Word: scenes
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Dates: during 2000-2009
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...Especially when Jacob Black arrives on the scene to distract her from her melancholy. Where Pattinson's Edward is cold, bloodless and trapped in his head, Taylor Lautner's Jacob is warm, tawny, genial and able to get Kristen Stewart's shrink-wrapped Bella to stretch out and relax a little onscreen. It's as though the sun can come back out once Edward leaves; there are genuinely funny moments in their scenes together, not to mention sexual tension. Expect an eruption in the theater during the scene in which a thrill-seeking Bella wrecks the motorcycle Jacob rebuilt...
...Even in a sport known to sometimes provoke extreme behavior among fans, the scene following Saturday night's win - and the tension building up to Wednesday's game - might seem a bit extreme. Some hint at a deeply rooted historical animosity between Egypt and Algeria, suggesting that a cold history between the two North African states could be partly to blame for the tension and violence. But the country's social frustration that is largely suppressed by its authoritarian government may also be finding expression in the soccer hysteria...
Similarly, the three other female characters play roles consistent in their appearances as Anne throughout the show. Ella Gibson ’13 pierces the show with a stern cool that permeates her part as the pessimistic narrator in scene three (“Faith in Ourselves”); as the disparaging art critic in “Untitled”; as the skeptical interrogator in scene 15 (“The Statement”); and as the seemingly sweet but aggressively homophobic, racist young mother in scene 10 (“Kinda Funny”). Rebecca Feinberg...
...Spotlights focus on specific narrators. The technological longing, imbued in tracks by Panda Bear, Thom Yorke (with and without Radiohead), capture the melting, quiet terror of a modern generation; videos unveil landscapes and devastation upon the backdrop during “Faith in Ourselves,” and then, scenes later, the sleek curves of a new model vehicle in “The New Anny.” “What fascinates me is her use of textures,” offers one art critic during “Untitled.” “I think...
...Strangely,” as Sterle shouts through the megaphone again in the aptly named scene 12 (“Strangely!”), the lights dim on Napier at the close of the show, leaving her sprawled on the floor in the dark as in the first scenario. Now, however, we have at least some understanding as to the immediate cause. It’s a full circle orchestrated by Stone that capitalizes on the necessarily absent center of a continuous loop, and though the action has come to a close, its ideas continue to linger—unlike...