In Steven Spielberg’s semi-disguised autobiography, the protagonist worships film.
A Roman Catholic kid of my acquaintance, on his first trip to the cinema, paused to genuflect in the aisle before taking his seat. A perfectly understandable mistake. The same kind of awe consumes Sammy Fabelman (Mateo Zoryon Francis-DeFord), a young Jewish boy, as he yields to the ineffable mystery of the big screen, at the start of Steven Spielberg’s “The Fabelmans.” No bending of the knee, but Sammy has never seen a film before, and his eyes widen, in delicious dread, at the sight of a train crash in “The Greatest Show on Earth.” For him, I reckon, that could be the title of every movie ever made.
Bu hikaye The New Yorker dergisinin November 21, 2022 sayısından alınmıştır.
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Bu hikaye The New Yorker dergisinin November 21, 2022 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
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President for Sale - A survey of today's political ads.
On a mid-October Sunday not long ago sun high, wind cool-I was in Harrisburg, Pennsylvania, for a book festival, and I took a stroll. There were few people on the streets-like the population of a lot of capital cities, Harrisburg's swells on weekdays with lawyers and lobbyists and legislative staffers, and dwindles on the weekends. But, on the façades of small businesses and in the doorways of private homes, I could see evidence of political activity. Across from the sparkling Susquehanna River, there was a row of Democratic lawn signs: Malcolm Kenyatta for auditor general, Bob Casey for U.S. Senate, and, most important, in white letters atop a periwinkle not unlike that of the sky, Kamala Harris for President.
