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Actor and theatre aficionado Ron Fassler recalls his upbringing on Broadway, in conversation with Harold Prince, Stephen Sondheim, Bette Midler, Sheldon Harnick, James Earl Jones, Austin Pendleton, Ken Howard, Hal Linden, Stacy Keach, Jane Alexander and Mike Nichols among many others.
The New York Times film critic shows why we need criticism now more than ever Few could explain, let alone seek out, a career in criticism. Yet what A.O. Scott shows in Better Living Through Criticism is that we are, in fact, all critics: because critical thinking informs almost every aspect of artistic creation, of civil action, of interpersonal life. With penetrating insight and warm humor, Scott shows that while individual critics--himself included--can make mistakes and find flaws where they shouldn't, criticism as a discipline is one of the noblest, most creative, and urgent activities of modern existence. Using his own film criticism as a starting point--everything from his infamous dismissal of the international blockbuster The Avengers to his intense affection for Pixar's animated Ratatouille--Scott expands outward, easily guiding readers through the complexities of Rilke and Shelley, the origins of Chuck Berry and the Rolling Stones, the power of Marina Abramovich and 'Ode on a Grecian Urn.' Drawing on the long tradition of criticism from Aristotle to Susan Sontag, Scott shows that real criticism was and always will be the breath of fresh air that allows true creativity to thrive. "The time for criticism is always now," Scott explains, "because the imperative to think clearly, to insist on the necessary balance of reason and passion, never goes away."
Provides the original "New York Times" reviews of over one hundred of the most important Broadway musicals and revivals, and highlights the most legendary shows, composers, choreographers, and performers of their times.
Sam Harris dismantles the most common justification for religious faith--that a moral system cannot be based on science.
More of the Pulitzer Prize–winning film critic’s most scathing reviews. A Horrible Experience of Unbearable Length collects more than 200 of his reviews from 2006 to 2012 in which he gave movies two stars or fewer. Known for his fair-minded and well-written film reviews, Roger is at his razor-sharp humorous best when skewering bad movies. Consider this opener for the one-star Your Highness: “Your Highness is a juvenile excrescence that feels like the work of 11-year-old boys in love with dungeons, dragons, warrior women, pot, boobs, and four-letter words. That this is the work of David Gordon Green beggars the imagination. One of its heroes wears the penis of a minotaur on a string around his neck. I hate it when that happens.” And finally, the inspiration for the title of this book, the one-star Transformers: Revenge of the Fallen: “Transformers: Revenge of the Fallen is a horrible experience of unbearable length, briefly punctuated by three or four amusing moments. One of these involves a doglike robot humping the leg of the heroine. If you want to save yourself the ticket price, go into the kitchen, cue up a male choir singing the music of hell, and get a kid to start banging pots and pans together. Then close your eyes and use your imagination.” Roger Ebert’s I Hated, Hated, Hated This Movie and Your Movie Sucks, which gathered some of his most scathing reviews, were bestsellers. This collection continues the tradition, reviewing not only movies that were at the bottom of the barrel, but also movies that he found underneath the barrel. Movie buffs and humor lovers alike will relish this treasury of movies so bad that you may just want to see them for a good laugh!
The big picture : how Buffy the vampire slayer turned me into a TV critic -- The long con ("The Sopranos") -- The great divide : Norman Lear, Archie Bunker, and the rise of the bad fan -- Difficult women ("Sex and the city") -- Cool story, bro ("True detective," "Top of the lake" and "The fall") -- Last girl in Larchmont : the legacy of Joan Rivers -- Girls girls girls : "Girls," "Vanderpump rules," "House of cards and Scandal," "The Amy Schumer show," "Transparent" -- Confessions of the human shield -- How jokes won the election -- In praise of sex and violence : "Hannibal," "Law et order : SVU," "Jessica Jones," -- "The jinx," "The Americans" -- The price is right : what advertising does to TV -- In living color : Kenya Barris' -- Breaking the box : "Jane the virgin," "The comeback," "The good wife," "The newsroom," "Adventure time," "The leftovers," "High maintenance." -- Riot girl : Jenji Kohan's hot provocations -- A disappointed fan is still a fan ("Lost") -- Mr. big : how Ryan Murphy became the most powerful man in television.
Shortlisted for the Man Booker Prize, this big, brilliant, profoundly observed novel by National Book Award Finalist Joshua Ferris explores the absurdities of modern life and one man's search for meaning. Paul O'Rourke is a man made of contradictions: he loves the world, but doesn't know how to live in it. He's a Luddite addicted to his iPhone, a dentist with a nicotine habit, a rabid Red Sox fan devastated by their victories, and an atheist not quite willing to let go of God. Then someone begins to impersonate Paul online, and he watches in horror as a website, a Facebook page, and a Twitter account are created in his name. What begins as an outrageous violation of his privacy soon becomes something more soul-frightening: the possibility that the online "Paul" might be a better version of the real thing. As Paul's quest to learn why his identity has been stolen deepens, he is forced to confront his troubled past and his uncertain future in a life disturbingly split between the real and the virtual. At once laugh-out-loud funny about the absurdities of the modern world, and indelibly profound about the eternal questions of the meaning of life, love and truth, To Rise Again at a Decent Hour is a deeply moving and constantly surprising tour de force.
"A Story Is a Promise offers a new model for understanding one of the most difficult of all arts: writing dramatic, engaging stories." "Written in a style reminiscent of a workshop, A Story Is a Promise guides the writer toward a keen understanding of the principle underlying all well-told stories, that a story is both a promise made and a promise kept. Step by step, this book teaches writers how to set out a story's promise in an active voice, which is the voice of the true storyteller."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
[ SALES TO DATE: 1,144 ] ........... "Staying alive for me is like surviving a train wreck" ☹️ says nineteen year old Theresa in chapter 22..... "This is the most stupid thing ever done. 🤬 I'm glad I won't be here to see what happens" says eighteen year old Theresa in chapter 4 when she thinks the U.S. government will execute her in a few minutes.......The intellect and the emotions are in constant struggle 👺 for control of the person. In Theresa's case, the intellect wins. 😁 ..... ( IT'S INTERESTING THAT OUT OF THE FIRST -*NINETY-FIVE*- ..YES 95 !!!.., ONE-STAR REVIEWERS, ONLY -*ELEVEN*- ACTUALLY READ THE BOOK AS INDICATED BY AMAZON'S ' Verified Purchase' FLAG. WHY ARE THEY HERE? READ ON. ).......Theresa is a star baseball pitcher in high school. Internet trolls viciously attack her on the internet. A teacher tells Theresa why they do that, and she understands.............. "I saw why the trolls were angry. They knew they couldn't go where I was going. I'd have a good life. They wouldn't.".........If I had intended to write a story that the internet trolls would hate, I couldn't have done better than Empress Theresa. It's a natural internet troll target...........How many stories can make you feel good? Can you think of any? Add Empress Theresa to the list...................In chapter 1, ten year old Theresa admits she doesn't have a clue about anything, but nine years later she confidently says, "I can do anything". "How did I come so far?" she asks herself, and considers a list of influences on her life. She had good parents and family support, she had natural gifts of beauty and intelligence, she has a good, loyal husband, but the most important influence are her own actions. ... "I'm very simple. I follow my conscience. I am what I do." ........What's in Empress Theresa?....... Violence, shootings, bombings? No. Foul language? No. Car chases? No. Sex scenes? No. Marital infidelity? No. Suicide? No. Drugs, alcohol? No. Mystery, crime? No. ........Mysterious events? Yes. "Impossible problems" solved? Yes. Stupid, greedy adversaries? Yes. Teenage ingenuity? Yes. Love and friendship? Yes. Pet chipmunks? Yes. Courage? Yes. Heroism? Yes. Fame and fortune? Yes. U.S. President, British Prime Minister, Israeli Prime Minister? Yes. Global crises? Yes. Political situations? Yes. Philosophical remarks? Yes. Heartwarming scenes? Yes........Can a teenage girl be trusted with limitless power? We'll see.............Of what is Theresa the empress? She's empress of her internal self, described by Henry David Thoreau as 'a realm besides which the empire of the Czar is a petty state', a land too vast to be explored in a lifetime. Theresa rules her inner self.....A teenage Catholic girl from Massachusetts acquires limitless power over the whole world...What will she do with it?....What would you do with it?....On page two, Theresa sums up the human situation in a single sentence: "We're lost in this confusing world unless we follow the directions of its Maker." Theresa figures it all out and changes the world. 😀❤️ 🙋♀
Over the past decade, as digital media has expanded and print outlets have declined, pundits have bemoaned a “crisis of criticism” and mourned the “death of the critic.” Now that well-paying jobs in film criticism have largely evaporated, while blogs, message boards, and social media have given new meaning to the saying that “everyone’s a critic,” urgent questions have emerged about the status and purpose of film criticism in the twenty-first century. In Film Criticism in the Digital Age, ten scholars from across the globe come together to consider whether we are witnessing the extinction of serious film criticism or seeing the start of its rebirth in a new form. Drawing from a wide variety of case studies and methodological perspectives, the book’s contributors find many signs of the film critic’s declining clout, but they also locate surprising examples of how critics—whether moonlighting bloggers or salaried writers—have been able to intervene in current popular discourse about arts and culture. In addition to collecting a plethora of scholarly perspectives, Film Criticism in the Digital Age includes statements from key bloggers and print critics, like Armond White and Nick James. Neither an uncritical celebration of digital culture nor a jeremiad against it, this anthology offers a comprehensive look at the challenges and possibilities that the Internet brings to the evaluation, promotion, and explanation of artistic works.