Viewing Posts tagged: rip
Remembering Senator Frank Lautenberg’s progressive legacy (1924-2013)
I’ll see you at the movies.
Roger Ebert’s last written words.
We ask why there is violence in our schools, but we’ve systematically removed God from our schools. Should we be so surprised that schools would become a place of carnage because we’ve made it a palce where we don’t want to talk about eternity, life, what responsibility means, accountability?
Mike Huckabee claims Connecticut school massacre happened because we ‘removed God from our schools’
Watch it HERE
Time’s a-wasting, go out and have yourself a fantastic day!
Remembering Nora Ephron's philosophy to "try to write parts for women that are as complicated and interesting as women actually are."
Alyssa Rosenberg’s tribute to Nora Ephron:
Her heroines were very specific people, unlike the generic publicists and event planners who populate today’s movies: in Heartburn, Rachel Samstat is a food critic, Sally, in the movie that bears her name, is a journalist (as is Annie Reed in Sleepless in Seattle), and in You’ve Got Mail, Kathleen Kelly runs a bookstore so achingly real it conjures up ghosts of the shelves where I browsed as a child.
Above all, be the heroine of your life, not the victim.
ThinkProgress’ Alyssa Rosenberg’s take:
“I was incredibly sad to read this morning of the death of Maurice Sendak at 83. It’s hard to imagine that anyone here hasn’t encountered Where The Wild Things Are, whether as the object of a reading of Sendak’s most enduring classic, a reader of it to a child in your life, or even only through the strange, wonderful in its own right, movie adaptation of the book. But Where The Wild Things Are was only part of Sendak’s legacy: as both a writer of his own work and an illustrator for others, he brought new worlds to life and made our own seem a marvelous, even miraculous place…
And as a gay man and a Jew, Sendak was particularly aware of how frightening the world could be, even after children grow up and grow into adult power and responsibility. Though it’s a later work, I’ve always particularly loved Sendak and Tony Kushner’s collaboration on Brundibar, an adaptation of a children’s opera first performed in the Theresienstadt concentration camp. The story, about children who team up to chase a wicked organ grinder out of the town square so they can sing to raise the money to pay a doctor to attend to their sick father, is both an anti-Hitler allegory and in keeping with Sendak’s view of children as confronters of a large and sometimes frightening world. The opera’s survival is also a testament to the power of art in arming children for that fight, as fitting a summary of Sendak’s work as I could imagine.”