Word: echoing
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Dates: during 2000-2009
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...Echo (Eliza Dushku) has an endlessly challenging job. On one assignment, she might play a hostage negotiator; on another, a midwife; on still another, a woman in love. Then she gets chauffeured to a treatment at a spalike facility filled with warm light and blond wood. It's a little like being a Hollywood actress on location...
...exactly. Echo's "engagements"--ranging from deadly capers to prostitution--are real. That spa treatment is a sometimes painful process in which her personality and all memory of her missions are erased. And her luxury digs, called the Dollhouse, are the headquarters of a secret illegal business where she and other blank-canvas "actives" are programmed with new personalities to do hush-hush jobs for the superrich. (See the top 10 TV series...
Writer-producer Joss Whedon has played with the conventions of monster stories (Buffy the Vampire Slayer, Angel), space sagas (Firefly) and comic books (Dr. Horrible's Sing-Along Blog). Now, with Dollhouse (Fox, Fridays, 9 p.m. E.T.), he tries dystopian sci-fi. Echo is not a slave, technically; she goes to the Dollhouse after having run into unspecified trouble as an idealistic college grad named Caroline. The deal: if she becomes an active, the company makes her problem go away--along with all her memories. The threads running through this ambitious serial: Who was she? And what...
...Obama can turn a feel-good moment into improbable changes in our discourse, he might be helped by something that helped him pull off an improbable win: the Internet. It's true that new media have helped polarize politics by creating echo chambers of agreement. But the kind of social media the Obama campaign used, like Facebook, also help people broaden their spheres and see how they are connected with people who are different from them. And they're popular among the same young people who are turned off by the old political dualisms and categories...
...Never paint the material of the sleeve," N.C. would roar. "Become the arm!" It was classical instruction, demanding empathy with the object. Yet the leonine old illustrator never let his pupils fall for the pathetic fallacy-that empty barrels are lonely. He believed that the painting must find an echo inside the painter-in a sense, Method painting. It was all done with such verve and warmth that, as Sister Carolyn says, "there was nothing arty about it. It was like coasting, like playing outside in the snow...