Television
It’s possible to argue with several of Stephen Sondheim’s selections. Are all of these his best achievements? Yet it hardly matters, because the composer’s tales of his artistic life, culled from probably a dozen interviews, are completely fascinating.
Over the past five years of Breaking Bad, the chemistry of fate has run its course.
Before he was a broadcaster, Mary Glickman was one heck of an athlete, a youthful hero in New York known as “the Jewish Red Grange.”
“Mad Men” gets all manner of undeserved attention. Yet I attend to it.
In Russia, the defenders of Nadia, Masha, and Katia have compared their plight to the victims of the infamous Stalinist “Show Trials” of the ’30s.
The only way to sort of enjoy “Family Tree” is with modest expectations; and indeed, this is the most modest of series, as Christopher Guest cuts his molars on TV with a program which rarely tries to be more than fairly amusing, mildly ambitious, a kind of bemused apprentice work in a new medium.
Mr. Selfridge drives me nuts because the storyline, the rise of a mercantile empire, calls for edgy Darwinian conflict rather than paternal benevolence sprinkled with layers of powered soap opera.
But there’s something else going on in “Mad Men,” all the more because it’s latent, unannounced, episode by episode. It’s this thing about art and advertising, and the difference, circa that era, if any.
Yesterday the folks behind Rdio.com, the online music subscription service, started unveiling Vdio, an online video rental and sales service.
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