Word: boss
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...York City. Somehow, the distance feels greater when I'm in Iraq. If it's difficult for me, it's doubly so for her, knowing that I'm constantly in harm's way. Bipasha jokes that her coping mechanism is a voodoo doll bearing a remarkable likeness to my boss, which she pokes with a needle whenever she gets too anxious. (Howard: you know those stabbing pains you sometimes get? Well, that's where it comes from...
...afraid to let anyone in hisoffice know. "I had worked a long time to get to this dream job," he says. "I thought, Do I want to risk it? I was really unsure of the atmosphere." But Kincaid finally felt that he needed to come out to his boss. "I went in and said, 'I need to tell you something: I'm gay.' He was a busy guy, and multitasking while we were talking. But he noticeably focused on me and listened. It was a powerful moment...
Back in 2003, Condoleezza Rice, then the National Security Adviser, decided that U.S. administrator L. Paul Bremer's plan for getting a government going in Iraq wasn't viable. Without telling Bremer or his boss, Defense Secretary Donald Rumsfeld, Rice went to President George W. Bush after her summer vacation to put the viceroy on a shorter leash. She knew that the President exercised with Bremer when he visited Washington, appreciated his strong Catholic faith and treated him like a Cabinet member. But she drew on her even deeper bond with the President. She soft-pedaled her views of Bremer...
...Railroaded! is full of scurvy characters who, when they're not plugging one another, pass the time by making stabbing insults. There's the foppish crime boss who snootily tells a moll, "'Women should be struck regularly, like gongs.' That's from Oscar Wilde." And the moll snarls, "Give it back to him." The moll is Clara (Jane Randolph), one of those diamond-hard dames who, in the noir universe, are there to dish out abuse verbally and take it physically. Toward the end, when Clara gets drunk, Ireland takes her bottle away and gives her a severe slap: "Just...
...even the sitting figures from below, with the tops of rooms pressing down on them; he loved ceiling shots more than Japanese tourists in the Sistine Chapel. This perspective not only enhanced a doomsday mood, it kept the costs down on low-budget productions. According to Joe Cohn, his boss at MGM, Alton "saved a lot of time by lighting only from the floor...