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I totally disagree that it is “indefensible” — much less inappropriate — to mock and condemn either those who use Nazi-style tactics or Nazis, neo-Nazis, white nationalists and white supremacists — all of which were tragically on display in Charlottesville, Virginia, over the weekend. Mocking and condemning is one of many ways to discredit these despicable human beings and their despicable philosophy. The very idea of treating any of those tactics, groups, or individuals with the kid gloves of a hyperventilating political correctness is itself “indefensible” — turning a blind eye to the horrific ideas and methods that lie behind them. As this is written CNN — and CNN is far from alone — is sharply criticizing President Trump’s first statement on the violence from the “alt-right” and white supremacists — Neo-Nazis, the Ku Klux Klan and others — in Charlottesville. Here’s the headline from the CNN website: The story by Dan Merica begins this way: As noted, one liberal media outlet after another ran with some version of this story. And to be certain there is no mistake — the white nationalists and white supremacists, the Klan and all the rest of the bigots who showed up in Charlottesville have no place in the American civil society. Period. Contrary to the CNN idea that mocking and condemning Nazi-style behavior is “indefensible” is the reality that mocking Nazi-like behavior not to mention Nazis themselves has a considerable history in the world of popular American culture. From Charlie Chaplain’s 1940 film The Great Dictator to Dan Aykroyd and John Belushi’s The Blues Brothers to the old CBS comedy and Mel Brooks’ Springtime for Hitler time and time again the mocking of Nazis or their tactics has become a recurring feature in the American arts. Which is exactly what I was doing with that line in my column: condemnation of extremists by using ridicule. With reason. For a host of obvious horrific reasons, Nazism led eventually to murderous methods used to implement the idea behind it. Nazism and its corollary idea of a state-run media stands alongside Communism as the world’s worst and most evil governing philosophies — both of which made a point of controlling the flow of information by deciding who did — and who did not — get to speak in the mass media of the day. It is politics and journalism as practiced by sadistic gangsters. Let me give you an example of how this game of “burn the sponsors” is played. In 2012, an advertiser targeted in this fashion was Mark Stevens, the founder and CEO of the MSCO marketing firm located in Rye, New York. His sin?

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She’s a beautiful thorn in his side until he finds out she’s going to leave and that drives him bananas. . She befriends Bucky who, twice a day, comes to the diner where she works as a waitress. “They really hit it off, two souls that are a little bit lost,” she says, adding that she and Arkin became close friends in real life. These two characters, she notes, are people “trying to find a piece of themselves that they feel they are missing. . Diane is the linchpin of the Cooper family and the linchpin of our cast,” he notes. He brings an earthiness and humor to the role of Sam that complements Diane. And in Alan Arkin, Marisa Tomei, Olivia Wilde and Ed Helms, we get actors who are adept at comedy but also at creating real people on screen. Amanda Seyfried and Anthony Mackie’s characters are the outsiders who get swept into the Cooper clan’s adventures during the course of Christmas Eve. They both brought a lot of heart to their performances. And Jake Lacy nearly steals the movie as the fake boyfriend Olivia Wilde’s character drags home to meet the family. . Including mine. Plus to work with Jessie Nelson again was a plus. . We loved to gather in the kitchen and mom would sing songs and we would chime in.


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She lived in Manchester with a minister husband; she had four daughters; she went to church on Sundays. This is an impulse that Gaskell herself would have recognized. When Charlotte Bronte died, Gaskell, who had been her friend, was asked by Charlotte’s father to write his daughter’s biography. She hated reading reviews of her work, and had reason to suspect that the reaction to her biography of Bronte would be particularly strong: she had pulled no punches in her depictions of those she considered “villains” of the Bronte story: the master of the school where two of Charlotte’s sisters had become fatally ill, and the married woman with whom Branwell Bronte had had an affair. Rather than stay at home and face her public, she took her two eldest daughters to the house of American sculptor William Wetmore Story in Rome. Vanity Fair asks poet, novelist and dancer Tishani Doshi ten questions. For readers who loved Girls Are Coming Out of the Woods, what other books would you recommend. My friend Gary Shteyngart teaches a class called The Hysterical Male—Norman Mailer, Philip Roth, Martin Amis et al, which is a hilarious hat tip to the madwoman in the attic. I’d like to revive that angel in the house and hand her a megaphone because we need to hear her voice real loud. So I’d recommend—Wide Sargasso Sea by Jean Rhys, Ms Militancy by Meena Kandasamy, Selected Essays by Virginia Woolf, and The Vegetarian by Han Kang. I don’t know that this is an under-appreciated novel except by my kids who were forced to read it in school, but my favorite classic of all time is Jane Eyre by Charlotte Bronte. Poor Jane suffers so much over the course of that book, but she stays true to her faith and finds true love in the end. Even as a high school student, this made my romance-loving soul rejoice. ( Zorah Green ) IndieWire reviews Netflix conspiracy thriller Bodyguard describing one of its main characters as follows: This is not a remake of the 1992 Whitney Houston-Kevin Costner thriller “The Bodyguard,” although it does feature a hardened private security specialist David Budd (Madden) assigned to protect a high-profile woman, who in this case is the implacable Home Secretary Julia Montague (Hawes). He also exhibits a remarkable humanity, such as in an early sequence involving a suicide bomber. ( Hanh Nguyen ) Seattle Weekly shares 'a selection of the best horror movies you can stream at home this Halloween', including I Walked with a Zombie A nurse is hired to care for an invalid on a Caribbean island, and the proximity to voodoo proves an elegantly scary backdrop. Producer Val Lewton borrowed the story from Jane Eyre, but he and director Jacques Tourneur made the low-budget film into a poetic blend of light, shadow, and sound.


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The fact that is was concurrent with my actual family breaking up is not lost on me. To say that I felt a sense of belonging in this group is gravely understated. Thanks to the world’s greatest story-teller, the ultimate actress, the glue, the woman was my mother on stage, and who remained my extended family for all these years, Joyce Van Patten-who posted this originally. The Playhouse Theatre had been totally transformed to look like the hand-built structures of the camp. Food was cooking in the corner and a guy was handing out chai. The only part that didn’t match with my experience was the heat of the room, as I’d been in Calais when the icy wind was bitter and there was no escaping the mud. This only served to remind me that I had only been there for a week, and people had seen through seasons in that place. I had taken a few of my “The Jungle - Illustrations from Calais” magazines with me to give to the cast, but then decided that I would use one to document the play. So I drew on a page that only had a bit of text and now it’s another important keepsake for me. I’d really encourage you to go and see the play whilst it’s on. A few people have DM’d to ask if it’s depressing, and I would say no. Instead it’s moving and informative and is an amazing display of human spirit (plus there’s some great music). And if you’d like a copy of my magazine then please head to my website shop. I’ve only got about 8 copies left but if I get more interest in it then I will do another run. So is anyone interested in seeing the play, or have you been already. Korean name: Lee Min Hyung (? Stage Name: Mark (?


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Doing so unlocks new, more powerful pins and clothing for the player to purchase. This is the source of many mainstream critiques of the game as overly consumerist: in the game, one is literally only truly alive while inside a store—the ghostly players of the Reaper’s Game become corporeal when they step past a sigil marking the entrance to every store. This is, of course, simply a way to justify the idea of direct communication between the living and the dead, but its implications should not be completely overlooked. Rather, the relationship Neku develops with various shopkeepers echoes the thoroughly modern nostalgic desire for locality and community that Pierre Mayol unearths in his exploration of Madame Marguerite’s notebook. They have constructed more modern shops, but they have not acquired the native mentality. The cashier at Pegaso, a shop “for the richest of the rich,” tells you to return when you can afford his wares if you leave the shop without buying anything—an experience that anyone who has accidentally wandered into a Bloomingdale’s or trendy boutique looking for a pair of slacks can instantly sympathize with. Although the most expensive items in the game are powerful, the game does include a method of combining rare materials with lower-price goods in order to cobble together the most potent outfit. Despite the regularity of shopping in TWEWY, the distinction between the local and the corporate is no more apparent than in the subplot dealing with Neku’s rescue of Ramen Don. At some point in the episode, the host will visit an aging male who spends his final years preserving the dying art of handmade noodle-pulling. The crafting of a fine bowl of ramen is perhaps most thoroughly celebrated in the Japanese film Tampopo—a cinematic, ramen-specific analogue to the curry-restaurant game CoCo Ichibanya analyzed by Ian Bogost. As an exploration of Tokyo culture, TWEWY would be remiss to ignore this significant aspect of Japanese culinary life. Ken Doi, owner of the neighborhood noodle bar Ramen Don, has fallen on hard times. Nobody will visit his shop, because a popular blogger named The Prince of Ennui has endorsed a chain restaurant called Shadow Don. Manipulated by the corporate forces maintaining his popular image, the Prince does not enjoy the empty, loveless noodles crafted at the restaurant he endorses. Later in the day the Prince enters Doi’s shop, demands a bowl of noodles, tastes them, and exclaims. Furthermore, the Prince asserts that the soup becomes more than the sum of its parts when it has been made in the spirit of sharing with others. Encapsulated in this subplot we find both the game’s preference for the local and its mandate of mutual reliance—the ingredients of ramen maintain their purity even while harmonizing together.


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