Word: patternings
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...Unemployment lags by a quarter or two, but the jobs picture should begin to improve by the end of the year. But, that is a classic recession and the economy as it is moving now, may not follow a pattern that looks anything like what it has done in the past. It may not even share many traits with The Great Depression. This downturn is likely to be sui generis...
...songwriting duties with Rudder writing the bulk of the songs this time around, and the result is a safe, predictable work that obeys genre conventions without challenging them. “Grr…” always keeps the listener mildly engaged while making no real impact. This pattern is established on the first track, “Dimmer,” which opens with soft, driving bass and percussion before moving into a self-deprecating account of Rudder’s insecurities. All of it—the theme, the frail and vulnerable vocals, the clean production...
...ostensibly concerned with breaking down prejudices, it’s disturbing that so many characters have no identity outside their race. Almost every supporting character’s lines are interchangeable with those of any other member of his race. Dean Daniels and her reporter paramour break from this pattern, but only because the most incredulous lines are reserved for them alone. When asked why she would “even want to help these kids,” Daniels earnestly responds, “Because the world isn’t fair. People keep getting their asses handed...
...Restrictions on interhouse dining are widespread and, unsurprisingly, follow a geographical pattern: The far-flung houses—Currier, Cabot, Pforzheimer, Dunster, and Mather—have no regulations at all. Meanwhile, the more conveniently located guard their prime real estate carefully. All require non-residents to come accompanied by a house member for weekday dining. On top of that, Adams, Quincy, and Kirkland have adopted “community nights,” banning outsiders altogether once every week. Combine this with Lowell’s wholesale blockade during opera season, and you have a cumbersome set of barriers...
...hear the interviews, the viewer must sit down in one of the fourteen chairs placed in the middle of the gallery. Each chair comes with a set of headphones and a written English translation of the interview (originally in French). Arranged in a square, the pattern of the chairs mirrors the display of the interviews on the wall so that one faces the widow head on. It is as if Varda has invited the viewer to the widows’ table, into the secret realities of their daily lives. Varda never appears on the screen when questioning...