There are times when TV dramas about national politics and politicians deserve criticism, even ridicule, for their fast-and-loose narratives and characterizations. Recent miniseries about the Reagans and the Kennedys, loaded with unsubstantiated dialogue and action, are only two very fresh examples.
But Game Change — HBO's new take on the John McCain-Sarah Palin campaign — is entertaining, and commendable, precisely because it stays so close to the facts, not because it strays from them.
It's not difficult to guess what the over-arching theme might be on an album Bruce Springsteen characterizes as being "as direct as any I ever made." The title song from Wrecking Ball is one he wrote a few years ago to commemorate the demolition of Giants Stadium in New Jersey. It was written from the point of view of the stadium, but in its new context, the wrecking ball is a symbol of the implacable forces that have wrecked the economy for millions of people.
The Book of Revelation, the final book of the New Testament, has some of the most dramatic and frightening language in the Bible.
In her new book Revelations: Visions, Prophecy and Politics in the Book of Revelation, Princeton University religious professor Elaine Pagels places the Book of Revelation in its historical context and explores where the book's apocalyptic vision of the end of the world comes from.
William Shatner has played an attorney, a starship captain, an alien and a Roman tax collector, among many other roles. Over the past half-century, the Canadian actor has performed on television, in commercials, in movies and on Broadway — and penned several novels.
He recently returned to Broadway for the first time in over 40 years with a new solo show, Shatner's World: We Just Live In It. In the 90-minute performance, Shatner talks about his childhood growing up in Montreal and reflects on his many acting roles with an assortment of photos and video clips.
Dierks Bentley has a nice, deep voice; an open, friendly demeanor; and a knack for working in a variety of country-music genres, from bluegrass to power ballads. For all that, it's always been difficult to pin down what Bentley aims to do. Although he's only in his 30s, Bentley sounds as though he's working through a bit of a midlife crisis on his new album Home. Take, for example, the single "Am I the Only One," a novelty tune about going out to party with a twist — not many of Bentley's pals want to join him, because they've settled into adulthood, and he hasn't.