What’s the difference between Christianity and Judaism? It may not be as obvious as you might think.
What’s the difference between Christianity and Judaism? When one considers the shared cultural heritage of the Hebrew Bible (what Christians call “the Old Testament”), it seems in the end an easy question: Jesus. Christians believe in the divinity of a Jewish holy man who died two thousand years ago, while Jews still await their messiah. But as Shaul Magid’s fascinating new book Hasidism Incarnate shows, the deep religious structures of the two religions may not always be as different as that first glance might suggest.
Upon rewatch, I was struck by how Firefly seemed to be a turning point for self-proclaimed feminist Joss Whedon.
The winter television hiatus in the United States makes for an excellent opportunity to watch old favourites — thanks to the short days and bitter nights, the prospect of curling up on the couch with a cat and flicking the laptop on is even more appealing than usual. This year, I’ve been working my way through a few, but over the weekend, I picked up Firefly and the subsequent feature film, Serenity. Joss Whedon’s short-lived show consisted of just 14 episodes, three of which never even aired, and it essentially bombed on the air — but loyal Whedon fans resurrected it in the form of Serenity and every now and then, rumours swirl that perhaps Mal and the crew will be returning. (Sorry, fans: That ship has sailed.)
Bad Judge created a refreshing and rather delightful shift away from traditional television norms, where women are punished for falling outside very narrow norms.
Poor Kate Walsh. The brilliant comedian and fantastic actress continues to get wasted on television shows that are either far beneath her skills, or incredibly short-lived. She first hit the TV radar in a big way with Grey’s Anatomy, where she was almost instantly cast as the bad guy despite the fact that she was the one being cheated on — that’s what happens when the other woman and your partner are the leads on a television show. Then she moved over to the melodramatic Private Practice, which had a good run, but didn’t do much to show off her abilities. As Dr. Addison Montgomery, she was locked into a role that often felt rather stilted, and, as usual with Shonda Rhimes shows, she was trapped in what felt like a never-ending cycle of sex, scandal, and cheating; since apparently Shonda’s female leads are incapable of having tame sex lives. (I know, I know, they don’t make for interesting television.)
Global Comment spoke with award-winning producer/director Mary Dore recently.
If your idea of the early days of the women’s movement is limited to NOW and the ERA then Mary Dore’s eye-opening “She’s Beautiful When She’s Angry” has got another acronym or two for you. (Ever heard of WITCH – the Women’s International Conspiracy from Hell!? Didn’t think so.) An exhaustively researched portrait of feminism circa ’66-’71, Dore’s doc will both enlighten (delving deeply into the movement’s internal rifts related to race and sexual identity) and surprise (Hollaback!-style tactics ain’t nothing new).
AMC committed a cardinal sin this week — the network spoiled its own show.
AMC committed a cardinal sin this week — the network spoiled its own show. In a television environment where delayed viewing, time differences, and pirating mean that people watch television at highly variable times and places, spoilers are becoming ever more controversial, but AMC’s foulup was particularly egregious, as the network managed to run said spoiler before the episode even ran in some parts of the United States.
Each year, we find ourselves railing against the sheer transparent grab for viewer attention.
Sweeps Week is here, as in what one would think should be one week of programming designed to lure in advertisers by pumping up ratings with thrilling episodes of television, but what’s actually four weeks of torment. We all know what it is and why it happens, and yet, each year, we find ourselves railing against the sheer transparent grab for viewer attention, especially since it happens in spring, midsummer, and late winter as well. You know what it looks like: An astounding kicker on How to Get Away With Murder, another tear-jerker on Grey’s Anatomy, the latest cliffhangers on a slew of procedurals, an extra hour of programming to make a midseason finale extra juicy for viewers. To make things even worse for viewers, some shows are going into their winter intercession, with a warning that they won’t be returning until January; tune in now or remain forever silent. Get your last dose before it’s too late!
Von Trier believes religion is a substitute for childhood rituals that help us retain control over cosmic events that are beyond our capabilities to do anything about.
When you gaze at all the wonders that “Breaking the Waves” possesses you have to submit to Emily Watson’s eyes. Are they the most exhilarating orbs owned by a British actor since Michael Caine’s? They dance with the light of sexual liberation, sparkle like they have discovered all the secrets of the universe; they can’t wait to divulge all the enigmas they’ve unpicked to anyone that cares to listen.
Twin Peaks is every bit as delightful as it was 25 years ago.
The minute the familiar opening montage of Twin Peaks flashes across the screen as I settle back to watch the pilot, I can feel my eyes tingling with nostalgia. The music swells, and we’re swept through the sequence to the iconic scene of Laura Palmer on the beach, eyes dead and cold, and plunged into one of the most famous cult television series in U.S. history. While Twin Peaks ran for only two seasons, it’s a David Lynch classic and a must for fans of the auteur, and it’s coming back in 2016, which might explain why the show has suddenly received an uptick in attention.
Making its North American debut in the Metropolis section at DOC NYC, Thomas Wirthensohn’s beautifully crafted “Homme Less” follows the quintessentially eccentric New Yorker Mark Reay. At 52, the still dashing and debonair, former international model now strives to make [...]
Making its North American debut in the Metropolis section at DOC NYC, Thomas Wirthensohn’s beautifully crafted “Homme Less” follows the quintessentially eccentric New Yorker Mark Reay. At 52, the still dashing and debonair, former international model now strives to make a living as a fashion photographer and bit actor (the “Men in Black” franchise is just one of his gigs). When not working out at the gym or editing photos at Starbucks, Reay attends Fashion Week and all the right downtown parties. Then he goes home. Not to the Chelsea loft he maintained for years, but to his friend’s rooftop (unbeknownst to the friend), where he sleeps under a tarp.
“Gomorrah The Series” then is a breathtaking, heart stopping achievement that has arrived in the golden age of episodic television
After reading this review and when you sit back to watch the box set of “Gomorrah The Series,” take some time out to remember just how much some writers have to suffer for their art. Back in 2006 the young Italian journalist Roberto Saviano decided to blow the lid on the Neapolitan Mafia, the Camorra. His book “Gomorrah” sold over 10 million copies; in 2008 it spawned a critically acclaimed film of the same title and is now the vitally important television series that makes the mastery of “The Sopranos” look like a children’s show. In retrospect Saviano regrets the, “Ambition” that drove him to write his stunning exposé, a classic example of the New Italian Epic that utilises an Unidentified Narrative Object (UNO), an act that landed him a Camorra death sentence and a lifetime under Police protection in New York.
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