Paul Thomas Anderson's The Master is both feverish and glacial. The vibe is chilly, but the central character is an unholy mess — and his rage saturates every frame. He's a World War II South Pacific vet named Freddie Quell, played by Joaquin Phoenix to the hilt — the hilt above the hilt. We meet him at war's end on a tropical beach where he and other soldiers seek sexual relief atop the figure of a woman made out of sand.
Last year, the broadcast networks didn't do well at all when it came to new series development. We got ABC's clever Once Upon a Time, which was about it for the fall crop, until midseason perked things up with NBC's Smash. Otherwise, a year ago, all the exciting new fall series were on cable, thanks to Showtime's brilliant Homeland and FX's audacious American Horror Story.
Every New York story ever written or filmed falls into one of two categories. The first — like Betty Smith's A Tree Grows in Brooklyn, or the musical On the Town — regards New York as the representativeAmerican city, a jam-packed distillation of the country's dreams and nightmares.The second group views New York as a foreign place — a city off the coast of the U.S. mainland that somehow drifted away from Paris or Mars. Think every Manhattan movie ever made by Woody Allen.
Author Michael Lewis made a radical request to the White House that he says he was almost certain would be denied: He wanted to write a piece about President Obama that would put the reader in the president's shoes.
To do this, the Vanity Fair contributing editor would need inside access. So what did he propose?
Cynthia Otto, a veterinarian who tended to the health needs of working dogs at ground zero, created the Penn Vet Working Dog Center.
Credit Sarah Griffith
Annemarie DeAngelo, the center's training director, founded the New Jersey State Police Canine Unit and has worked with canines for more than 13 years.
A detection dog-training center opens Tuesday, on the anniversary of Sept. 11, at the University of Pennsylvania so scientists can train dogs for search-and-rescue missions — and study what helps them succeed.
Bob Dylan made the rare mistake of talking about his creative process shortly before the release of Tempest. He told Rolling Stone that he'd originally wanted to write a collection of what he called "religious songs," saying, "That takes a lot more concentration to pull that off — 10 times with the same thread than it does with a record like I ended up with." Which means that either his powers of concentration failed him, or he became distracted by other themes, topics and moods.
After Andrew Rannells pitched himself for a starring role in NBC's The New Normal, the show's creatordidn't call for a month.
"I was like, 'Oh my God, I've completely overstepped — I've over-Oprah-ed this,' " Rannells tells FreshAir's Terry Gross. "I've ruined my chances of working with this man because I was too bold."
"Son of a Preacher Man" was Dusty Springfield's debut on Atlantic. The entire album that spawned it, Dusty in Memphis, was recorded at American Studios.
Memphis has been a music town since anyone can remember, and it's had places to record that music since there have been records. Some of its studios — Sun, Stax and Hi — are well-known, but American Studios produced its share of hits, and yet it remains obscure. But that's all likely to change with Memphis Boys: The Story of American Studios, both a book and a CD out now.
Fresh Air Weekend highlights some of the best interviews and reviews from past weeks, and new program elements specially paced for weekends. Our weekend show emphasizes interviews with writers, filmmakers, actors, and musicians, and often includes excerpts from live in-studio concerts. This week: