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...other a shock-therapy harangue. For a handy compare-and-contrast, check out the small- and big-screen versions of State of Play. You'll see the difference between a vital work of popular art and a patched-up retread. It's almost enough to make a movie critic wish he could watch television - good television - for a living. (See TIME's top 10 TV series...

Author: /time Magazine | Title: State of Play: Better on the Small Screen | 4/17/2009 | See Source »

...there it is: another film that can't compete with a TV show. But I'm not turning in my movie-critic's license quite yet. If there's one thing I learned from both versions of State of Play, it's that a journalist never gives...

Author: /time Magazine | Title: State of Play: Better on the Small Screen | 4/17/2009 | See Source »

...John H. Updike ’54’s Lampoon, David L. Halberstam ’55’s Crimson, or Norman K. Mailer ’43’s Advocate. It was when he was eight years out, in 1999, after a stint as a critic at the Village Voice, that Whitehead began to make noise with the release of his first novel, “The Intuitionist,” which follows a black, female elevator inspector during a time of racial integration. Cameron Leader-Picone, a graduate student in the African-American Studies Department...

Author: By Sanders I. Bernstein, CRIMSON STAFF WRITER | Title: Colson Whitehead '91 | 4/16/2009 | See Source »

...John H. Updike ’54’s Lampoon, David L. Halberstam ’55’s Crimson, or Norman K. Mailer ’43’s Advocate. It was when he was eight years out, in 1999, after a stint as a critic at the Village Voice, that Whitehead began to make noise with the release of his first novel, “The Intuitionist,” which follows a black, female elevator inspector during a time of racial integration. Cameron Leader-Picone, a graduate student in the African-American Studies Department...

Author: By Sanders I. Bernstein, CRIMSON STAFF WRITER | Title: Colson Whitehead ’91 | 4/15/2009 | See Source »

...There is something about the profession of impresario, the entire tribe of them, that has fascinated me ever since I learned that such weird and exotic beings existed,” said the late Clive Barnes, one of the preeminent dance critics from the turn of the 20th century. “I think I originally imagined them looking a little like Serge Diaghilev. A grandee of café society, yet a man of classless class, who wore his cultural and intellectual distinctions as casually as a subtle aroma of cologne.” The Sergei Diaghilev in question...

Author: By Erica A. Sheftman, CONTRIBUTING WRITER | Title: Harvard Celebrates Centennial of the Ballet Russes | 4/10/2009 | See Source »

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