Ay-yi-yi, what is it with these Dominican men? Their hands — and eyes — never stop roving, even as they're slipping engagement rings on their true loves' fingers.
If that sounds like negative stereotyping, don't complain to me: I'm just passing along the collective cultural verdict of the women and men, most of them themselves Dominican, who hustle through Junot Diaz's latest short story collection, This Is How You Lose Her. A good man is hard to find in these stories, and when you do find him, he's always in bed with someone else.
Low Cut Connie is one of an increasingly rare breed: a party band, a bar band, a band with a sense of rock 'n' roll history that isn't weighed down by nostalgia or the foolish feeling that music was better way back when. Positive fellows, for the most part, even when they're in their cups, these guys "say yes," as the title of one song goes, to a life in music. Oh, and they're also trying to get women to say yes to their craven come-ons.
If you saw Stephen Tobolowsky on the street, you might think you know him from somewhere. The character actor has appeared in over 100 films and TV shows, with recurring roles in Heroes, Deadwood, Glee and now The Mindy Project.
In his memoir, The Dangerous Animals Club, Toboloswky charts the highs and lows of life as a character actor. Some of his roles have been so small, he says, his characters didn't even have names — as, for example, with his turn as "Buttcrack Plumber."
I have a quibble with the title of David Skinner's new book, The Story of Ain't. In fact, that pariah contraction plays only a supporting role in the story. The book is really an account of one of the oddest episodes in American cultural history, the brouhaha over the appearance of Merriam-Webster's Third International Dictionary in 1961.
Paul Thomas Anderson (left) works with actor Joaquin Phoenix on the set of The Master.
Credit Phil Bray / The Weinstein Co.
Navy veteran Freddie (Phoenix) falls under the influence of cult leader Lancaster Dodd (Philip Seymour Hoffman) in Anderson's film, which critic Ella Taylor describes as "one of the most twisted father-son tales ever told."
For Paul Thomas Anderson, moviemaking is not just an art; it's also about time management.
"At its best, a film set is when everybody knows what's going on and everybody's working together," he tells Fresh Air's Terry Gross. "At its worst, [it's] when something's been lost in communication and an actor's not sure how many shots are left or what's going on, and the makeup department's confused."