“The real intellectual crisis on campus is not threats to free speech, but threats to the quality of speech. Like much of the media, colleges have capitulated to a Trumpian version of debate that treats lying, demagoguery, bluster, mockery, and bad faith as equally valid approaches to ideological argumentation. This approach subordinates the pursuit of truth to a pernicious “both sides” logic that treats all statements as equal simply because they’re politically divergent, even if they’re radically different in merit.”
This is a great description of where we are … and an idea for how to look for fresh ways to deal with it: “To loudly insist that Hollywood cut it out with the reboots is, unfortunately, to waste your breath. It is, however, at least worth asking the question: If this is the world we’re stuck with, how should a reboot be? Some have begun to resemble something like the filmed equivalent of an oral tradition, passing down different versions of the same story over and over—at least while the story remains immediate. … Our current options for ‘best’ Hollywood reboot are, at best, pretty good. (Batman Begins.) But a better North Star for reboots is out there, and its name is Blazing Transfer Students.”
“Most computer scientists think that consciousness is a characteristic that will emerge as technology develops. Some believe that consciousness involves accepting new information, storing and retrieving old information, and cognitive processing of it all into perceptions and actions. If that’s right, then one day machines will indeed be the ultimate consciousness. They’ll be able to gather more information than a human, store more than many libraries, access vast databases in milliseconds, and compute all of it into decisions more complex, and yet more logical, than any person ever could.”
I love books that make me backtrack my own declarations of preference, ones that catch me off-guard, surprise me, keep me on my toes. I want stories that don’t fit into easy boxes, ones that defy their own ostensible categorization, that make those who recommend them stumble, before finally saying, “Just trust me.” The problem, of course, is that in most cases, we aren’t offered this kind of tailored option.
Thanks to Milo’s breach-of-contract lawsuit against Simon & Schuster for withdrawing publication of his book Dangerous, the draft manuscript with comments by editor Mitchell Ivers is now public record. So the Internet is having a high old time with it, and you can join in. (Our personal favorite note: “Beauty regime moved to box at end of chapter, after Nietzsche section.”)
These dreams range from the very-much-doable (Norman Foster extending Madison Square Park) to the interesting-but-unlikely (requiring the new super-tall apartment towers to provide public space) to the good-but-too-expensive (elevated bike lanes) to the insane (damming and draining the East River and using the riverbed as farmland) to why-aren’t-we-doing-this-already? (a “cultural Airbnb” offering vacant storefronts for temporary use as performance or art venues).
Sure, the casting may have been ill-starred, but backstage, in the “opera factory, … the company’s army of artists and artisans started work nearly a year before its opening night, on New Year’s Eve.” Photographer Todd Heisler and reporter Michael Cooper give us a look at what the troops have been whipping up.
She began working as a singer at age 3, had a national radio show at 5 (she went on a national vaudeville tour at 7 to prove she wasn’t really an adult), and had a decades-long television career that included three Emmy nominations for playing comedy writer Sally Rogers on The Dick Van Dyke Show and nearly 20 years as a favorite on Hollywood Squares. She was doing voiceover work as late as this year, and a documentary about her came out just last month. (Fun fact: she says her father was an arsonist for Al Capone.)
There have been plenty of star-crossed productions in Met history, including the premiere of Samuel Barber’s “Antony and Cleopatra” that opened the Met’s Lincoln Center home in 1966 (amid serious last-minute technical glitches and labor woes) and Robert Lepage’s recent “Ring” cycle (built around a 45-ton set that had a habit of breaking down). But Mr. Gelb said that he had never before had to recast all the leads in a new production. “Luckily, there are only three principal roles,” he said dryly.
People used to say Atlanta has the “potential” to be a destination city for the nation’s great dancers and choreographers. Like a L.A. with Southern hospitality or a New York City with affordable housing and better weather. I would argue that the sophistication and quality of the work puts us in a world class. The work is here.
“As of Christmas Day, the domestic total for the year was $10.68 billion, or 2.7% behind the same time frame a year ago. The final six days of 2017 are likely to generate somewhere between last year’s six-day total of $408 million and 2015’s six-day haul of $431 million, according to box office tracker comScore.”