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JHFH: Well, in the original script Richard Young does die. I don’t want to say that it’s all one big metaphor, but it is sort of metaphorical. There’s a Richard Young at the beginning of the film and a Richard Young at the end of the film, and the two are not the same...
...greatest advantage would be the potential for some form of institutional memory. Right now it’s sort of ad hoc, in that you get a campaign or a political organization that needs interns for one summer,” said Berkenfeld. “One individual that is at the IOP for the long-term can accumulate those opportunities on a long-term basis to make sure that they continue to exist...
...chapter of one or the other...” He then mentions that he wrote a page of the good novel and a page of the bad novel per day, and sometimes the pages got mixed up. It is now up to the readers, he says, to collaborate and sort out the confusion...
...want to] strengthen the idea of a queer community as opposed to a bunch of people entering a club to drink, hook up, whatever." However, unlike other forms of service, DJing puts you in an empowered, controlling relationship with those you are trying to help. "You’re sort of a shaman in a secular ritual to bring people to a place of ecstasy.” This moment, she elaborated, embodies the term “communitas,” or an “über-community feeling: [the] feeling of in a moment being boundaryless...
Cavaradossi, of course, is an artist. So is Tosca: as a celebrated singer, she premieres a cantata on the same night that Scarpia arrests Cavaradossi. Subtler, though, is the way in which Cass’s Scarpia is framed as a sort of artist. Scarpia has an extensive, obsessive conception of the way he wants the world to be, and the elaborate, not entirely rational course of events he plans in order to force himself on Tosca is far more sophisticated than the artistry of either Cavaradossi or Tosca...