[After spending this week in a marathon of seeing plays in the Elizabethan Theater of beautiful Ashland, Oregon–and last night’s 3.5-hour, incredible production of The Odyssey–I am much too exhausted to worry about the essay I’ve been putting off, and much too inspired to work on anything non-fiction. Be prepared
What is it that makes certain television shows so gripping? What causes certain stories to stick to our ribs? The pathos, certainly, but as important as the pathos itself is the character who delivers it, whether hero or villain. The Coen Brothers have a particular talent for creating lively characters
In our last essay, we spent a lot of time talking about the character of Hannibal Lecter, but what about Will Graham? After all, he’s the man who catches Hannibal in the novels, and in the television series, he is the man who, unintentionally, catches Hannibal’s heart. This is not,
Here’s an interesting notion: Hannibal Lecter wants to save your soul. No? No takers? Well, bear with me here, because we’re about to delve into what’s likely to be a multi-part journey into one of the most plastic, evil, and enduring fictional characters existing in the American literary canon. So
Listen to Red Sulphur Show Episode 2 and learn about The Island of Consciousness in The Red Turtle, Swiss Army Man, and The Tempest.
Because I’ve been too busy with writing a play this week to take the time to write a full essay, I’ve decided to record the first episode of a podcast dedicated to those subjects which don’t merit essays of their own. This week: Shirley Jackson, That Poppy, and Blind Vaysha.
A musical whose film translation leaves a lot to interpretation, Hedwig’s book was written by the talented John Cameron Mitchell. As a gay man raised in the Catholic Church, Mitchell has doubtless throughout the course of his life struggled much with issues of sexuality and self-acceptance, as well as the