Eat Your Vegetables: “Roger & Me” (Moore, 1989)
“In a way, the film documents the toppling of an idol, an exposed god.”
“In a way, the film documents the toppling of an idol, an exposed god.”
“The novel offers a parable on the cost of losing your ethical identity, or more precisely, the cost of remaining unaware of your moral identity.”
“Is it better to have no spirituality than its pretentious simulacrum?”
But this film is poignant because Kane’s recent poor performance deserves a lion’s share of the blame.
The novel’s tone is thoroughly ironic, as Archer continually misreads as progressive the very traits that consign him to the status quo.
The thing that I admire most about “Inglorious Basterds” is that it enforces moral responsibility.
It’s a kind of mystery novel, so you are tempted to figure out the puzzle that leaves the novel’s central character flummoxed.
“…the world doesn’t suffer from a lack of villains. In fact, it has too many.”
“I use this film to talk to my students about… the unknown knowns that orient our behavior in ways we’re never entirely cognizant of.”
“The poem reminds us of a culture’s fragility, not only through its contents but by its very existence.”
In film noir, you never win: you just see how long you can stave off losing.
“Singin’ in the Rain” is glorious because it revels in its own artificiality.
Let’s work with the assumption that “Citizen Kane” says something essential about being an American.
Jonathan Swift’s satire helps us see what’s wrong not only with the world but with ourselves.
Holbein’s painting warns us against seeking complete knowledge as well as succumbing to fatal pessimism.
The debate regarding Shakespeare’s authorship can teach us how to think critically about conspiracy theories.
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