New York: Alyson Books. 2005. ISBN 9781555838669.
  • Have Yourself a Movie Little Christmas. Lanham, Maryland: Limelight Editions. 2010. ISBN 9780879103767.; Have Yourself a Movie Little Christmas: Revised & Updated Edition. Bloomsbury Academic. 2025. ISBN 9781493087440.
  • Gray, Brandon; Thompson, Daniel; Pandolph, Daniel; Duralde, Alonso (2021). I'll Be Home for Christmas Movies: The Deck the Hallmark Podcast's Guide to Your Holiday TV Obsession. Running Press. ISBN 9780762499359.
  • Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film. Turner Classic Movies. Running Press. 2024. ISBN 9780762485895.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Alonso Duralde

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Alonso Duralde is an American film critic, , and podcaster specializing in cinema reviews and LGBTQ+ representation in film. As Chief US Film Critic for The Film Verdict, he provides analyses of contemporary releases, including annual top film lists such as his 2024 selections emphasizing diverse genres like war dramas and pop culture interpretations. Duralde has contributed reviews and editorial content to outlets including The Wrap, MSNBC.com, Salon, and Movieline, often appearing on platforms like for aggregated critic scores. His authorship includes Hollywood Pride: A Celebration of LGBTQ+ Representation and Visibility in American Cinema (2024), which surveys films and talent, alongside earlier works like 101 Must-See Movies for Gay Men and Christmas-themed film guides such as Have Yourself a Movie Little Christmas. Duralde co-hosts podcasts including with his husband, fellow critic Dave White, and Breakfast All Day, discussing films in informal yet analytical formats. Previously, he served as arts and entertainment editor at The Advocate and artistic director of the USA Film Festival in , roles that shaped his early career in curation and media advocacy.

Early Life and Background

Childhood and Family

Alonso Duralde was born on May 18, 1967, in , a suburb of . He grew up as the youngest of seven children to parents who were Spanish immigrants. His father worked as a doctor, while his mother had trained as a student; the couple met while dating in before immigrating to the . Family dynamics were marked by significant age gaps among siblings, with Duralde's nearest sibling five years older and his oldest sister thirteen years his senior, contributing to a chaotic household environment amid the demands of raising a large family. Duralde's early exposure to cinema occurred within this family setting, where his parents prioritized viewing classic films despite the household's bustle, helping to cultivate his lifelong interest in movies. One specific anecdote from his childhood involves persistently begging his mother to take him to a screening of (1941), underscoring an precocious enthusiasm for cinematic history.

Education and Formative Influences

Duralde wrote film reviews for his high school newspaper, reflecting an early engagement with cinema analysis during his youth in East Point, Georgia. This activity built on a childhood fascination with movies, shaped by his family's immigrant background from Spain and frequent exposure to films amid a household of six older siblings. He cited devouring reviews by critics like Eleanor Ringel of the Atlanta Journal-Constitution and Roger Ebert of the Chicago Sun-Times as key influences that honed his analytical perspective on film. At , Duralde continued this pursuit by contributing movie reviews to the campus newspaper, further developing skills in critique that presaged his professional trajectory. While specific coursework or mentors are not detailed in available accounts, his consistent output in student publications underscores a formative emphasis on empirical engagement with history and narrative structure through writing. These experiences directed his focus toward by blending personal passion with structured analysis.

Professional Career

Initial Roles in Journalism and Criticism

Duralde entered in the early as the film and video critic for Dallas Voice, a serving the LGBTQ+ community, where he provided reviews of contemporary releases with an eye toward narrative and character-driven storytelling. A notable early example includes his May 1992 critique of films exploring severely dynamics, such as those involving strained interpersonal relationships akin to the Cooper . Transitioning to freelance work in the late , Duralde contributed pieces to national outlets including Movieline, , and MSNBC.com, marking his shift from local queer-focused journalism to broader film analysis amid the competitive freelance landscape of the era. These assignments allowed him to build a portfolio of reviews on mainstream and independent cinema, often highlighting like representation and cultural impact, though specific dated freelance clips from this period remain sparse in public archives. In April 2000, he advanced to a staff position as Arts and Entertainment Editor at The Advocate, holding the role until July 2006 and overseeing film coverage with an initial emphasis on queer cinema amid rising visibility of LGBTQ+ narratives in early-2000s releases. This tenure solidified his expertise, as evidenced by his editorial contributions to discussions of gay-themed films, which informed his 2005 publication 101 Must-See Movies for —a curated list reflecting his growing specialization in the genre.

Key Positions at Major Outlets

Duralde held the position of Film Reviews Editor at TheWrap from July 2011 to February 2023, during which he authored numerous film reviews, assigned coverage to other critics, and edited submissions to ensure comprehensive industry analysis. In this capacity, he shaped the outlet's film criticism output, prioritizing both major releases and under-the-radar titles to broaden discourse beyond blockbuster fare. His tenure amplified TheWrap's influence in digital entertainment journalism, with his personal reviews frequently syndicated via the Reuters wire service for wider dissemination, as evidenced by publications such as his October 2011 critique of In Time and January 2012 review of Joyful Noise. Duralde's reviews from this period were aggregated on , contributing to the site's consensus metrics and exposing his assessments to a broad audience of film enthusiasts and professionals. This integration enhanced the visibility of TheWrap's editorial stance, particularly on festival circuits like the , where Duralde's dispatches informed national conversations on emerging cinema. Prior to his expanded role at TheWrap, Duralde contributed to Current TV's from March 2009 to September 2010, scripting and presenting segments that dissected recent releases and aggregated critic opinions. This television stint marked an early mainstream platform for his analytical style, bridging print criticism with broadcast media and foreshadowing his editorial authority in shaping public perceptions of films.

Transition to Independent and Syndicated Work

In April 2023, Duralde departed from his position as film reviews editor at TheWrap to assume the role of chief U.S. film critic for The Film Verdict, a platform focused on international film coverage from critics in multiple cities. In this capacity, he has authored reviews of contemporary releases, including analyses of films like TRON: Ares in October 2025 and Beetlejuice Beetlejuice in 2024, emphasizing narrative strengths and stylistic elements. Duralde's output at The Film Verdict includes annual compilations, such as his Top 11 Films of 2024, published on December 20, 2024, which featured selections exploring war, mortality, sports drama, and reinterpretations of queer themes in popular culture, alongside niche titles like one involving "hundreds of beavers." Parallel to this independent role, Duralde sustained syndicated and freelance engagements, notably through regular film commentary on KCRW's Weekend Film Reviews, distributed nationally via NPR affiliates. These segments, co-hosted with critic Dave White, addressed new releases up to August 2025, covering titles such as Honey Don't!, Splitsville, and Lurker, as well as holiday recommendations in December 2024 including See You Next Christmas and Better Watch Out. This ongoing radio work underscores his adaptation to fragmented media distribution, where public broadcasting syndication complements digital criticism amid the rise of streaming platforms and reduced print outlets.

Critical Approach and Output

Methodological Style in Reviews

Duralde's film reviews prioritize empirical evaluation of a film's technical and narrative components, such as , visual design, and performative authenticity, over interpretive abstractions or extraneous ideological impositions. In assessing works like the 2021 New Order, he examines how director and editor Oscar Figueroa construct escalating tension through precise cuts and limited character knowledge, fostering a causal progression that renders believable step by step. This approach underscores structural integrity and logical plot causation, where events unfold from discernible antecedents like privilege disparities rather than contrived symbolism. Similarly, he appraises contributions for their capacity to convey realistic motivations, as in the vivid portrayals of empathy amid chaos by and Monica Del Carmen, which ground the audience in individual perspectives without relying on thematic preachiness. A hallmark of Duralde's methodology is the balanced delineation of strengths and weaknesses rooted in executional efficacy, avoiding one-sided endorsements or dismissals. For instance, in critiquing animated fare like The Grinch (2018), he lauds the "wit and liveliness of the " alongside Benedict Cumberbatch's vocal for enhancing flow, while implicitly contrasting this with films deficient in such elements. In (2017), he faults the absence of humor, visual style, and compelling s as core failures in delivery, framing these as objective shortcomings in craft rather than subjective tastes. This pros-and-cons framework extends to pieces, where technical merits like bold visuals or resonant are weighed against lapses in causal coherence or character depth, ensuring critiques hinge on verifiable filmic mechanics. While Duralde engages sociopolitical undercurrents when integral to a film's premise—such as linking inequality's systemic pressures to unrest in New Order via violence's illustrative role—he refrains from overlaying external agendas unless they impinge on merit-based analysis. His evaluations sidestep prioritizing identity markers over narrative realism or technical prowess, critiquing instead when ideological framing undermines plot logic or performative authenticity, as implied in dismissals of heavy-handed allegories lacking empirical grounding. This restraint aligns with a focus on causal realism in storytelling, where character actions and plot developments must withstand scrutiny of their internal consistency and real-world plausibility, unadulterated by performative correctness.

Thematic Preferences and Biases

Duralde's body of work demonstrates a pronounced emphasis on LGBTQ+ representation in cinema, frequently framing critiques through the lens of historical perseverance against institutional barriers such as the Hays Code's enforcement from 1934 to 1968, which suppressed explicit content. In his 2024 book Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film, he chronicles contributions from early Hollywood subtext in films like Queen Christina (1933) to contemporary explicit portrayals, praising advancements in visibility while underscoring ongoing challenges in mainstream integration. This focus recurs in reviews and interviews, where he defends narratives against accusations of niche appeal, as seen in discussions of post-1960s breakthroughs like The Boys in the Band (1970) and modern titles emphasizing authentic character arcs over stereotypes. However, analyses of his output reveal limited engagement with critiques of performative inclusion, with endorsements typically aligning with progressive expansions of representation rather than examinations of narrative dilution for diversity quotas. His preferences tilt toward independent and character-driven films that probe , often favoring those embedding left-leaning cultural examinations over formulaic blockbusters. For instance, in a 2013 guide, Duralde highlighted summer indies like (2013) and (2013) for their introspective storytelling, contrasting them with spectacle-heavy releases such as (2013), which he noted for prioritizing effects over depth. This pattern extends to selections praising films with critiques of traditional power structures, including reinterpretations of pop culture icons, while blockbuster franchises receive qualified praise only when innovating on thematic substance. Such inclinations mirror broader trends in , where indie outputs aligning with sociocultural garner higher acclaim, potentially sidelining commercially dominant works lacking similar ideological resonance. Documented instances suggest hesitance toward content diverging from these preferences, particularly in 2015 discussions on ethical boundaries in criticism, where Duralde recused himself from reviewing (2014)—a film valorizing military service amid deployments—citing emotional proximity and potential bias. This decision, amid wider debates on critics' objectivity in politically charged releases, highlights a selective engagement that weighs personal ideological alignment, contrasting with his assertive coverage of progressive-leaning narratives. While Duralde maintains a professional stance of evidence-based assessment, the asymmetry in thematic advocacy—robust for inclusivity-driven stories, restrained for countervailing perspectives—indicates an underlying slant toward Hollywood's dominant progressive currents, as evidenced by the field's systemic leanings documented in media analyses.

Annual Best-of Lists and Notable Selections

Duralde publishes annual rankings of his favorite films, typically selecting 10 to 11 titles that emphasize artistic ambition, thematic depth, and unconventional , often favoring independent productions and explorations of identity over commercial spectacles. His lists, appearing in venues such as and The Film Verdict, consistently highlight genres like queer cinema, historical dramas, and experimental comedies, with rationales drawn from the films' emotional resonance and formal innovation rather than box-office performance. In his 2024 top 11, published December 20, Duralde crowned Hundreds of Beavers, a black-and-white silent slapstick comedy directed by Mike Cheslik, as the year's best for its "joyful" visual gags and Looney Tunes-inspired wit, positioning it ahead of more conventional contenders. Other selections included Babygirl (No. 2), a provocative erotic thriller on power dynamics starring Nicole Kidman; Challengers (No. 3), Luca Guadagnino's tennis-infused love triangle praised for its erotic energy; and a tie at No. 9 for The People's Joker and I Saw the TV Glow, both trans-directed works probing queer identity through superhero parody and horror tropes, respectively. Lower entries featured Blitz (No. 8), Steve McQueen's World War II tale of racial divides; The Brutalist (No. 7), Brady Corbet's 70mm epic on immigrant trauma; and Anora (No. 6), Sean Baker's farce-to-drama arc of sex work empowerment. He noted the year's abundance of strong films addressing war, mortality, and pop culture reinterpretations, though release delays sidelined some viewings. This lineup diverged from broader critic aggregates, where mainstream hits like Dune: Part Two topped many lists, illustrating Duralde's tilt toward cult and arthouse picks that often split critic acclaim from audience reception—Hundreds of Beavers, for instance, earned niche festival buzz but limited theatrical reach. Patterns across years reveal a sustained affinity for LGBTQ+-centric narratives, as seen in 2024's queer-focused ties echoing earlier enthusiasms like 2011's Weekend or 2021 inclusions such as Swan Song, a dramedy on aging and chosen family. Post-2020 streaming expansions appear to broaden his scope, incorporating rarer international gems like Spain's Close Your Eyes (No. 5 in 2024), Victor Erice's meditation on cinema and senescence starring Ana Torrent, alongside U.S. indies—contrasting pre-pandemic lists heavier on theatrical releases. Notable exclusions of blockbuster franchises underscore this, with discussions in film circles occasionally highlighting the critic-audience gap, as Duralde's unconventional toppers like 2024's beaver-hunting farce prompt debates on accessibility versus innovation.

Media Appearances and Podcasting

Radio and Television Contributions

Duralde contributed as a regular panelist on The Rotten Tomatoes Show, a television program broadcast on Current TV from 2009 to 2011, where he discussed recent film releases alongside hosts and other critics in a conversational format focused on aggregating audience and critic perspectives. The show emphasized lively debates and segment breakdowns of movies, with Duralde appearing in episodes covering titles like major studio releases and independent films during his tenure from March 2009 to September 2010. He also co-hosted What the Flick?! on the TYT Network, a video program featuring roundtable discussions on new theatrical releases, often alongside critics Ben Mankiewicz and Christy Lemire, which aired episodes analyzing films' strengths, weaknesses, and cultural context in real-time segments. On radio, Duralde has been a frequent film critic on KCRW's Press Play with Madeleine Brand, delivering weekend reviews of current releases in collaboration with co-critic Dave White, a format that highlights comparative analysis and audience accessibility through public broadcasting. This segment, syndicated via NPR podcasts, continued into 2025, with episodes such as the August 21 review of Honey Don't! and Splitsville, the July 24 discussion of The Fantastic Four: First Steps and Cloud, and the September 18 coverage of Him and A Big Bold Beautiful Journey. These appearances underscore Duralde's role in providing timely, dialogue-driven critiques that inform listeners on box-office contenders and arthouse selections.

Linoleum Knife Podcast and Collaborations

Duralde co-hosts the Linoleum Knife podcast with fellow film critic Dave White, delivering weekly discussions on new theatrical releases, streaming , industry developments, and broader pop topics. The format emphasizes spirited debates between the hosts, often highlighting contrasts in their critical perspectives on contemporary cinema. Episodes regularly address performance, casting choices, and directorial decisions, extending Duralde's written reviews into audio conversations. The incorporates thematic specials, particularly around holidays, where Duralde and dissect seasonal television and content, such as specials featuring vintage variety shows or modern adaptations. These episodes frequently reference Duralde's research into holiday media, including critiques of productions like Christmas Special or contemporary streaming originals. Distributed via platforms like and , Linoleum Knife maintains a dedicated listener base through consistent output and listener interaction segments. Beyond Linoleum Knife, Duralde collaborates on Breakfast All Day, co-hosted with critic Christy Lemire, which airs twice-weekly episodes covering movie reviews, television trends, and entertainment news. The series extends to YouTube for video discussions, including analyses of industry shifts like franchise fatigue or awards-season contenders, as seen in episodes addressing 2023 releases such as Edgar Wright's collaborations with Simon Pegg and Nick Frost. He also contributes to Maximum Film!, a podcast on the Maximum Fun network, where he joins hosts Kevin Avery and Drea Clark to evaluate films with an emphasis on diverse viewpoints beyond traditional critic demographics.

Publications and Authorship

Non-Fiction Books on Film

Duralde's first non-fiction book, 101 Must-See Movies for Gay Men, was published in 2005 by Advocate Books as a curated selection of films recommended for gay male audiences, spanning genres and eras with commentary on their appeal and cultural significance. The paperback edition emphasized thematic elements like queer representation, camp aesthetics, and iconic performances, positioning it as a guide rather than a comprehensive history. In 2006, Duralde released Have Yourself a Movie Little Christmas through Limelight Editions, offering analyses of holiday-themed films categorized by quality, from classics like It's a Wonderful Life to lesser-known entries, with evaluations of both merits and flaws to assist viewers in selecting seasonal viewing. Revised editions followed, including a 2010 update by Rowman & Littlefield and a further revised and expanded version in September 2025 from Bloomsbury Academic, incorporating additional titles and contemporary reflections on evolving holiday cinema traditions. These updates maintained the book's focus on recommendation lists while expanding coverage to reflect new releases and cultural shifts in Christmas movie production. Duralde's 2024 book, Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film, published on May 14 by Running Press in the series, provides a chronological survey of queer cinema from the silent era through the 1930s "" to modern productions, highlighting key figures, films, and challenges like under the . Illustrated with over 175 images, the 336-page hardcover examines perseverance amid adversity, including underground filmmaking during repressive periods and breakthroughs in visibility post-Stonewall. The book received media attention, including a June 14, 2024, interview where Duralde discussed the evolution of queer narratives in film.

Selected Articles and Essays

Duralde penned a personal tribute to film critic shortly after Ebert's death on April 4, 2013, published by , in which he detailed Ebert's influence on his own career and approach to criticism, emphasizing Ebert's dignity in facing illness and his role in inspiring aspiring writers through accessible, insightful prose. Following the death of actor on April 6, 2014, Duralde wrote an essay for reflecting on Rooney's 93-year career, from child stardom in the series to later character roles, highlighting Rooney's versatility across , film, and television while noting the challenges of and personal scandals that marked his longevity in Hollywood. In a December 19, 2011, feature for The Advocate, Duralde explored holiday films' extremes, categorizing selections as the best, worst, and most deranged examples of the genre, such as praising for its emotional depth while critiquing lesser-known oddities for their tonal inconsistencies, thereby illustrating his interest in seasonal cinema's cultural quirks beyond mainstream staples. More recently, Duralde contributed an original essay to Kino Lorber's Arthur Dong Collection Blu-ray release in , focusing on the documentaries of filmmaker Arthur Dong, which examine Asian American experiences and historical injustices like and hate crimes, marking his entry into writing for home-video editions that contextualize archival works.

Reception and Impact

Achievements and Positive Recognition

Duralde has maintained status as a recognized film critic through aggregation of his reviews on , where his analyses contribute to the site's consensus scores for films and television series. His membership in the underscores peer acknowledgment of his expertise in the field. The podcast, co-hosted by Duralde with Dave White since November 2010, has demonstrated sustained impact with over 15 years of weekly episodes discussing new releases and topics, earning a 4.9 out of 5 rating from 622 user reviews on as of recent data. This longevity reflects consistent listener engagement in niche discourse. Duralde's 2024 book Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in has advanced discussions on queer cinema , covering eras from the 1930s "" to contemporary depictions, and received invitations for scholarly interviews on platforms including NPR's Bullseye and the New Books Network. These appearances highlight the work's in synthesizing empirical examples of LGBTQ+ contributions to amid historical challenges.

Criticisms of Work and Perspective

Duralde's September 30, 2020, review of Netflix's adaptation of The Boys in the Band critiqued the production for transforming Mart Crowley's raw 1968 play into a sanitized "waxwork karaoke" performance, including objections to the casting of Latinx actor Robin de Jesús as the flamboyant Emory, suggesting it diluted the character's original archetype amid broader representational concerns. Producer and co-writer Ned Martel publicly rejected these points in an October 12, 2020, response, defending the casting as consistent with the play's historical context and accusing such critiques of imposing modern identity standards retroactively on mid-20th-century queer narratives, thereby prioritizing contemporary politics over artistic fidelity. Broader critiques of Duralde's perspective highlight perceived overemphasis on in film analysis, with conservative media outlets faulting him and colleagues for endorsing "" dynamics in a June 2021 on reframing problematic older films for today's audiences, framing it as generational ideological rather than objective evaluation. These views contrast with calls for merit-based criticism, as seen in public backlash to progressive-leaning top lists that elevate films lauded for diversity over technical or narrative strengths, though specific Duralde lists have elicited mixed audience responses without formalized disputes. No major controversies have been documented in his outlet transitions, such as from MSNBC to .

References

  1. https://maximumfun.org/about/team/alonso-duralde/
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  20. https://www.goodreads.com/book/show/892748.101_Must_see_Movies_for_Gay_Men
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  48. https://podcasts.apple.com/us/podcast/breakfast-all-day-movie-reviews/id1448539528
  49. https://www.thewrap.com/author/alonso-duralde/?query-page=60
  50. https://www.podchaser.com/podcasts/maximum-film-51330
  51. https://www.ebay.com/itm/226858038734
  52. https://www.amazon.com/Have-Yourself-Movie-Little-Christmas/dp/0879103760
  53. https://www.bloomsbury.com/us/have-yourself-a-movie-little-christmas-9781493087440/
  54. https://www.libraryjournal.com/review/have-yourself-a-movie-little-christmas-revised--updated-2272222
  55. https://www.amazon.ca/Hollywood-Pride-Celebration-Representation-Perseverance/dp/0762485892
  56. https://www.thewrap.com/roger-ebert-remembrance-84206/
  57. https://www.thewrap.com/essay-mickey-rooney-93-years-hoofing/
  58. https://www.advocate.com/arts-entertainment/books/2011/12/19/you-better-watch-out-best-worst-most-deranged-holiday-films
  59. https://www.linkedin.com/posts/alonsoduralde_arthur-dong-collection-kino-lorber-experience-activity-7279966360657403906-Xi7w
  60. http://www.lafca.net/critics/Alonso_Duralde.php
  61. https://newbooksnetwork.com/hollywood-pride
  62. https://www.amazon.com/Hollywood-Pride-Celebration-Representation-Perseverance/dp/0762485892
  63. https://www.thewrap.com/the-boys-in-the-band-film-review-2020-ryan-murphy-jim-parsons/
  64. https://www.thewrap.com/boys-in-band-review-ned-martel-race/
  65. https://www.hollywoodintoto.com/thewrap-film-critics-cancel-culture-fear/
  66. https://www.thewrap.com/film-critics-cancel-culture-video/
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