PicoBlog

Image by L.E. Wilson from RedBubblePlanet of the Apes (1968) is a drama directed by Franklin J. Shaffner, based on the book by Pierre Boulle, about a US astronaut, George Taylor (Charlton Heston), who crash-lands on a planet where humans are regarded as a lower species and non-human apes rule. Life Lesson: “I would rather have questions that can’t be answered than answers that can’t be questioned.” — Richard Feynman Eric Goebelbecker writes about science fiction in Are You Not Entertained?

tl;dr – This is a quick, well-argued book by Hughes. He argues that the current hyperfocus on race will not achieve the stated goals of anti-racist activists and has only caused division. Instead, a colorblind approach as advocated by MLK is needed. Unfortunately, it’s likely a book that won’t be read by dissidents of this viewpoint, although I think it should be. There is no escaping discussions of race in today’s America.

Like many, I came to know of the Gaines’ during their rise to fame from their hit HGTV show, Fixer Upper. Their infectious positivity and dramatic home transformations made me a huge fan. After ending their hit show, they went on to build a whole series of companies – an entire TV network, multiple home furnishing lines, and brick and mortar businesses in Texas. Big celebrity memoirs aren’t my go-to type of memoir (I prefer reading about scientists) but some I’m curious about, and they tend to be a fun listen.

Image by L.E. Wilson from RedBubbleYesterday (2019) is a comedy directed by Danny Boyle about Jack (Himesh Patel), an amateur musician who discovers that he can magically steal the music from a successful band, The Beatles, and pass it off as his own.  Life Lesson: Happiness is success, and success is happiness. Movie Scene: Jack: John? John Lennon (Robert Carlyle): Yeah? (read the full scene) William Collen explores the arts from a Christian perspective at RUINS

It’s been a busy Q1 for Broadway DNA, licensing new work around the world, producing a world premiere new play opening soon, and writing a new publication for the International Theatre Institute out this summer. As I catch up on my to-do list, please excuse this belated review from the exquisite January world premiere of the music theatre piece “Terce: A Practical Breviary.” Thank you for supporting Broadway DNA’s vision to demystify cultural exchange through international producing, licensing, and criticism to empower theatrical discussion around the world.

The single best thing about episode three of A Murder At The End Of The World (aside from the episode-ending event really pushing this story into overdrive) is how smartly and clearly it depicts what would happen in real life if someone tried to play Poirot with a bunch of people they barely knew, right after processing a horrific death in a remote location. Namely, everyone else would back the hell away from that person, trust the authority in charge, and alternate between pity and unease every time the accusing party walked into the room.

Darby Hart is not doing well. The after-effects of her concussion have sent her reeling more than once—double vision, blurriness, foggy thinking—but she repeatedly ignores the warnings of everyone trying to get her to recuperate. She’s blundered into accusations, pissed off just about all the major players in this drama, and had her life threatened if she doesn’t stop. Then, of course, she doesn’t stop—and her life really gets threatened.

Good review aside from the obvious Grateful Dead dislike. Truckin’ was also the song that got the crowd to their feet in Milwaukee when I saw him. Bob plays the Dead for many reasons, he and Jerry were pals and both admired each other immensely. The Dead inspired Dylan to take a look at himself and his music after he toured with them and it brought about his resurgence in the late 80’s.

What a strong episode of Abbott Elementary for such a terrible episode title. “Gregory Garden Goofballs” really is one of those episodes where every plot just hits and every character has their moment to shine. (One of the most impressive structural choices in this episode is the fact that Mr. Johnson doesn’t even show up until the halfway mark, only for every line from him moving forward to be sniper-level on the mark.