Member Of The Family: My Story Of Charles Manson, Life Inside His Cult, And The Darkness That Ended The Sixties - Dianne Lake Phones In. On the occasion of Charles Manson's death this week, Lake divulges what only she knows about life inside the cult when just fourteen years old; the hardest thing to write about in her book; why she feels the commune suddenly turned violent; and connections she draws from all of that, with the current sexual harassment scandals coming to light, and male power.

** "It's a really trying time for anyone young in this economy - so yeah, it's definitely another thing to relate to I think, in this story."

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Lady Bird: A Conversation With Actress Saoirse Ronan. Delving into her two current films, the teen angst, coming of age tragi-comic Lady Bird, and as real life Van Gogh muse Marguerite Gachet - currently hanging in the Louvre as well - in the uniquely hand painted feature film, Loving Vincent. And the Bronx born, Ireland raised Ronan as actress turned filmmaker Greta Gerwig's own complicated muse in Lady Bird. Along with playing the 16th century doomed teen ruler in the upcoming historical dramatic feature, Mary Queen Of Scots.

Saoirse Ronan As Marguerite Gachet In Loving Vincent

** "I think what's important is that Richard comes across as a superhero - but every superhero has their kryptonite, their flaw."

Filmmaker Luke Korem Talks Dealt: His mystifying documentary about Richard Turner, one of the world’s greatest card magicians - yet who is completely blind. Korem traces the simultaneously eccentric, enigmatic and enchanting illusionist's journey from a troubled childhood when he began losing his vision, to the present day maneuvering between misfortune and magic. Jack Shalom reports.

** "Taboo does not just display upper class privilege, it is also sharply critical of then dominant British capitalism. With its villain being the East India Company presented as a powerful rival to the state  - versus the tissue of lower class representation."

Bro On The Global Television Beat: From Game Of Thrones To Taboo - Class, Fetish, Power - and an 1830's noirish Count Of Monte Cristo with a plan for revenge on the colonialist East India Company. Arts Express Paris correspondent, Sorbonne Professor Dennis Broe investigates the new incest - or rather old fetish objects of fascination. While referencing golden ghettos and the Paradise Papers.

Roman' J. Israel, Esq. Movie Review

 'In the middle of the journey of our life, I found myself in a dark wood, for the straight way had been lost...' Denzel's 21st century Dante captivates as perhaps not coincidentally 'Roman' J. Israel, Esq., in a film that has seemingly long been waiting to be made. Not to mention, when much more than a movie, the screen functions as a mirror reflecting back into the audience instead.
In other words, that ideological disconnect, and the revolutionary spirit that led in the last century, which must be fired up again or fade. And whatever happened to the massive youthful idealism and rebellion fueling that last century - and labeled the sixties - that apparently vanished and appeared to go quite gently into that good night. And worse, spawned the subsequent avarice and morally bankrupt fueled generation of the Greed Decade.
Denzel's Roman intimates that tragic transition, in a dramatically eloquent fusion of sorrow, rage, grief, disappointment, cynicism and social despair - and whose dark wood is being thrust into a confusing century, from the ashes of one that held such youthful promise and hope.
Essentially dazed and refused as a sidelined sixites activist attorney lost in time - viewed as obsolete by both lawyers and the court system driven by ambition and money instead, Roman suddenly loses the one colleague who understood, appreciated, and indeed sheltered him from that self-possessed materialistic world - his boss who suddenly passes away.
And when the family sends in a new attorney (Colin Farrell) to take over the practice - and a new concept based on success not struggle, Roman at first declines in disgust to continue there. Then facing the prospect of irrelevance in a time and place seemingly no longer in need of him, not to mention rudderless and threatened with unemployment and destitution, he resigns himself to remaining. But resentment leads to cynicism and a very different sort of rebellion this time around - one grounded in avarice of his own, and harm to others in a world he feels has abandoned him.
And the film is ultimately not as much about what Roman loses ethically and morally in his dramatic fall from grace, but rather what society loses - in not recognizing and honoring, and indeed failing to embrace, those idealists struggling and sacrificing for a better world.

Prairie Miller

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