Word: ruse
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...Felicity, until the two split up in April. But don't even think it: Garner and Vartan have been dating only a few weeks. It's a case of life imitating prime-time drama, since Garner's character is in love with Vartan's. Unless it's all a ruse to cover up a secret romance with her Daredevil co-star Ben Affleck--well, probably not. But that would have been cool...
...show, two young, idealistic romantics, Matt (Ryan McAuliffe ’06) and dreamy-eyed Luisa (Julia Davis from Brandeis) fall in love despite an ongoing feud between their fathers. But the feud turns out to be nothing more than a ruse invented by their fathers—played with panache by B.J. Averell ’03 and Michael E. Moss ’03—to get their kids to fall in love, as they know that nothing is more alluring to children than what they can’t have...
...Fortnight. Set in the early days of Taliban rule and based on a true story, it tells of an 11-year-old girl whose mother sends her out with a short haircut and long robes to find work as a "boy" and support the family. It's a reckless ruse, one with potentially fatal consequences. The girl is taken to the men-only prayer ritual, and attends instruction by a mullah in the proper washing of the male genitals. Everyone notices that this "boy" is different?"like a nymph," the mullah says. Her deceit is uncovered by her first menstrual...
...Paul Wolfowitz. The shroud of international evildoing covers two excellent films set in Afghanistan. Sedigh Barmak's Osama takes place in the early days of Taliban rule: to earn money for her family, a desperate woman disguises her 11-year-old daughter as a boy. It is a reckless ruse, one with humiliating consequences, which Barmak directs with poignant simplicity. Samira Makhmalbaf's At Five in the Afternoon is set just after the Taliban's fall, when young women have earned the right to go to school but not the respect of their conservative fathers. The film shimmers and shudders...
...distort the world with notions of cause and effect, presence and absence, positive and negative, either and or—conventions of thought which become fetters when naturalized as logic. After the organic joy of thought has been exterminated, we drive the mental engine onward through the formal ruse of argument. Our very ideas are bellicose, formed to know their enemies and seek to destroy them. Our delight is in the death-march of the argument over the novel notion, the heady idea: the sound of data crunching and uncertainty crushed beneath jackbooted convention. We drown the daisies in concrete...