We’re now two weeks and 2.5 hours into American Horror Story: Freak Show, which means we’ve experienced two anachronistic musical numbers and approximately 1,000 Twisty the Clown nightmares. It’s time to take stock of what exactly the hell is going on with the latest installment of Ryan Murphy’s creepy shockfest.
In "Dawn of the Planet of the Apes," gestures and body language communicate more than spoken words.
There are some movies you see because you actively seek them out, and some you see because just giving up and buying a ticket seems easier than resisting the tidal forces that conspire to pull you into the box office. It was in this latter spirit that I saw Dawn of the Planet of the Apes: my friend and I had missed the showtime for the movie we wanted to see, and found nothing but apes for the rest of the afternoon.
It was a strange choice for a summer blockbuster. A weepy film about a girl dying of thyroid cancer who meets her boyfriend in a support group and then travels to Amsterdam so she can meet the author she idolizes before experiencing the ultimate heartbreak.
• People who are willing to speak out in favor of prison reform often forget that violent offenders are humans, too, and they suffer from the same forms of injustice as non-violent drug offenders. [This Ain't Livin']
• Young Lakota, which tells the story of three young activists on South Dakota’s Pine Ridge Reservation, is premiering November 25th. Check out our review of the documentary in our new Food Issue! [Racialicious]
Susan Nussbaum is a celebrated disability activist, playwright and novelist. Her poignant and humorous debut, Good Kings Bad Kings tells the intertwining stories of disabled youth living in a Chicago institution and is the 2012 winner of Barbara Kingsolver's PEN/Bellwether Prize for Socially Engaged Fiction. I talked with Nussbaum about her visionary novel, disability oppression, and being a "furiously rebellious crip."
With its over the top premise and mining of dementia for "comedy", I could never get into Raising Hope, but there's one thing I do appreciate about the sitcom: it's one of very few successful shows to feature a working-class single dad.
It centers on Jimmy Chance (Garret Dillahunt), who is 25 when he finds out that a former one-night stand has become a serial killer, been sentenced to death, and left him with sole custody of their baby girl, Hope. As he still lives at home, his haphazard family helps him out as best they can.
Similarly, in Ugly Betty, sisters Betty and Hilda Suarez both lived at home, where their dad Ignacio acted as a surrogate father to Hilda's adolescent son Justin, helping to take care of him both practically (including cooking and housework) and emotionally. These shows highlight the fact that for many working-class single parents, a support system which provides affordable childcare is essential. They also illustrate that single parents may have to move in (or never move out) from the family home for financial reasons, a fact rarely explored in discussions (or statistics) about homelessness.