Word: dreamings
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...Johnson had access to Palin and her family that a reporter could only dream about now, although even some of her candid statements sound eerily like late-2008 talking points. Referring to her unsuccessful run for the lieutenant governorship of Alaska in 2002, Palin told the author, "There was a lot of talk about the fact that I didn't have years of experience. Leadership shouldn't be based on years of public experience - it should be based on vision and example...
...Since the early '70s the two have dominated dramatic acting in films; when Brando abdicated, they seized the crown. Just the pictures De Niro made with Martin Scorsese would constitute a dream career for any almost other performer: Mean Streets in 1973, then Taxi Driver, Raging Bull, Goodfellas. Same with Pacino's "S" movies: Serpico and Scarecrow in '73, followed by Scarface, Sea of Love, Scent of a Woman. De Niro and Pacino played father and son in The Godfather Part II but never shared a scene. In the 1995 Heat they spent nearly three hours in the same movie...
...nostalgia for small-town America and the other in the new middle-class reality. She brings home the bacon, raises the kids - with a significant assist from Mr. Mom - hunts moose and looks great in the process. I can't imagine a more powerful, or current, American Dream...
Levithan is adamant about not comparing The 39 Clues to its famous older sibling. "We don't ever dream about having another Harry Potter," he says. But the series does share some cosmetic similarities with Rowling's. Harry is, like Amy and Dan, an orphan who discovers that his family history makes him part of a secret, powerful world. The Cahill family is divided into four branches, each with its own distinct personality, just as Hogwarts is divided into four distinct houses. But in another sense Levithan is very right: if you look under the hood you'll find that...
...Aronofsky has been one of the few American directors whose movies upset the complacent status quo. Pi, Requiem for a Dream and The Fountain were demanding and rewarding in various ways: the first whacko, the second gritty, the third sumptuously romantic, and all marvelously dense with imagery. The Wrestler is the first Aronofsky film to be visually inert. His main camera habit is to follow Randy, just his imposing back, as he trudges through corridors toward another fight. (Martin Scorsese virtually patented that shot, in Raging Bull and Goodfellas). The trope does pay off later in the film, when Randy...