Maison d'édition: Blackmore Dennett
Epictetus taught that philosophy is a way of life and not just a theoretical discipline. To Epictetus, all external events are beyond our control; we should accept calmly and dispassionately whatever happens. However, individuals are responsible for their own actions, which they can examine and control through rigorous self-discipline.
A suburban woman with a love for community theater attempts to play matchmaker in this play by the Academy Award–nominated actor. Lorraine is a saint of the suburbs. On top of trying to save her dying mother, miserable husband and estranged daughter, she’s starring as Bloody Mary in the Jewish Community Center production of South Pacific. When her mother’s home aide, Serbian immigrant Ljuba, asks for help finding a husband, Lorraine takes on her most challenging role to date: matchmaker. In Jesse Eisenberg’s hysterical and devastating play, Happy Talk, he reveals the absurd lengths people go to save themselves in the name of saving others.Voir livre
Those first four notes of its theme tune were instantly recognised and announced the start of perhaps the most famous police procedural in history. Set in Los Angeles and headed by police detective Sergeant Joe Friday the show has influenced all the many others that have followed in its illustrious footsteps. It was based on real cases from police files. It described the methods used to track down the culprits and its technical language added to its authenticity. It was a ratings hit year in, year out. Played and produced by Jack Webb its pared-down acting brought both the dull routine work and its acts of heroism and unselfishness into the living rooms of ordinary Americans, explaining a side of society that they only read about in the papers, heard in news bulletins or saw fabricated at the movies. It’s time for the truth and for Sergeant Joe Friday to set the record straight.Voir livre
Stephen Pearcy was a scrawny, horny, thrill-seeking teenager with an electric guitar who had graduated from backyard parties in San Diego to half-empty dives in Los Angeles before he and his band broke through at Whiskey a Go Go. Cranking out metal just as metal got hot, Ratt was the perfect band at the perfect time, and their hit single "Round and Round" became a top-selling anthem. The bigger Ratt got, the more excessive Pearcy and his "pussy pirates" became. There was nothing these guys wouldn't snort, drink, bed, or break. And the fans were just as bad, as husbands and mothers offered up nubile wives and daughters as tribute to their rock 'n' roll idols. On a journey that could happen only in America, Pearcy met everyone from Michael Jackson to Drew Barrymore (at age twelve, at a New York nightclub, at 2 a.m.) to Rodney Dangerfield. His infamous partner-in-crime, Ratt guitarist Robbin Crosby, a blond Viking with an unsurpassed appetite for drugs and women, cuts a towering and tragic figure throughout. As Ratt scrambled up a wall of fame and wealth, so they experienced the gut-wrenching free fall, after too many hours in buses, planes, and limos; too many women; too many drugs; and all the personality clashes and ego trips that marked the beginning of the end.Voir livre
An L.A. Theatre Works commissioned adaptation of the classic Agatha Christie “whodunit.” Adapted from the novel by Kate McAll. In Christie’s clever and beautifully crafted tale, Detective Hercule Poirot receives an urgent letter from Paul Renauld summoning him to France. Upon their arrival, Poirot and his companion, Arthur Hastings, find they are too late. Plus, to complicate things further, certain facts just don’t add up.Original Music by John Biddle.Recorded at The Invisible Studios, West Hollywood, in April 2021.Director: Anna Lyse EriksonProducing Director: Susan Albert LoewenbergAn L.A. Theatre Works Full-Cast Performance Featuring:Edita Brychta as Madame Renauld and FrancoiseKevin Daniels as Detective Giraud Anna Lyse Erikson as LeonieSimon Helberg as Captain HastingsAdhir Kalyan as Jack Renauld Alfred Molina as Hercule PoirotDarren Richardson as Sergeant, Doctor, and othersJocelyn Towne as Cinderella and Marthe Daubreuil Joanne Whalley as Madame DaubreuilMatthew Wolf as Monsieur HautetSenior Producer: Anna Lyse EriksonPrepared for Audio by: Mark HoldenSound Designers: Andrea Allmond, Charles CarrollRecording Engineer: Neil WogensenEditor and Mixer: Charles Carroll for The Invisible Studios, West HollywoodSenior Radio Producer: Ronn LipkinFoley Artist: Jeff GardnerVoir livre
Around the world, waves of plastic are washing ashore and clogging landfills. Even though plastic pollution is now one of the largest environmental threats facing humans and animals, our appetite for the virtually indestructible material keeps growing. Amna Nawaz and producer Lorna Baldwin begin our series.Voir livre
“An incisive critical work” that looks at Octavia Butler’s writing, the movies of the Matrix and Alien series—and more—through a feminist lens (Femspec). Feminist thinkers and writers are increasingly recognizing science fiction’s potential to shatter patriarchal and heterosexual norms, while the creators of science fiction are bringing new depth and complexity to the genre by engaging with feminist thewories and politics. This book maps the intersection of feminism and science fiction through close readings of science fiction literature by Octavia E. Butler, Richard Calder, and Melissa Scott and the movies The Matrix and the Alien series. Patricia Melzer analyzes how these authors and films represent debates and concepts in three areas of feminist thought: identity and difference, feminist critiques of science and technology, and the relationship among gender identity, body, and desire, including the new gender politics of queer desires, transgender, and intersexed bodies and identities. She demonstrates that key political elements shape these debates, including global capitalism and exploitative class relations within a growing international system; the impact of computer, industrial, and medical technologies on women’s lives and reproductive rights; and posthuman embodiment as expressed through biotechnologies, the body/machine interface, and the commodification of desire. Melzer’s investigation makes it clear that feminist writings and readings of science fiction are part of a feminist critique of existing power relations—and that the alien constructions (cyborgs, clones, androids, aliens, and hybrids) that populate postmodern science fiction are as potentially empowering as they are threatening.Voir livre
