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...aria “Es gibt ein Reich” (“There is a Kingdom”) bolsters a part of the opera-within-an-opera that can tend to drag (which, to be fair, might simply have been the result of Strauss emulating the less-skilled idiom of a younger composer). It punches the same heights that Gilmore’s “Noch glaub’ ich dem einen ganz mich gehörend” (“I Still Believe I Belong to Someone”) does, by dancing around with ever more...
While these elements of “Terribly Happy” are effective, however, the shallow characters make the movie less than memorable. Robert, the protagonist, never once demonstrates self-reflection or divulges the motivations for his actions. It seems logical that as he increasingly reveals himself to be the opposite of the innocent cop he appears to be, he would simultaneously reveal the hidden personality traits which lead him to commit the atrocities he perpetrates during the film. But Robert completely maintains his superficial, ingenuous demeanor throughout the movie. This disconnect between his behavior and his bearing seems...
...opening track “Thieves.” This cut sets the swingy, retro feel of the album, as Deschanel sings seemingly frivolous, yet insightful lyrics—”We two are makers, just made this mess / Two broken hearts don’t beat any less.” The sadness that comes through here marks one of the few moments of real emotion on the album...
...often feels as though it was rushed to press too quickly. The highlight of the book, “Spin Right and Shoot Left,” which examines the history and current state of lacrosse, was published in “The New Yorker” less than a year ago, and without the literal and intellectual heft of this piece, this anthology would be too slight to warrant the name...
This isn’t as much of a problem as it sounds; if these pieces are less ambitious than McPhee’s books, they succeed as especially substantial and elegant nonfiction. This collection provides an enticing introduction to a body of work that can be intimidating by virtue of its sheer volume and journalistic rigor...