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Building your storm pantry
When's the last time your electricity went out? How long did it stay out? Have you ever been told your water wasn't safe to drink or cook with?
If you've been through a major hurricane, or a large blizzard for our northern friends, you have likely experienced conditions much like these. The "fun" atmosphere that comes on when the lights go out quickly fades as you listen to your freezer defrost and realize that your can opener's electric and the only non-raw food you've got in the house is a couple of ancient cans of beanie-weenies in the back of the pantry.
Let's go over a few of the basics of food survival during and after the storm.
Ideally, you'll lay in a two-week supply of your necessities, a week at minimum. Most of these items have very long shelf life, and they're things you'll consume in "normal" life after the storm.
What To Have
Water: Barebones basic requirements for an adult human is 64 ounces, the eight 8-ounce glasses we're all supposed to consume every day. That's your "drinking" supply. Beyond that, you'll want some for cooking if the power or gas comes back on and your tap supply still isn't safe, some more for basic sanitation, and then that all-important "cushion" amount.
Don't forget ice! If you have time before the storm, freeze a few gallons of your drinking water and use it to keep coolers cold. Ice can be a commodity as valuable as charcoal when the power's out and food is spoiling.
Your drinking supply, of course, ideally should be clean water in sealed jugs. However, before the storm hits, fill every pitcher, teapot, drink cooler or other coverable container with water. It's better to have too much than too little. Make that your motto and you'll rarely go wrong.
Now, a lot of hurricane and storm survival guides will advise filling your bathtub with water. I'm against this for one simple reason: unless you've got a storm cellar, the bathtub is one of the safest places to hide if a tornado is headed your way. And tornadoes go with hurricanes like gravy with chicken-fried steak. You don't want to have to ask the tornado to wait while you drain the tub so you can jump in and cover up for a few minutes.
Cooking supplies: I know you've seen me say here that self-lighting charcoal, with its lighter fluid-impregnated briquets, is a tool of the devil, and something no self-respecting grill cook would touch. However, in this case, that bag of Match Light can be a lifesaver. My ideal post-storm cooking setup would be a Weber kettle grill and 50 pounds of self-lighting charcoal. I don't normally go for the self-lighting stuff, but the less you have to keep track of and hassle with in an emergency, the better. However, if you don't have one, you can use your own patio grill. Just make sure you don't LEAVE it on the patio when the storm comes or someone several miles away may end up making use of it.
At the lowest end of the emergency-cooking spectrum are the grill and charcoal combinations, which usually consist of an aluminum pan with wobbly wire legs with a small bag of self-lighting charcoal and a metal grill. You're not going to do any high-performance cooking on these, but for grilling up that last pound of hamburger before it turns green, they'll do just fine.
I would hope this is the sort of thing that goes without saying, but so often those end up being the very things you wish you'd said: NEVER, EVER cook indoors with charcoal. Burning charcoal produces a host of poisonous gases that will kill you. Better to let an entire freezer full of prime grass-fed steaks go to rot than fire up a grill indoors.
If you have any sort of a propane setup, of course, you're out ahead of the curve … but only if you've made sure your tanks are full. I still advise having a charcoal backup, just in case a fitting gets damaged or your grill/stove is rendered unsafe to use in some way. Murphy's Law just LOVES people who don't have backup plans, especially in storms.
Oh, and for those of you with fireplaces, please do NOT count on using them immediately following the storm. If they've been exposed to high winds, you need to have the flue and topper checked for defects, crimping or blockage that could fill your house with deadly fumes and completely ruin your eating experience.
As far as pots, pans and utensils go, if you're going to be slapping these over a bed of hot coals or even a propane flame, cast iron is your best choice. It's indestructible, easy to clean, and once you get it hot you can do a lot of cooking. For utensils, I'd recommend hitting the dollar store and purchasing three or four basic sets of cooking tools and putting them in different spots. Remember Murphy!
Speaking of Murphy, make sure each set of cooking utensils includes a hand-crank can opener. Not only will you be glad you have spares, you can use them for valuable barter items should society take the storm as a cue and just decide to collapse altogether.
For eating surfaces and utensils, go with sturdy paper plates and plasticware. The plates have the added bonus of being flammable should you need to start some non-self-lighting charcoal.
Packaged meals : Items like meals ready to eat MREs and just-add-water camping meal packs always get a lot of play in prestorm news stories, and if you've got the money they are a good choice. However, in my experience, the prices of these items seem to magically spiral upward with the approach of a storm, and they can become extremely hard to find. Time spent searching for them could better be spent at the grocery store, getting items that are actually in stock.
Protein : No matter how well-prepared you are, it's inevitable that you're going to get caught with a few steaks, a pound of hamburger or a chicken that has to head grillward lest it become a bacterial playground. If you're really fortunate, you'll have some even less-prepared neighbors who have copious amounts of grillables to donate to your impromptu post-storm meat-a-thon. It's the neighborly thing to offer to use your charcoal to cook up their meat, and just as neighborly for them to offer you some of the finished product. Then you can all collapse into a meat-induced neighborly nap.
OK, that's gotten you through the first day or maybe even two after the storm, but what after that? Lay in a variety of sources: jerky, canned meats, protein bars, soy products, peanut butter and even nutrient "shake" products if you choose.
Vegetables : You're probably not going to have a whole lot of time to worry about your five-a-day while you're nailing plastic over the holes in your roof, but that's no reason to abandon any pretense of a healthful diet. Fruit and vegetable juices have the double benefit of providing vitamins and supplementing your water supply. There are also more varieties of canned vegetables and fruit than you can shake a stick at.
Fresh fruits, especially tough-skinned ones like oranges, are a good idea if you have time to lay them in.
Snacks : Let's face it, there are going to be stretches of time, especially during the storm, when you're too busy trying to keep body and soul together to worry about cooking a meal. You'll want ready-to-eat foods in abundance, and it's been proven that enjoyable edibles reduce stress, so indulge a little! Lay in a supply of your favorite tummy-filler and worry about the Weight Watchers guidelines later. If you're faced with having to crawl up on the roof midstorm and try to nail down flapping shingles, you'll be more motivated to save a house that contains a healthy supply of Twinkies than one devoid of cream filling and tasty sponge cake.
During the storm, even if it's midday, you are liable to have long periods where the only illumination is whatever battery-powered lights you've got. This is not the time to have to hunt through dark pantries and cupboards to find what you need. I recommend buying a supply of sandwich- or quart-sized plastic bags and making food packs, along the lines of a school lunch with a juice box or can and a couple of edible items, and putting them in easily accessible spots. Again, remember that preparedness is your best friend: have a few meal packs in every room of the house. You never know where you may end up.
And, hey, if the storm veers away or you have some packs left over, just toss in a sandwich and Junior's got his school lunch for the day.
Above all, keep your wits about you. If you have kids, they are going to be looking to you as a basis for their own reactions, fears and attitudes. If you stay level-headed and treat every situation as a problem to be solved, not an overwhelming crisis, the children will pick up on your behavior.
One final word: don't forget your pets! Fido and Ginger are going to be just as frazzled as you are, and they're going to need fresh food and water just like you. Take care of your little furry friends.


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Demi Lovato recalls 'dark and deep' struggles with drugs and alcohol
Demi Lovato has a hit album and not one, but two impressive TV gigs thanks to "The X Factor" and "Glee," but the pop singer remembers how close she thought she was to losing it all.
"When I was in treatment, I honestly thought my career was over," Lovato, 21, told Entertainment Weekly of her struggles with alcohol, drugs and her eating disorder, for which she entered a treatment facility in 2010. "But when I came out of treatment, I had more supportive fans than ever."
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Although Lovato says she used to be one of the many celebrities, especially younger celebrities, that tried to avoid becoming a role model to their fans, she quickly learned it would not be so easy to avoid facing the consequences of her actions. "I used to say that too," she said. "That was my excuse to do whatever the f--k I wanted and not give a sh-t about what other people thought. Then I ended up going through some stuff. I realized I'm never going to escape the fact that I'm in the public eye, so I might as well do the best I can."
Lovato's candid discussion about her past issues comes two months after she signed a deal to write a tell-all memoir. Although she has been open at times about said issues, she still believes that the truth could shock her fans. However, she's also hopeful it could help them. "I'm battling with internal thoughts on how honest I should be," Lovato said. "Yes, I've been very honest, but if people really knew how dark and deep my struggles got—not just with my eating disorder but with drugs and alcohol—they'd be really shocked. But I'll most likely end up saying everything. Maybe it'll help other people in the industry who are headed down the wrong path."


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When I was a kid, I would dream up completely insane presents to put on my Christmas wish list—shit that no parent could ever possibly afford and no child could ever possibly deserve. And every year, my parents would tell me before Christmas that I would NOT be getting the little race car I saw on the Obstacle Course round of Double Dare. They would sit me down and explain that Santa wasn't a Formula One mechanic and that I shouldn't be a fucking idiot.
The problem is that, on occasion, my parents DID get me something I wanted. But in order to keep it a surprise, they would play hard-to-get and tell me that I had no chance of getting Voltron, or whatever other stupid thing it was that I wanted. I heard enough fake NOs from my mom over the years that I began to recognize the pattern and immediately assumed that NO meant YES. "Oh, mom says I have no chance of getting that hoverboard? IT'S MINE." And then Christmas would come and I'd get a bag of fudge and hate the world.
Now I'm the parent and it's my turn to engage in the futile task of managing my child's expectations. This is the actual wish list that my daughter, who is 7, handed me a few weeks ago. It's completely unreasonable and I have no way of explaining this to her without being a dick, or without her thinking I'm pulling some reverse-psychology shit on her. Let's take a look at this thing, item by item.
"New American Girl Doll of the Year 2014." The heartless corporate executives at American Girl roll out a new "doll of the year" doll every year, complete with its own book and shitty DVD movie (the last one starred Nia Vardalos and Ian Ziering) and a meticulously crafted backstory that reads like an account planner's wet dream ("She's a spirited girl who draws on her passions to inspire action!"). And the kicker is that these dolls are always sold for a limited time (the 2013 doll of the year, Saige, is also on my kid's wish list and costs $110 if you can find her), so that mothers around the world step on each other's gullets just to secure one for their brainwashed offspring. Anyway, American Girl has not named its stupid doll of the year for NEXT year yet, but my kid wants it anyway. I assume the doll's name will be Kayden. Here is my kid asking for a present from the future, and that represents one of the more reasonable items. I love you, but you cannot have this, sweetheart.
"A bead kit like [my friend's]." You got it. Done. In the basement as we speak, kiddo. But now we go a little off the rails ...
"A little thing that can turn into anything at anytime." The fuck is this? What am I, Galactus? Do you understand the catastrophic universal implications of possessing a shape-shifting, time-traveling device? Even Rob Gronkowski knows that isn't to be toyed with. You could turn it into a separate moon any time you like and then the Earth would be fucking DESTROYED by the additional gravitation. You cannot be trusted with this at age 7. If such a thing existed and were affordable, I wouldn't have children. I would have a SPACE BROTHEL. There's a reason that we have the laws of physics in place. And you expect this thing to be portable as well? You cannot have this.
"1,000 bucks." This is Christmas, not an Italian wedding. Uncle Vito isn't gonna slip you an envelope in between stints at the raw bar. We put thought into our gifts here. You want cash? Clear the spiders out of the attic. I'll give you three bucks for it. A thousand dollars. Jesus Christ. I'm sorry, but you cannot have this.
"A new canape that glows up." So, like, a glowing miniature crabcake with a toothpick in it? I could maybe do that. MAYBE. Sounds like something Saige the doll might eat.
"A grill." She actually put this on the list because my wife thinks I should buy a new grill even though the old one is fine and I haven't cleaned it in two years. The cancerous black flecks let me know the meat is good. Anyway, she was thinking of me when she put this down, and that's heartwarming. I will buy you a second bead kit for being so selfless.
"A black, light blue, green, purple, and pink North Faces." FIVE North Face jackets, a hundred bucks each? Dream smaller. When did North Face jackets become hot again? Did you also want an autographed copy of Phish's Hoist? That is apparel meant for serious outdoorsmen who dangle from belayed ropes on the south face of the K2. The outdoorsiest we get is when we roll down the window at the fucking Wendy's drive through. You cannot have this.
"A new radio." Done. I'll throw in my old Betamax collection as a stocking stuffer.
"Monster High ear buds." This is Monster High, and it's completely fucked. It's like someone at Mattel held up a market research study and screamed, "Our Barbie dolls aren't causing as much body dysmorphia in children as they used to! MAKE ME A LINE OF BULIMIC VAMPIRE DOLLS OR YOU'RE ALL FUCKING FIRED." How are these toys even legal? It's like handing your child a Steve Madden ad. Anyway, these are cheap, so maybe I'll get them if you are good. FUN FACT: A child could go on a five-state killing spree and no parent would be heartless enough to actually bail on Christmas presents. The nice list has worse grade inflation than Harvard.
"All of the Beanie Babies." I have a theory that no one actually buys Beanie Babies—people simply acquire them from older parents who dump a truckload of the fuckers onto new parents, who don't understand that they've just been bequeathed a pile of garbage. Anyway, you cannot have ALL of these. Maybe a couple of Beanie Boos from the LAX airport. They're the only gift there under $17.
"Justice black [peace sign] jacket." Oh man, Justice. It's like a bad Katy Perry song in mall-store form.
A little thing with that can turn into anything at any time." As you can see, my kid bumped this item up the list. Owning an imaginary object that can grant her God-like powers is now THIRD on her list, right behind the bead kit. Priorities.
"Saige, the American Girl doll." Fun facts about Saige from the AG website!
Where she lives: Albuquerque, New Mexico, the hot air balloon capital of the world
Also the vaginal-painting capital of the world!
Best friends: Tessa, a musician; and the new girl, Gabi, who knows how to train animals
And Harmony, who died.
Fun fact: She can draw horses that really look like horses
No, she can't. She's a doll. She is lifeless. YOU SELL HARMFUL LIES.
Anyway, my ma got her this already. Sucker.
"iPod Touch." Oh God, the fucking iPod touch. If one kid at your kid's school gets an iPhone or an iPod Touch (and I assure you many parents will poison the well by doing just this), it's over. Your kid is a SLAVE to Steve Jobs's corpse forever. My kid makes drawings of iPhone covers. She does writing exercises about iPhones. When I asked her what she wanted between a flying car and an iPhone, she picked the goddamn iPhone. And here we are, acting as if Steve Jobs bestowed some wonderful gift upon humanity. LITTLE AFRICAN TODDLERS KNOW HOW TO USE AN IPAD INTUITIVELY! Fuck you, Apple.
My kid asked Santa for this iPod, and I had to carefully explain to her that Santa does not produce electronics, he can only license them with permission from both the parent and the manufacturer. My kid still believes in Santa, even though I have told her that there's no such thing as magic (she wanted to know after reading Harry Potter), and so now she doesn't believe in any sort of magical powers except for Santa's ability to traverse the entirety of Earth in a single evening. The center cannot hold.
Anyway, I'm sorry my dear, but you cannot have this. Maybe when you're 27.
"A lightup Razor Scooter that is the color blue." "Dad, for Christmas, can I get hit by a car?"
"A pet puppy. Border collie with a peacesign coller, and a leash." NOOOOOOOOOOOOOOOO. Hell no. Do you see any borders in this house that need patrolling, apart from the bathroom door when Daddy is having his alone time? No. Do you see any sheep that need herding? No. Are you gonna give a shit about walking it or feeding it after, oh, three days? No. All of the work will be left to me. This site says, "Border collies can become aggressive due to fear. ... Do not approach or handle your dog suddenly from behind." Great. Fucking great. That is the exact wrong breed for a human child. Children will sneak up behind dogs and bash a tambourine into their heads because that's funny. You cannot have this dog. I'll get you the leash, though. You can walk Saige with it.
"A black rist bange."I don't know what this is, but I bet they sell it at Justice. Done.
Intermission for apparent drawing of chicken's head. Awww, that's cute!
"Saige Paints the Sky: The movie." Done. You get the doll, the DVD, the radio, the bead kit, a couple of Beanie Babies, and the werewolf anorexia headphones. NOT A BAD HAUL. And you deserve it, kid, because I love you and would do anything for you except hand you a thousand bucks cash, the power to control all existing matter, and an iPhone to boot. But take heart: There's a glowing crabcake waiting for you in your stocking. Merry Christmas!
Also: Readers send in their children's insane wish lists.
Drew Magary writes for Deadspin. He's also a correspondent for GQ. Follow him on Twitter @drewmagary and email him at firstname.lastname@example.com. You can also buy Drew's book, Someone Could Get Hurt, through his homepage.


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Video testimony, reenactment of crime scene hints at hearts of killers, martyrs.
ISTANBUL, November 25 (Compass Direct News) – Last week's court hearing on the bloody murder of three Christians in Turkey's southeastern city of Malatya paved the way for further investigations into the connection between the five defendants and shadowy elements of the Turkish state linked to criminal activities.
The 13th hearing at Malatya's Third Criminal Court on Friday (Nov. 21) in the murders of Turkish Christians Necati Aydin and Ugur Yuksel and German Christian Tilmann Geske presented little new evidence. No witnesses were called to testify.
The court prosecutor and plaintiff lawyers, however, are pursuing proof that there are links between the murderers and Ergenekon, an ultranationalist cabal of retired generals, politicians, journalists and mafia members under investigation for conspiracy in recent murders.
A separate criminal investigation has linked the cabal to high-profile attacks, murders and plans to engineer domestic chaos and ultimately overthrow the government. Evidence in the Malatya case indicates that a local journalist, Varol Bulent Aral, acted as a bridge between the five murder suspects and Ergenekon.
Plaintiff attorneys also believe that Aral incited the suspected ringleader of the attack, Emre Gunaydin, to murder by convincing him foreign missionaries were connected to the Kurdistan Worker's Party, a domestic outlawed terrorist organization.
According to a Nov. 14 statement, Gunaydin testified that Aral promised him state immunity for the planned attacks. In court last week, however, he refuted the claim and said he hadn't met with Aral.
On April 18, 2007 the three Christians were tied up, stabbed and tortured for several hours before their throats were slit in what Turkish media have dubbed "the Malatya massacre" at the Zirve Publishing Co. office in Malatya.
Gunaydin along with Salih Gurler, Cuma Ozdemir, Hamit Ceker and Abuzer Yildirim, who have been in jail for the past 19 months, are accused of the murder. They are all between 19 and 21 years old.
Per their request, plaintiff attorneys have received the Ergenekon file from the 13th High Criminal Court of Istanbul and have reviewed it for connections with the Malatya murders. It is now under investigation by the court prosecutors and judges.
"We are talking about a room with five guys and three men," said Orhan Kemal Cengiz, who leads the team of plaintiff lawyers. "There is no doubt this is first degree murder; a barbaric act. These things will increase their term of punishment to three counts of murder and three life imprisonment terms each, as well as other crimes such as preventing freedom, stealing and others. We don't have a question about this."
The question that remains, according to the plaintiff attorneys, is the identity of the real powers behind the bloody attack. Cengiz said he and the court now have no doubt there were greater forces behind the Malatya murders.
"I am 100 percent sure – it is the impression of the prosecutor and no one has doubts – there are sources behind these young men, but we can't identify them," Cengiz told Compass.
The plaintiff team hopes to bring up to 21 witnesses to the stand in subsequent hearings in order to make connections between Ergenekon and the Malatya murders clear.
"We believe all of them are somehow connected and have relevant information to this case," he said.
If the list is accepted, he said the trial may go on for another year. "But if nothing comes out last minute, it may be over in three or four months," he said.
Missionary Activities on Trial, Again
At Friday's hearing, defense lawyers reiterated their position that the five young men acted in response to missionary efforts, suggesting that such activities were sufficiently nefarious to incite the violent murders.
The prosecution team rebutted the statement, saying that according to constitutional Articles 9 and 24, people have the right to share their faith, and no person or authority can follow and record those activities. They pointed out that the five defendants had been collecting data and planning the murders at least eight months before they carried them out.
Defense lawyers also requested that the prison where the defendants are held conduct a psychological exam of the defendants – especially Gurler – because they were all under stress due to suspected ringleader Gunaydin's threats.
Revisiting Crime Scene
Those present in the courtroom on Friday viewed year-old video footage of defendants Ozdemir, Ceker and Gunaydin each walking through the crime scene shortly after their arrest, describing how they attacked, stabbed and sliced the throats of Aydin, Geske and finally Yuksel.
A sobering silence prevailed in the courtroom as judges, lawyers, local press, Turkish Protestant observers and others watched Ozdemir and later Ceker walk through the Zirve publishing house and re-enact the murders over the dried blood pools of the three martyrs. In their accounts, they implicated Gunaydin and Salih as the main aggressors, although all accuse the others of participating in the murders.
During the video presentation, judges and lawyers noticed suspect Gurler laughing at the witnesses' testimonies at the crime scene. In the video, Ozdemir and Ceker testified that they had told Gurler and Gunaydin they couldn't take the violence.
In the video testimony, Ozdemir said he told Gurler while he was stabbing Aydin, the first to be killed, "That's enough, I can't do this." Ozdemir looked down during his video testimony, forlorn and unable to watch.
Gurler later told angry judges that he was laughing because all the witnesses' statements in the video were false.
"They're lying against me," he said.
In his video account of the murder scene, Ceker described how the five young men and the three Zirve staff members talked "a lot" about religion before the suspects attacked Aydin, tying him and lying him on the floor face down.
Gunaydin confronted Aydin about his missionary activities and asked him why he was acting "against Turks" before Gurler sliced his throat, according to Ceker's original statement.
In Gunaydin's video testimony, profusely sweating, he described the repeated stabbings of the victims, re-enacting his arm movements and describing how Ozdemir held a gun at the victims, threatening them.
"I didn't look," Gunaydin said after describing one of the violent stabbing scenes. "I'm weak about these things … I can't even cut chicken."
He described how while Yildirim and Gurler were repeatedly stabbing Geske, the victim lifted his hands up in a gesture of prayer. Gunaydin also described how Yuksel, injured by the stabbing while tied and on the floor, cried out in Turkish, "Mesih, Mesih [Messiah]," between moans before they stuffed a towel in his mouth to silence him.
After the court showed his video testimony, Gunaydin stood up and told the court he had just gotten out of the hospital at that time, and that that account was not how he now remembered the events of April 18, 2007.
In their video testimony, the young men described how the phone and doorbell were ringing while they were torturing the Christians. Before coming out the door with their hands in the air, they showed police interviewing them in the video how they had disposed of their guns and bloodied knives in the Zirve office.
Gunaydin escaped through a window, fell and was severely injured. On Friday plaintiff lawyers requested from the court an investigation into who entered the crime scene while Gunaydin was in the hospital.
When the defendants were asked whether they knew of Aral's alleged offer of state protection to Gunaydin or a monetary award for the murders, they claimed to have no information.
"I never saw a check in the course of these events, nor did I hear anything about it," said Gurler. "I only knew that Emre had a bank statement."
Yildirim also claimed ignorance: "I don't remember anything about a check. If Emre had one, it would have stayed in his pocket; he wouldn't have showed it to us."
When asked about meetings between Gunaydin and Aral, the defendants said they hadn't witnessed any between the two. They did admit to having spoken to Aral at a sports complex about a different matter, but they knew him as "Mehmet."
Foreign Press, Organizations Negligent
Twelve of the nearly 20 private and human rights lawyers from around Turkey that compose the plaintiff team attended the court hearing last week. Cengiz said the primary purpose of the plaintiff lawyers, who are working pro bono, was to create a legal "common eye" that is watching all related cases such as Ergenekon and the murder of Hrant Dink, editor of Armenian newspaper Agos, who was murdered months before the three Christians in Malatya.
But the plaintiff lawyers pointed out that very few international bodies and foreign press members are actively monitoring the case, even though in their estimation the Malatya murders are directly linked to uncovering deep elements of Turkish corruption.
"This case has tremendous implications for democracy and deep-state elements in Turkey," said Cengiz, who has received numerous threats since the beginning of the trial and lives under 24-hour protection.
"What we have here is a concrete act of the Ergenekon gang and it's interesting."
Report from Compass Direct News


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"The World of Sholom Aleichem" and "The Dybbuk"
May 21, 2012
Last year, under cover of night, E1 Entertainment let loose DVDs of a pair of rare and fascinating early television dramas. It is unfortunate that "The World of Sholom Aleichem" and "The Dybbuk" received so little publicity, since they are at present – apart from Sidney Lumet's two-part, four-hour staging of "The Iceman Cometh" – the only commercially available segments of Play of the Week.
Play of the Week was perhaps the grandest outpost of the FCC-mandated Sunday afternoon cultural ghetto of the fifties. Most of its productions were feature-length, and they attracted top-tier talent. The two episodes here were likely chosen not because they represent the very best of Play of the Week, but instead to appeal to a cultural niche. Even for the goyim among us, though, they are of considerable interest.
Both DVDs contain helpful liner notes by the brilliant J. Hoberman, the recently, scandalously laid-off Village Voice film critic (and a specialist in Jewish cinema). Hoberman details the history of the two properties, both of which derived from modern theatrical adaptations of late nineteenth or early twentieth century works, contextualizing them within the oeuvres of the original writers, within Yiddish culture, and within the New York theater of the fifties. But the two Play of the Weeks are also worth examining as examples of the talent-heavy event productions that flourished briefly in the late fifties and early sixties, the period in which videotape displaced live transmission as the technological mode by which anthological television was shown.
"The World of Sholom Aleichem" was adapted by Arnold Perl, who would go on to become one of the most talented and uncompromising writer-producers working in sixties television. But the secret author of the piece was the blacklist. Perl and most of the show's repertory cast had been blacklisted, and would remain unemployable on the networks for many more years. Play of the Week was able to hire them only because it was an independent, unsponsored production. (Using blacklisted talent was still a courageous move on the part of the producers, Henry T. Weinstein and Lewis Freedman, and upon its broadcast "The World of Sholom Aleichem" became a predictable magnet for right-wing froth-at-the-mouthers.) The successful 1955 stage version of The World of Sholom Aleichem had probably saved Perl from professional oblivion, since his most substantial pre-blacklist work had been done in a medium (radio) and later for a television company (Bernard Prockter Productions, which had used Perl as a story editor on Treasury Men in Action and Big Story) which were long defunct by the time the blacklist crested.
Perl's mature, post-blacklist work tends to fall into one of two categories – the blunt, accusatory rhetoric of his leftist passion plays for East Side / West Side (including the Emmy-nominated "Who Do You Kill," about the fatal consequences of urban poverty and institutionalized racism) and the eccentric, quasi-existentialist black comedies he wrote for The Chrysler Theater. "The World of Sholom Aleichem" harnesses both of these impulses, and the distinctive tension between them may represent Perl's primary stamp on material that was not, of course, his own.
Indeed, the "world" of Mr. Aleichem (a nom de plume for Solomon Rabinovich) is very loosely defined. Perl's decision to include a piece by a different writer, Y. L. Peretz, in between two actual Aleichem works is already a bold assertion of editorial control. "Bontche Schweig," in Hoberman's phrase "an allegory of proletarian passivity," follows a much-abused nobody (Jack Gilford) through the gates of heaven; exhorted by the angels to finally speak out for himself, Schweig at last makes the humblest request imaginable. The expert timing of the long build-up and quick reversal in this mordant, loaded vignette is worthy of early Woody Allen, although I think the true topper to Peretz's punchline came not from Perl but from one of his contemporaries, Ernest Kinoy, when he took "B. Schweig" as his pseudonym. ("Schweig," just to explain the joke, is Yiddish for "silent.")
As Hoberman notes, the first segment, "A Tale of Chelm," diverges broadly from Aleichem's original fable, in which a tailor is driven to economic ruin and madness by the inexplicable sex changes of his goat. Perl, abetted by the casting of the comedic actors Zero Mostel and Nancy Walker, turns the Aleichem story into almost a Hebrew Honeymooners, a farce of home and community that offers an earthly explanation for the bovine's gender reassignment and makes room for much of the kind of verbal wit that one associates with "Jewish humor." By contrast, the final story, "The High School," has no humor at all. Perl expresses his didactic streak in this nearly hour-long piece, which casts Goldbergs matriarch Gertrude Berg in a rare straight role. An East Side / West Side for the turn of the century, "The High School" methodically chronicles a father's acceptance of the merits of higher education for his teenaged son, and then the family's lengthy and appalling struggle to triumph over the quotas that excluded Jews from most institutions of learning.
If "The World of Sholom Aleichem" was executed by a writer of some distinction and a journeyman director – Don Richardson, who slid quickly from The Defenders to Lost in Space after a move to Hollywood – then "The Dybbuk" reverses that equation. Its source, a play by S. Ansky, was adapted by Joseph Liss, a minor writer who toiled amid the legendary talents who emerged from The Philco Television Playhouse and Studio One. But the director of "The Dybbuk" was Sidney Lumet, already (at thirty-six) an Academy Award-nominated feature director and soon to leave television behind for good. Looking nervous and struggling to remember (or read) his lines, Lumet appears at the beginning of "The Dybbuk" to explain his personal investment in the material: his father starred in a production of the play in 1927, which also happened to be the first play Lumet saw in the Yiddish theater. His presence on camera reminds us that the director was a bigger star than anyone in his cast save the ingenue, Carol Lawrence, who was then playing Maria on Broadway in West Side Story. (Don Richardson may have been just as personally invested in "The World of Sholom Aleichem," but no one was going to give him a chance to tell that to the world.)
"The Dybbuk" captures Lumet's television style at its apex, and the show is of interest primarily as a kind of auteurist snapshot. Regardless of his personal (and ethnic) connection to the material, Lumet was, in some ways, an odd match for "The Dybbuk." Lumet was one of the cinema's great rationalists, and despite its folkloric trappings "The Dybbuk" is essentially a ghost story, one that culminates with incidents of demonic possession and exorcism. It's easy to imagine someone like John Frankenheimer (who had staged "The Turn of the Screw" on Sunday Showcase a year earlier) devising clever trick shots and turning the show into a look-what-we-can-do-on-videotape extravaganza.
Lumet, true to his nature, de-emphasizes the paranormal elements. There are no special effects in "The Dybbuk." When the spirit of the doomed Channon (Michael Tolan) appears on screen, he simply rises from behind a mound of dirt or, in the moving final scene, stands in the gloom, a row of tall candles acting as the bars between him and the corporeal world. Lumet orchestrates the demonic possession simply by having Lawrence, playing the possessed, and the off-screen Tolan speak in unison. The effect of the male and female voices blending is disturbing, even when the actors slip out of synch with one another.
Despite its subject matter, "The Dybbuk" evinces a certain distaste for the supernatural. The wizened elder (Ludwig Donath) who narrates the play – initially unidentified as he addresses the audience directly, this character later turns out to be the community's rabbi – refers to the Kabbalah as "a mountain of foolishness." The Kabbalah is what gets Channon in trouble; Hoberman describes his sudden death as punishment for blasphemy, but I think the cause, in Lumet's staging, remains more ambiguous. Lumet cuts away from Tolan, staring upward and addressing God, just before he falls. Channon's mortal distress in this split second is so hard to discern that it comes as a surprise when his body is discovered some time later. Could Frankenheimer have resisted a lightning bolt here? It is as if Lumet cannot bear either the melodramatic or the metaphysical implications of a vengeful god.
Lumet's staging of that moment is unexpected and effective, but his restraint works less well in other sections of "The Dybbuk." Lumet puts his faith in the text and the performers; his only repeated visual flourish in "The Dybbuk" is a camera crane, which he uses imaginatively at times (pulling up to a heavenly point of view, for instance, during Channon's final speech to God). But the first act is talky and confined (to two rooms in a synagogue), and Lumet's stiff compositions and timid camera placement cannot sustain the nearly forty minutes of expository Torah instruction and kibitzing from Channon's fellow students (Stefan Gierasch, Jerry Rockwood, and Gene Saks, all charming and funny) that pass before the play's tragic romance is activated. "The Dybbuk" doesn't come alive, as it were, until Channon's soul enters Leah's body.
Lumet sets up what I think is a deliberate clash of performance styles in "The Dybbuk," using his actors to delineate a line between reason and emotion. While the actors playing the Jewish elders remain contained, the pair playing the young lovers – Tolan and Lawrence – give expressive, Method-styled performances. Lumet stages their first meeting almost entirely with voiceover, as they stare at each other across a room, forbidden by social custom from interacting for more than a moment.
The two actors generate real heat in this scene – if they didn't, "The Dybbuk" would collapse completely at this point – and later Tolan's intensity as he turns to the Kabbalah is mesmerizing. (Tolan rightly considered this one of his best performances). The final exorcism of the dybbuk again defies the conventions of the genre. In his boldest directorial choice, Lumet stages it as a modern dance piece, choreographed by Anna Sokolow and beautifully executed by Lawrence.
Lumet insists on precise, minimalist work from all of the older actors – Ludwig Donath and Michael Shillo as the rabbis and especially Theodore Bikel, who, as the father of the bride and the target of the spirits' anger, gives perhaps the most unadorned performance of a generally flamboyant career. The Judaic Van Helsings who dominate the second half of "The Dybbuk" feel like transplants from a later era of genre filmmaking. They affect the same implacable, matter-of-fact approach toward the unknown as Nigel Kneale's Professor Quatermass or The Exorcist's Father Karras and Father Merrin. (The Dybbuk's incongruously doubled voice also anticipates Linda Blair's growling demon voice in the Friedkin film.) The rabbis pore over the ancient texts and debate the finer points of theology like scientists testing a thesis; then debate with the disembodied like lawyers in a (literal) trial; then finally perform the exorcism like surgeons probing for a tumor. The possession of Leah, though clearly a paranormal event, does not inspire fear. Rather, it is a social problem that must be solved through careful consideration and concerted action. Upon a text rooted in ancient myth – Ansky derived "The Dybbuk" from Hasidic folklore he collected on an ethnographic expedition through the Ukraine – Lumet casts a modern and somewhat secular gaze.
If "The Dybbuk" remains in some ways a remote, flawed work, it may be because the strands of logic and emotionalism set up by Lumet (who structured many of his films, beginning with 12 Angry Men, along the same schematic lines) often seem to coexist rather than cohere. As Hoberman points out, Lawrence's West Side Story association provides a key subtext for "The Dybbuk." The Romeo and Juliet template of star-crossed lovers is present in the Ansky play; it is a universal idea amid an ocean of specific cultural references, and Lumet seizes upon it. Lawrence's dark beauty, which dominates the climax, appears to have been his chief inspiration.
The doomed romance in "The Dybbuk" serves as an entry point into a show that, like "The World of Sholom Aleichem," does not pander to gentiles. Both shows deploy on-screen narrators – Sam Levene as Mendele the Bookseller in "Sholom Aleichem" and Donath in "The Dybbuk" – who make a token attempt to explain Yiddish culture to the uninitiated, but many of the finer points will be lost on non-Jews. The axiom that television was parochial enough in the fifties to permit ethnic art like The Goldbergs, but quickly turned homogeneous once the cross-country cable was connected, is probably too simplistic. Still, Play of the Week, with its proto-PBS diagram for highbrow quality television, was a defiant exercise in courting a niche audience long before the days of the cable multiverse.


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Frozen Watermelon Basil-Lime Bars
August 4, 2010 at 10:06 pm 56 comments
We don't spend hours in the kitchen every evening.
Sometimes, I just pop a bowl of cold fried rice into the microwave for a quicker than quick dinner. On Tuesdays my mother and I steam broccoli, chop watermelon into chunks, sit down to watch Chopped and call it a night. I've even leaned against the fridge and eaten cold chicken salad straight out of the tupperware. Our kitchen is always stocked with enough leftovers to make us low-maintenance weeknight diners.
Weekends, though… That's an entirely different matter. Sometimes the whole day revolves our food. My mother often wakes up before me to brush her bread with an egg glaze, and we juggle the oven so I can bake biscuits. She's the queen of scrambled eggs and freshly squeezed juice, and I can press any berry into a special maple syrup.
My parents and I frequently head to the farmer's market right after breakfast to shop for dinner, usually without a meal plan in mind. We pick whatever's fresh and seasonal and bright, whatever inspires hunger even though we just ate. My family has been known to spend an afternoon rolling out pasta directly on our dinner table, marinating fish, picking through sun-warmed herbs. Then, we feast.
Don't be fooled, though. There are plenty of awful mistakes, pain in the rear ingredients, and even the occasional temper. Our kitchen is what my dad likes to call a "two-butt work area." The three of us barely fit inside it, and with the two dogs brushing against our ankles, it's a very tight squeeze.
Usually, it's chaotic frustration. As the sky darkens, my dad works from both the stove and the cutting board, on opposite ends of the kitchen. My mother can't help but clean dishes in real time, sometimes whisking bowls off into the sink before we're through with them. And me? I'm just trying to get to the oven, which is between the two of them. Add Tilly, who begs at your feet until you step on her, and Otis, who grunts whenever you drop a scrap – it's an experience.
Yet once we carry plates to the table, settling down in our usual chairs, it's calm. It's relaxed. It's all about passing plates and trying a bit of everything. It's the subdued "Mmm!" at first bite. Cooking together is hectic, but it's always worth it. There is something intangible about a meal created with your family… an hour of satisfaction, and a lifetime of memories.
Usually when I'm in the kitchen, I'm alone. Sometimes I'm even the only one in the entire house, especially now in the summer. I love baking in the serene calm of morning, with light streaming from the window above the sink and the French doors. It's quiet, except for blue jays rustling in the backyard pines and the faint rhythm of my breath. It's silent enough for me to sense the song of the kitchen in my ears and in my soul.
When I'm baking by myself, the kitchen is perfect for one person – spacious, even. I can't help but feel that there's no better way to spend life than alone with my thoughts and my Kitchen Aid. That is, until the weekend rolls around again. Then I'm weaving between my parents, half laughing and half exasperated, five minutes away from "dinner's ready." And at that moment, there's no other place I'd rather be.
They're opposite situations, and I like that. I like the contrast, and the fact that such distinct experiences can occur in the same room. The differences make each experience memorable and sweet, even if they don't seem to complement each other at first glance.
I love juxtaposed differences, in life and in food. Sweet with salty, hot with cool, creamy with crunchy… Enter these watermelon bars, the perfect example of just that.
The bottom layer is the simplest watermelon sorbet, a snap to whirl together. It freezes somewhat hard and icy, but it's utterly refreshing. The sorbet is spread with a basil-lime semifreddo, which is one of the most delicious things I've ever made. The semifreddo makes up for all the richness the sorbet lacks, whisked with sweetened condensed milk and lightened with whipped cream. It's so thick and creamy, it should be illegal. The zing of lime and smooth, floral aroma of basil pair gorgeously with melon.
It could be a clash of flavors and textures, but I think they make a beautifully balanced combination. Together, they pack the epitome of summer in every melting bite.
I'd had these chilled bars in the back of my mind since I first saw them in Gourmet magazine two years ago. I finally froze a batch because I had a hunk of watermelon in the fridge and a bag of limes perfuming the counter. I threw in basil, my favorite herb, since it reminds me of everything summer.
My dad didn't like the bars as much as I did, but only because he felt the two frozen desserts could be paired differently. He suggested multiple, thinner layers of sorbet and semifreddo, for a multi-layered bar or perhaps for a swirled scoop of ice cream. Both great potential variations on this dessert.
The flavors in the bars are very bold, especially the citrus. Don't be afraid! If you know you're not a fan, leave out the lime zest in the semifreddo. I liked everything as is.
Frozen Watermelon Basil-Lime Bars
Concept and Semifreddo layer adapted from Gourmet
Watermelon Sorbet layer a 17 and Baking original
Makes a 9"x9" pan
Watermelon Sorbet
1 1/2 pounds (24 oz) seedless watermelon, rinds removed
1/2 cup sugar
1 tablespoon Grand Marnier (or tequila, rum, etc) (optional)
Juice of a small lemon
Basil-Lime Semifreddo
One (14 oz) can sweetened condensed milk
3 tablespoons finely chopped fresh basil
Zest of a small lime
Juice of two small limes
1/2 cup heavy whipping cream, chilled
Line the bottom and sides of a 9"x9" pan with plastic wrap so that there is some overhang on all four sides. (I used aluminum foil, but I wouldn't recommend it. It flaked later on when I cut the bars.) Place the lined pan in the freezer while making the watermelon sorbet.
To make the sorbet, blend the watermelon in a blender or food processor until smooth. Add the sugar, Grand Marnier, and lemon juice and blend until very smooth. Chill the mixture in the freezer for 30 minutes or until very cold, then churn in an ice cream maker. Spread the churned sorbet in the prepared pan and freeze at least 2 hours, or until the sorbet has hardened.
To make the semifreddo, heat the sweetened condensed milk with the basil in a small saucepan over medium heat until it steams. Remove from heat and let cool to room temperature. When cool, whisk in the zest and lime juice until smooth. In another bowl, whisk the whipping cream until it just reaches stiff peaks. Fold it into the sweetened condensed milk gently with a rubber spatula.
Smooth over the watermelon sorbet in the 9"x9" pan and freeze until solid, preferably overnight. I also recommend putting plates in the freezer at this point so when you're ready to serve the bars, you can use chilled plates and the bars won't melt as quickly.
When ready to serve, use the overhanging plastic wrap to lift out the bars. Cut into squares and serve on chilled plates.
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Entry filed under: Bars/Brownies, Frozen Desserts. Tags: bars, basil, citrus, creamy, frozen, gluten free, herbs, ice cream, lime, sorbet, summer, sweetened condensed milk, watermelon.
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Perspectives through Prose, Poetry and Photography
Posted on August 11, 2014
by Joanne Edith
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PHOTO CHALLENGE:Texture… Guest photographer Natalia Maks invites you to find unexpected textures in the world around you.
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Choose a Laser
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Lasers in this class may cause damage if the beam enters the eye directly.This generally applies to lasers powered from 5–500 mW. Lasers at the high power end of this class may also present a fire hazard and can lightly burn skin.Class IV
Lasers in this class have output powers of more than 500 mW in the beam and may cause severe, permanent damage to eye or skin without being magnified by optics of eye or instrumentation.Safety Recommendations for Laser Pointers
The use of laser pointers has become widespread. The laser pointers are useful tools for educators in the classroom and at conventions and meetings. However, due to the low cost and ubiquitous supply, these laser pointers are now being purchased and used by the general public, including children, and used in ways not intended by the manufacturers. As a result, serious concerns about the hazards of laser pointers have surfaced.Potential Hazards
The hazards of laser pointers are limited to the eye. Although with most visible lasers, the largest concern is potential damage to the retina, most laser pointers are not likely to cause permanent retinal damage.
Responsible laser owners should take some time to fully understand the FAA regulations surrounding the use of laser pointers. There is an extensive Wikipedia article about Lasers & Aviation Safety.
1. Never use your laser pointer in the vicinity of airports, highways, construction sites or anywhere individuals need to constantly pay attention to their work for their own safety. A split-second distraction--a sudden laser light in a plane cockpit, for example--can be disastrous;
2. Never look into the laser beam, use productive glasses(available in our store);
3. Please keep out of reach of children, this is not a toy;
4. Please do not keep open for a long time, otherwise easy to damage the light bulb;
5. Please do not light laser pointer continually in 30 seconds, it will affect its lifetime for prolonged use;
6. Please do not perform the installation in the dusty environment;
7. Please remove the battery from the laser pointer when not in use;
8. Be especially cautious around high-powered lasers, like green laser pointers used for stargazing. They are far stronger than the red pointers commonly used during lectures;
9. Customers can buy and use it by following the local laws and regulations.
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It took much longer for my laser to be delivered,I hope it faster next time.Have used my laser for three times,I feel happy with the overall quality.


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Duck Dynasty's Phil Robertson Put on Indefinite Hiatus Following Anti-Gay Comments
A&E has placed Duck Dynasty'sPhil Robertson on indefinite hiatus following anti-gay comments he made in GQ.
In the upcoming issue, on stands Dec. 24, Robertson discusses homosexuality, which he views as a sin. "Everything is blurred on what's right and what's wrong... Sin becomes fine," Robertson tells the magazine. "Start with homosexual behavior and just morph out from there. Bestiality, sleeping around with this woman and that woman and that woman and those men."
Duck Dynasty's Phil Robertson spews anti-gay comments in GQ profile
Robertson expanded his thoughts further in one of his more explicit comments. "It seems like, to me, a vagina - as a man - would be more desirable than a man's anus. That's just me," he said. "I'm just thinking: There's more there! She's got more to offer. I mean, come on, dudes! You know what I'm saying? But hey, sin: It's not logical, my man. It's just not logical."
Hours after Robertson's comments were published online, A&E Networks released a statement Wednesday saying they had taken action against Robertson for his remarks. "We are extremely disappointed to have read Phil Robertson's comments in GQ, which are based on his own personal beliefs and are not reflected in the series Duck Dynasty," A&E said. "His personal views in no way reflect those of A+E Networks, who have always been strong supporters and champions of the LGBT community. The network has placed Phil under hiatus from filming indefinitely."
Celebrities who've survived scandal
Additionally, Robertson also released a statement Wednesday in response to the controversy. While he did not back down from his stance, he said his comments were never meant to disrespect anyone. "I myself am a product of the 60s; I centered my life around sex, drugs and rock and roll until I hit rock bottom and accepted Jesus as my Savior," the statement reads. "My mission today is to go forth and tell people about why I follow Christ and also what the bible teaches, and part of that teaching is that women and men are meant to be together. However, I would never treat anyone with disrespect just because they are different from me. We are all created by the Almighty and like Him, I love all of humanity. We would all be better off if we loved God and loved each other."
What do you think of A&E's actions? Will you miss Robertson on Duck Dynasty?
View original Duck Dynasty's Phil Robertson Put on Indefinite Hiatus Following Anti-Gay Comments at TVGuide.com
Related Articles on TVGuide.com
- Duck Dynasty: 5 teasers from the Season 4 premiere
- Percentage of LGBT characters on TV has dropped, GLAAD report says
Other Links From TVGuide.com


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You likely opened this review expecting me to call Liz and Dick the worst TV movie of the year. I cannot do that. There are SyFy Saturday-night movies I haven't watched, and cable public-access productions, and industrial-safety videos.
But Liz and Dick is possibly the worst TV movie of the year, and therefore probably the most successful. Mind you, I don't know if Lifetime intended its Elizabeth Taylor / Richard Burton biopic to be a must-watch disaster from the beginning. But it must have cast Lindsay Lohan knowing the rubbernecking attention she would get. Also, its executives have eyes; they've seen the movie and released it to critics anyway.
Hate-watching counts as much in the ratings as watching, and we each have our role to play in this. The Hollywood press must churn out Lohan articles, you must call up your friends for viewing parties, and critics must dutifully warn you of what you are about to enjoy / suffer through/ live-tweet on Sunday.
[Cracks knuckles.] Fine. Let's do this thing.
The first thing you notice in Liz and Dick is its star—not Lohan, but the makeup mole on her right cheek. It's strategically positioned in a black-and-white photo montage behind the credits; it's the first thing the camera catches as we see Taylor lounging by a pool the first time Burton (Grant Bowler) lays eyes on her.
That mole does more to establish Lohan credibly as Taylor than 90 minutes' performance (though hair styling and violet-eye effects play important supporting roles). When Lohan is made up and still—slinking in a doorway, glowering into a mirror—the illusion is nearly complete.
But when she opens her mouth, it's all over. Lohan simply never becomes another person the length of the movie: whether she's meant to be showing spunk or pique or passion, she gives nearly every line the flat delivery of the first read-through of a high-school play. Even when she hurls a bottle at Bowler during a fight, it's lackadaisical, as if she expects the wall to catch it.
We're meant to see Taylor, who we meet with Burton at the filming of Cleopatra, as a former child star who has blossomed into formidable womanhood. Scratch that—as Burton holds forth floridly, she's "now a beautiful woman, with the depths of the ocean in your violet eyes and the promise of a ripe plum in your soft firm* lips and your spilling, white-hot bosom."
* In her hilarious review at Buzzfeed, Kate Aurthur renders this word as "foam." We discussed the discrepancy, we both listened to Bowler's inpenetrable Welsh "f–m" countless times and we concluded that neither of us is entirely sure what he said (film? flume?). But either word makes about as much sense in the context of a ripe plum (or is it a plume?).
The camera does make sure we get the white-hot bosom. But everything else, from Lohan's bored affect to her overcompensating boo-hoo-ing, screams Girl Playing Dressup. A warning: do not play a drinking game of any kind during Liz and Dick. By the time Lohan is playing a 52-year-old Taylor, hair enflamed in a mid-'80s mane and falling to her knees beside Burton's grave, you too will be killed by alcohol.
Credit where due, however: Lindsay Lohan cannot make a movie this bad by herself. There's an ample assist from the screenwriting, which strings together soap-opera lines ("I won't live without you!" "No more LIES!" "You haven't lost me, I've lost you") into a production you might expect to see Jenna Maroney in on 30 Rock.
Bowler is bound to come off better in comparison as the drunken, hyperbolic Burton, but his delivery sometimes swings from passion to Sideshow Bob bluster. Between Lohan's flatness and Bowler's laboring, their coupling is like a gender-reversed equivalent of Anne Hathaway and James Franco co-hosting the Oscars, him overstraining to drag her performance along. There's no chemistry between them, only gravity.
And that's pretty much the ballgame, since the point of Liz and Dick, such as it is, is that the two of them together were dangerous magic, bad for each other but irresistible on screen, in the tabloid pages and in bed. The script walks them through their meeting—each already married—and their courtship, first chronicled during the Cleopatra shoot by the Italian paparazzi.
It's a simple story, but the script holds our hands through it anyway. Burton and Taylor occasionally break the fourth wall to talk to us while sitting in director's chairs, as if in their own DVD commentary. Thus we see Taylor stalk off from Burton on first meeting him on Cleopatra, then cut to her telling us "No, I didn't like him right away." A flash-forward scene to an older Burton early in the movie ends with the Monty Pythonesque screen title: "The last day of Richard Burton's life." Later, when a Taylor reads that Burton's been shagging a co-star, here's her emotional journey: in literally ten seconds she sobs, tosses two glass objects, then picks up the hotel phone and says "Yes, get me Aristotle Onassis," ordering a revenge courtship like room service.
But the script isn't why you're watching this movie, is it? Like the duo's casting in Who's Afraid of Virginia Woolf?—of which we see a brief, hilarious re-enactment with Lohan sneering, "You make me puke!"—Liz and Dick is meant partly to trade on the meta real-life resonance of its star's biography. Virginia Woolf got buzz because its couple's ugly fights and jealousies mirrored Burton and Taylor's tabloid ones; and Liz and Dick shamelessly invites us to watch one troubled former child actress playing another.
That's the point where Liz and Dick, if you stop to think about it, becomes a little less fun to gawk at. Lifetime's publicity for the movie hasn't been subtle about the parallels, standing a sultry Lohan next to, in block letters, "CONTROVERSIAL… PROVOCATIVE… SCANDAL."
Hollywood history plays first as tragedy and second as farce. The second time, with Lohan, it involved Herbie: Fully Loaded, not National Velvet; rehab and shoplifting, not sexy carousing in swinging Europe; and a mom with a reality-TV show, not a brooding, free-spending Welsh thespian. All of it capped off, here, with a basic-cable network casting her in a role she's plainly unsuited for, to add ripped-from-the-headlines buzz to a so-bad-ya-gotta-see-it biopic.
That story, though, is affecting and sympathetic in its own way. In fact, it'd make a good movie someday. I hope they get someone better to play her.


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This past Tuesday morning the Manischewitz Company celebrated the opening of its new corporate headquarters in Newark, NJ.
After both CoCEOs spoke about the company and their vision for the future, Mayor Booker took to the podium. With wit, with a palpable sincerity – rare in a politician of any political stripe – he interspersed Yiddish words (impeccable pronounced!) in his speech, welcoming the company into the city. Israel's Chief Rabbi Rav Metzger followed, he remarked on the Mayor's facility with the Yiddish words and beside speaking of the company products he also blessed Cory Booker to go on to the national scene as a future President.
The affixing of three mezuzos followed…
After the mezuzos were in place we toured the manufacturing facility, which culminated with the baking (from start to finish) the World's Largest Matzoh (25 feet long, 82 square feet!) ever, baked right in front of our eyes.
After the matzoh baked we all went in to the buffet luncheon in the company's boardroom.
The Manischewitz Company was founded in Cincinnati in the spring of 1888 as a matzoh factory by Rabbi Dov Manischewitz. In 1932 it moved to its expanded facility in Jersey City and this move paved the way for the introduction of more products. While it is the US largest manufacturer of processed kosher foods, it is also the world's largest manufacturer of matzoh.
The company today manufactures over 600 products with brands such as:
- Manischewitz
- Season
- Barney's
- Guiltless Gourmet
- Asian Harvest
- Rokeach
- Mishpacha
- Horowitz Margareten
- Jason
- Mother's
- Carmel
- Tradition
- Croyden House
- Mrs Adler's
- Goodman's
On Wednesday past, we posted a cookbook review titled Perfect Jewish… With that title in mind, I wonder what could be more Perfect Jewish American than the Manischewitz Company's products? Could a Jew in America have grown up without ever having tasted any of of the company's products? Absolutely impossible!!


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Search For Body Of UNH Student Put On Hold
A New Hampshire prosecutor says the search for the body of a 19-year-old University of New Hampshire student has been suspended ahead of the arraignment for an actor and martial arts instructor who's been charged in her death.
Senior Assistant Attorney General Jane Young said Sunday that a ground and water search on and around Portsmouth's Peirce Island is expected to resume Monday. She says waters around the island were dangerous on Sunday.
Twenty-nine-year-old Seth Mazzaglia of Dover was charged Saturday with second-degree murder in the death of Elizabeth "Lizzi" Marriott. Marriott was from Westborough, Mass., and had been living with an aunt in Chester, N.H., and commuting to the university in Durham.
Young said Mazzaglia and Marriott knew each other, but she wouldn't elaborate. Mazzaglia's arraignment is Monday.
This program aired on October 14, 2012. The audio for this program is not available.


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Scandal's Darby Stanchfield: OPA Will Be in a State of Emergency!
The seemingly infallible Olivia Pope & Associates were wrong!
Last week on Scandal, we discovered that Osborne (Kurt Fuller), the head of the CIA, was not the mole even though someone had Jake Ballard (Scott Foley) set him up to look like the mole before killing him. Naturally, this means Olivia (Kerry Washington) and her associates were actually wrong about him being the mole, and their suspicion of him could have led to his untimely death. How will they rectify this? TVGuide.com turned to Darby Stanchfield, who plays Olivia's trusted investigator Abby Whelen, to get the scoop on what lengths OPA will go to find out who the mole really is and how that will put them in danger. Plus: Stanchfield teases the future for Abby and David (Joshua Malina).
Scandal Scoop: Will Olivia discover the truth about Jake?
OPA was wrong about Osborne! What will they do to try to fix that?
Darby Stanchfield: As we dig deeper, everything that seems to be is not. Everything you know from the last episode gets turned on its head. As we dig deeper into who the mole is, OPA ends up literally in a state of emergency by the end of the episode.
Albatross, the real mole, is a dangerous person. Will this put OPA in danger as they try to find out who he is?
Stanchfield: Yes. Everything is hanging by a string. Things absolutely fall apart at the episode. Out of all two seasons so far, OPA is at the most vulnerable state. There is an attack on OPA.
This means Molly (Mageina Tovah), who fingered Osborne as the mole, was actually in on it. Considering the title of the episode is, "Molly, You in Danger, Girl," what can you tease for OPA's involvement with her this week?
Stanchfield: Molly is a tough one. Molly proves to be difficult in helping us. Molly is a stubborn cookie. There's a surprise in that plot. Your brain is just going to explode into a million pieces about halfway through the episode and as you're trying to assemble it back together, it's going to explode again. You're going to be scraping your brain off the floor by the end of the episode.
Because the mole is still out there, presumably David will be spending more time at OPA. Will David and Abby finally confront each other about everything they've been through this season?
Stachfield: There's definitely some confrontation that goes on. Again, they're in close quarters in the office. He comes back to the office so it's hard to ignore the past. That comes bubbling up again and it's incredibly dysfunctional. They can't just come out to each other like adults, they have to hash it out and be scandalous.
Do you think David and Abby are meant to be?
Stanchfield: I do think they're meant to be. Much like Olivia and Fitz (Tony Goldwyn), they're in a really complicated situation. They work for two opposite sides - maybe not so much anymore, but there's been so much with the politics of Defiance and the Cytron voting memory card and Abby's loyalty to Liv. All of that has really complicated everything. It continues to create a distance between them. I think they totally dig each other. I also think Abby is really dysfunctional and doesn't really know how it works with a good guy, but she wants one. In a strange way, I think they're perfect together.
Scandal Scoop: How will Quinn deal with Hollis being an OPA client?
It seems like he's on track to join OPA, but do you think they can really trust him?
Stanchfield: Trust is one of the main themes in the series. As much as you could ask, "Could we ever really trust him?" -- [you could ask,] "Can he ever trust us?" We basically ruined his entire life. It goes both ways. OPA and David are circling each other and sniffing each other out. He has a lot to offer and has a lot of connections. He would be a great addition to OPA, but I think that both sides have trust issues. I think there's great potential and great amounts of drama if he actually does join OPA. I don't know how that would go for Abby and David. When we you work with someone you have a past with, it gets even more complicated.
Speaking of people that can't be trusted, Jake Ballard has some sort of connection to the mole. How will OPA cross paths with him?
Stanchfield: Jake's a snake! Not too far down the line, the OPA Gladiators will get to know who he is and they interact with him and that becomes really interesting. It opens up a whole other can of worms. As he gets more involved and closer to Olivia - and cares more about her, so we think - it's unavoidable that he's going to have to deal with Huck (Guillermo Diaz), Harrison (Columbus Short), Quinn (Katie Lowes), Abby and David.
How will Abby's relationship with Harrison change after they confronted each other?
Stanchfield: They work together every day. They're the ones who are out in the field together. It's a really weird dynamic because Harrison, Abby and David are getting lumped together a lot now. Abby and Harrison have been partners for a long time now and David tags along now so it's awkward. I feel like Abby is kind of torn. With Harrison, she is a Gladiator first, but with David, she's a person first. It creates a weird dynamic with her two worlds coming together. The walls are closing in.
Re-watch our video chat with Scandal's Darby Stanchfield and Columbus Short!
Are we going to learn more about Abby's background before the season ends?
Stanchfield: I hope so. The fact that we recently found out that Abby was not only in an abusive marriage, but that it was a politically arranged marriage? To me, that's teasing a whole story line that would be really fun to explore. There's a lot of intrigue there. It would add so many layers to present-day Abby because it would inform why her hair is stick straight and she has such an attitude.
And it seems like there might be an indication that Olivia may have had a hand in her arranged relationship.
Stanchfield: Yeah. There could be more about Abby not knowing. That's right! You're thinking like [executive producer] Shonda Rhimes. Have you been sitting in the writers' room? Are you the mole?
Do you think Abby and David are meant to be?
Scandal airs Thursdays at 10/9c on ABC.
View original Scandal's Darby Stanchfield: OPA Will Be in a State of Emergency! at TVGuide.com
Other Links From TVGuide.com


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New 'trashy' reality TV show focuses on recyclers
NEWARK, N.J. (AP) — A new show wants to redefine the meaning of trashy television.
"Human Resources," which debuts Friday on the Pivot network, will focus not on hard-partying beachgoers but on a socially conscious recycling company.
The "reality docu-drama" chronicles what it is like to work at the Trenton-based company TerraCycle Inc. Founded in 2001 by then-20-year-old Princeton University student Tom Szaky, TerraCycle collects hard-to-recycle items, from potato chip bags to cigarette butts, and transforms them into colorful consumer products. It donates a portion of its proceeds to charity.
Szaky hopes the show will inspire a new generation to become socially conscious business entrepreneurs.
"A lot of people have said the show is like a 20-something socially conscious reality version of 'The Office,'" Szaky said, referring to the long-running mockumentary-style comedy that had British and American versions. "I'm a big fan of content with a purpose; there isn't that much TV out there like this."
Szaky is confident the show will have wide appeal, and he sees it as part of "trying to accomplish different ways of getting our message out."
A trailer for the premiere episode features quick-cut edits of droll and jokey asides from employees who both embrace and mockingly disdain TerraCycle's workplace culture. The indefatigable, Budapest-born Szaky, now 32, is a main draw, as he offers a frenetic tour of the graffiti-walled, recyclables-filled office and evangelizes about a trash-less future and his goal to "eliminate the concept of waste."
With its "superhero socks" theme days, Nerf gun fights, dogs wandering the office and yoga breaks, a green company that is both successful and socially conscious can be a lot of fun, he says.
"The main point is to get more people to know about TerraCycle," Szaky said. "The second is to really inspire young people to look at becoming entrepreneurs for socially responsible reasons."
The company is committed to remaining in Trenton, Szaky said, bringing what he describes as a "Silicon Valley vibe" to the city that once boasted "Trenton Makes, The World Takes" — words that still appear on the Lower Trenton Bridge spanning the Delaware River — but has since fallen on hard times with the large-scale flight of manufacturing. Szaky said the company's 22 other offices around the world are located in similarly economically depressed areas.
Szaky says he wants people to feel inspired when they watch the show and to realize they can make a difference, one cigarette butt or discarded juice box at a time.
"If people like the show, send us your garbage — totally free," he added, pointing out that TerraCycle's website offers free pre-paid shipping labels for people to mail in their trash.
Belisa Balaban, executive vice president of original programming at Pivot, said the network was immediately impressed by TerraCycle's employees and mission.
"We knew they were a perfect fit for Pivot, perfectly aligned with everything we want to do, to create positive social change through entertainment," Balaban said.
"TerraCycle is an amazing company that's doing amazing things," she added. "It's a funny place to spend time at, a place with great bold characters who are unique individuals and extremely passionate about what they do."
The network plans to air 10 episodes of the show in its first season.