What Is The New York Times On About With The No One Talks Thing?

“These are the tools, practices, and communities that can make online life not a flight from conversation, but a flight to it. But we will not realize these opportunities as long as we cling to a nostalgia for conversation as we remember it, describe the emergence of digital culture in generational terms, or absolve ourselves of responsibility for creating an online world in which meaningful connection is the norm rather than the exception.”

How Do Mormons See Themselves? Check Out This Museum For Answers

” The museum shows how earthly a religion Mormonism is, how practical its actions have been and how intimately connected its history is to the American past. The printing press, the farm, depictions of the ordinary citizens who were the first church members — we see a vision of early American democracy. The covered wagon, the daring mapping of unknown territory: Mormon history is a version of the American pioneering myth.”

The Revenge Of The (Comedy) Nerds – Where’d They All Come From?

“What I think really worries Burr (and I admit I share his concern) is not that comedy nerds aren’t reverent enough to stand-up traditions. It’s that they’re too reverent — and that all this reverence, this study and dissection, this niceness, threatens to ruin a form of entertainment that has stridently avoided being declawed. That comedy nerds, like overexuberant fanboys, will effectively love, nurture and respect stand-up comedy to death.”

Work Of Adapting Poe For Cinema Almost As Bloody As His Stories

“Poe’s work, full of murder, madness, ghosts and febrile passion, is irresistible to filmmakers because of its bold imagery and powerful emotional impact. But despite these sensational qualities Poe is not nearly as movie ready as his writing seems. The big problem is that he wrote almost exclusively in short forms, and his stories’ effects are highly concentrated, like shots of neat whiskey.”

From Life In An Orphanage To Star Turns All Over The Country

“It’s a very different life than she could have imagined when she was 4½-year-old Mabinty Bangura, living in an orphanage in violent, impoverished Sierra Leone. Young Mabinty had only one friend and was anything but a favorite with the ‘aunties’ who ran the orphanage, perhaps because she had vitiligo, a pigmentation condition that left white patches on her upper chest. One day, she found a magazine that had blown against the orphanage gate. In it was a picture of a ballerina in pointe shoes. She tore it out and kept it, and dreamed of dancing like that one day.”