What does a title like The Deuce evoke? Sadly, the first things that come to mind may likely be a. a… Read More
The Wire creator David Simon has teamed up with Crash director Paul Haggis for an all-star six-part HBO mini-series adaptation of Lisa Belkin’s 1988… Read More
President Obama is… President. While that sounds like one of the most obvious statements any American could make at… Read More
The television world moves so fast that by the time you learn of a show’s premiere, it could already be canceled. It’s hard to keep track of the constant stream of television news, so Flavorwire is here to provide a weekly roundup of the most exciting — and baffling — casting and development updates. This week: Jim Gaffigan finally gets a sitcom, two networks try out alien dramas, and casting news for Girls, The Blacklist, and others.
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It’s a big day for fans of ’80s television, cop shows, and, basically, things that are good: after first and second season releases that ended in 2006 and never resumed, the pop culture saviors over at Shout Factory have stepped up with a massive, full-series DVD box set for Hill Street Blues, the ground-breaking dramatic series that continues to influence quality television to this very day. And while it’s easy enough to earmark Hill Street as one of the best police series of all time, how do all those perp-chasing, car-crashing, rule-bending, good-cop-bad-cops actually stack up against each other?
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The New York Times today ran a groundbreaking story about a 12-year-old child who, growing up in a Brooklyn homeless shelter, leads something of a modern Dickensian existence. While stories about the poor do not run as often as they should, they also constitute something of a prestige genre in nonfiction writing. Many of the great names in journalism have been those who have doggedly pursued the stories of the poor. The appeal of these stories is the way they challenge others; the focus on humanistic detail with which they necessarily qualify the established narratives about poverty — you know, all those slogans politicians shout about bootstraps and the like. The irony is how seldom these powerful narratives actually seem to move the gears of power. It’s hard not to notice the themes repeating themselves again and again in these books across ages and time periods.
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