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From its start, when studio executives drafted a plan to recoup costs after what they predicted would be the series' inevitable failure, to the 1992 prequel movie that earned scathing reviews at Cannes, to its unexpected and acclaimed return some twenty-five years later, Twin Peaks garnered millions of devoted fans who refused to let it die.
In A Place Both Wonderful and Strange, entertainment reporter Scott Meslow takes readers behind the curtain of Lynch's and Frost's dedication to finishing what they started, with both the prequel film and Showtime's Twin Peaks: The Return, offering dozens of original and revelatory interviews that cast a whole new light on the extraordinary show.
In the summer of 1967, as the old Hollywood studio system was dying, an intense, uncompromising young film school graduate named George Lucas walked onto the Warner Bros backlot for his first day working as an assistant to another up-and-coming, largely-unknown filmmaker, a boisterous father of two called Francis Ford Coppola. At the exact same time, across town on the Universal Studios lot, a film-obsessed twenty-year-old from a peripatetic Jewish family, Steven Spielberg, longed to break free from his apprenticeship for the struggling studio and become a film director in his own right.
Within a year, the three men would become friends. Spielberg, prioritizing security, got his seven-year contract directing television. Lucas and Coppola, hungry for independence, left Hollywood for San Francisco to found an alternative studio, American Zoetrope, and make films without answering to corporate capitalism.
Drawing on thousands of pages from Dylan's newly opened archive in Tulsa, Oklahoma, and anatomizing hundreds of published and unpublished lyrics, liner notes, and more, celebrated poet and biographer Robert Polito demonstrates how Dylan evolved a late musical style that has equally embodied and resisted its era, interweaving folk process and American and world history, and transforming spectral cultural memory into devastating inspiration. Polito thus establishes Dylan as an intensely literary songwriter whose recent writings, especially, are dynamic, intricate, and far-reaching collages.
Since its inception, Marvel has created—in comics and on the silver screen—a vast, intricate universe brimming with superheroes and superhumans. Yet Marvel exists in a much larger mythological tradition, one that dates back to the ancient Greeks and their tales of gods and heroes.
Professor of Classics Peter Meineck embarks on a captivating pilgrimage through ancient Greek mythology through the lens of some of Marvel’s most iconic characters, including Captain America, Wolverine, and Black Widow, and traces their lineage to the dawn of human culture. Some connections are astounding and eye-opening, like Black Panther’s ties to the legend of Atlantis and Daredevil’s relationship to the mighty Herakles, while others are uncanny in their resemblance. What, for example, do Scarlet Witch and the sorceress Medea have in common? As grieving mothers cast out from society, quite a lot, actually.
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