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Dailies is a round-up of essential film writing, news bits, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

Watch a video essay on the film references and homages found in Cary Fukunaga‘s True Detective:

Thomas McCarthy‘s highly anticipated Spotlight will open in limited release on November 6th.

The Dissolve‘s Andreas Stoehr revisits the details in Robert Altman’s Nashville:

An hour into Robert Altman’s Nashville, a shot opens with a cluttered wardrobe where statues of saints rest next to a candle, a hair dryer, a lava lamp, and a mirror. A zoom out reveals a bathrobe-clad woman in that mirror, singing and shimmying as she listens to the Grand Ole Opry on the radio. She’s Sueleen Gay (Gwen Welles), and she’s already been established as a waitress at an airport café with dreams of country-music stardom. She’s on the bottom of the film’s food chain, and her nasally drone of a singing voice means she’s unlikely to rise any higher. (“They gonna tear your heart out if you keep on!” insists coworker Wade (Robert DoQui). “They gonna walk on your soul, girl!”) Nevertheless, here’s the camera in her inner sanctum, listening to her sing during a quick break in the film’s 15-minute Opry setpiece. In a moment the soundtrack will be filled again with the voices of Haven Hamilton (Henry Gibson) or diva Connie White (Karen Black), the royalty of the film’s fictionalized country scene. But this slow zoom belongs to Sueleen Gay, starry-eyed wannabe.

Watch a new Jaguar commercial featuring Tom Hiddleston and Nicholas Hoult:

Criterion‘s Glenn Kenny on two intertwined semi-Venetian masterpieces:

Late in Nicolas Roeg’s Don’t Look Now (1973), John Baxter (Donald Sutherland) is walking with the blind psychic Heather (Hilary Mason), who, along with her sister Wendy (Clelia Matania), has been a bit of a thorn in John’s side. He has inadvertently gotten Heather into a spot, and after apologetically getting her out of it, he’s obliged to make small talk with her as they navigate the alleyways and footbridges of Venice. “My sister hates it,” Heather says of the place. “She says it’s like a city in aspic . . . left over from a dinner party, and all the guests are dead and gone. It frightens her. Too many shadows.”

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