101. Close Encounters In The Spaced Age | Culture | The Guardian Article dissecting the series 1 episode Gatherings . By Stuart Jeffires. http://www.guardian.co.uk/books/1999/oct/02/books.guardianreview7

document.domain = "guardian.co.uk"; Turn autoplay off Turn autoplay on Please activate cookies in order to turn autoplay off Jump to content [s] Jump to site navigation [0] Jump to search [4] Terms and conditions [8] ... Register Text larger smaller About us About us Contact us Press office Guardian Print Centre ... Subscribe Today's paper The Observer Comment Sport New Review ... Observer Food Monthly Zeitgeist Today's hot topics guardian.co.uk Culture Web News Sport Comment Culture ... Simon Pegg Channel surfing Close encounters in the Spaced age Tweet this Stuart Jeffries The Guardian Saturday 2 October 1999 Spaced (Channel 4) could be about you, with your dreadful parties, hopeless friends, shabby domestic arrangements, inadequate neighbours and encyclopaedic knowledge of popular culture from Bagpuss to the present day. It purports to be a sitcom, but the director has clearly lost all interest in paying ritual obeisance to that televisual cul-de-sac's conventions. Which is to his credit. There are jump cuts, dream sequences, a stuffed monster that comes to life. It's not all that funny, but that's hardly a requirement in the modern era. In the context of current sitcom, experiment with the form is perhaps what you'd least expect. This may be the last twitching of a dying form of cultural expression, but at least it's twitching. Most sitcoms - British or American - just lie there. Only the other day, I saw an American sitcom, admittedly on Channel 4 at 9am, in which the woman who played Hope Steadman in Thirtysomething starred as the comic lead. When Hope Steadman gets to play in a sitcom, comedy is dead, and it can only be a matter of time before John Major is commissioned to do a stand-up show on Channel 4. What do you mean, he has? Say it's not so!

102. 'Fight Club' Dissects The Primal Nature Of Men Review by Paula Nechak. Seattle Post-Intelligencer http://seattlepi.nwsource.com/movies/fite15.shtml

rssfeedid = 27 newsvinecat = '' Skip navigation Movies seattlepi.com Web Search by YAHOO! Seattle Business Directory Local Weather Transportation/Traffic Politics ... My Account newsvinecat = 'entertainment,movies' 'Fight Club' dissects the primal nature of men Friday, October 15, 1999 By PAULA NECHAK SPECIAL TO THE SEATTLE POST-INTELLIGENCER The role of the male in our society and culture has come under tremendous scrutiny lately. There has been a cover story in Harper's, a book called "Stiffed: The Politics of Confrontation" by feminist Susan Faludi, and pieces printed in Newsweek and other magazines and newspapers that dare to trespass into that forbidden zone of the physical, primal and primitive world of noble savages called men; traits that have, according to these authors, slowly been wrung from the masculine gender. Edward Norton (left) and Brad Pitt explore men's primal needs in "Fight Club." "Fight Club" brilliantly explores this secret territory. It assaults us with violence, brutality, sexual confusion and anarchy and has enough bruising, punishing humor to keep us laughing with relief. In this initially ultra-civilized realm of corporate conformity and control, the film's narrator, played by Edward Norton, is introduced. He calls his existence "oblivion, dark and silent and deep." Chuck Palahniuk, upon whose novel the film is based, is quoted as saying "we've become a nation of physical animals who have forgotten how much we enjoy being that." Director David Fincher ("Alien 3," "Seven"), with his dark, brooding eye, revels and lolls in that covert netherworld that boasts "it's only after we've lost everything that we're free to do anything."

103. Everything You Wanted To Know About "Memento" - Thrillers - Salon.com Andy Klein dissects the most complex and controversial film of the year. Contains plot spoilers. Salon http://www.salon.com/ent/movies/feature/2001/06/28/memento_analysis/

Hot Topics Barack Obama Modern Family China ... Our Picks Follow Movies: News War Room Joan Walsh Glenn Greenwald ... About Salon Store Communities Letters Open Salon The Well Table Talk ... Terms of Service OAS_AD('Top'); Editor: Laura Miller Updated: Today Topic: Thrillers Thursday, Jun 28, 2001 16:12 ET Everything you wanted to know about "Memento" A critic dissects the most complex and controversial film of the year. By Andy Klein As the usual string of expensive summer blockbusters unspools, with its unpredictable array of commercial triumphs ( "The Mummy Returns" ) and disappointments ( "Pearl Harbor" ), it should be heartening to film fans that a classic sleeper can still find room in a marketplace filled with bloated extravaganzas nurtured by gray-suited greedheads. For a quick spiritual pick-me-up, consider this: On Monday, the per-screen average for writer/director Christopher Nolan's "Memento" a challenging art-house noir made for $5 million and released by a novice distributor after no other company would touch it was but $2 less than the per-screen average of "Pearl Harbor," a $200 million mediocrity, whose lavish, flag-wrapped premiere probably cost about the same as "Memento's" entire budget. "Pearl Harbor" was playing on a lot more screens and making a lot more money, of course, but per-screen average is a good indicator of overall audience enthusiasm for a film. "Pearl Harbor" was also midway through its fifth rapidly declining week in release while "Memento" was still hanging in there for its

104. The Gray Lady Flirts With The Earl Of Oxford Dissects the errors in an analysis of the authorship debate by the New York Times. http://stromata.tripod.com/id284.htm

var TlxPgNm='id284'; Stromata Stromata Blog Home Table of Contents Religion ... To comment, click here. Stromata home Deconstructing the Stratford Man A Test of Sobran's Method VERitable Lunacy ... A New Stratfordian Champion The Gray Lady Flirts With the Earl of Oxford From Mapplethorpe to Oxenford Life (5 Stars) and Lit Crit (Zero) Trollope Abroad No Bottom to This Barrel ... Querulous Notes (2004) The Gray Lady Flirts With the Earl of Oxford That unorthodox theories concerning the authorship of Shakespeare's plays have a core of adherents is newsworthy, so one cannot blame the Sunday New York Times for devoting a column to the notion that real Bard was the Edward de Vere, 17th Earl of Oxford (William S. Niederkorn, "A Historic Whodunit: If Shakespeare Didn't, Who Did?" , 2/10/02). Nor is it unreasonable for a journalist to present the Oxfordian case without adverse editorial comment. The Times would not be quite so non-judgmental if the subject were, say, creation "science", but neutrality is rarely a journalistic vice. It is, on the other hand, a journalistic vice to adopt a pose of neutrality while systematically ignoring one side of the case. Mr. Niederkorn's outwardly dispassionate account makes the Oxfordians sound like clear-thinking iconoclasts even as it omits key elements of the orthodox case, most of them readily accessible in sources that the reporter mentions but perhaps did not consult with any care.

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