1. “2015 Pulitzer Prize Winners in Journalism, Letters, Drama and Music.” Today, the New York Times offers short profiles on all the winners, including (below) Anthony Doerr for All the Light We Cannot See.
“Mr. Doerr’s intricately plotted novel takes place in France and Germany during World War II, and centers on two young characters whose lives converge: a blind girl, Marie-Laure, who flees Paris and joins the resistance movement; and a German orphan, Werner, who attends a Hitler Youth academy. Mr. Doerr spent a decade researching and writing the novel, which was also a finalist for the National Book Award and became a major best-seller, with 1.6 million copies in circulation. ’The research was so harrowing,” said Mr. Doerr, 41, who lives in Boise, Idaho. ’I thought I would never finish the book, and then I did and now a lot of people are reading it, and it’s so weird.’”
2. “Assange: How The Guardian Milked Edward Snowden’s Story.” WikiLeaks founder Julian Assange investigates the book behind Snowden, Oliver Stone’s forthcoming film starring Joseph Gordon-Levitt, Shailene Woodley, Nicolas Cage, Scott Eastwood and Zachary Quinto. According to leaked Sony emails, movie rights for the book were bought for $700,000.
“In recent years, we have seen The Guardian consult itself into cinematic history—in the Jason Bourne films and others—as a hip, ultra-modern, intensely British newspaper with a progressive edge, a charmingly befuddled giant of investigative journalism with a cast-iron spine. The Snowden Files positions The Guardian as central to the Edward Snowden affair, elbowing out more significant players like Glenn Greenwald and Laura Poitras for Guardian stablemates, often with remarkably bad grace. ’Disputatious gay’ Glenn Greenwald’s distress at the U.K.’s detention of his husband, David Miranda, is described as ’emotional’ and ’over-the-top.’ My WikiLeaks colleague Sarah Harrison—who helped rescue Snowden from Hong Kong—is dismissed as a ’would-be journalist.’ I am referred to as the ’self-styled editor of WikiLeaks.’ In other words, the editor of WikiLeaks. This is about as subtle as Harding’s withering asides get. You could use this kind of thing on anyone.”
3. “The Radical Le Corbusier Design That Shaped Italy.” For Wired, Margaret Rhodes traces the influence of the skeletal, concrete structures that dot the Italian countryside back to the famous Swiss-French architect and pioneer of modernism.
“There’s a strange contradiction here. Whether the locals like them or not, the Maison Dom-Ino structures are as much a part of Italian life as the Mediterranean climate, or the wine. Vasco Rossi, the ’Italian Bruce Springsteen,’ according to [Joseph] Grima, grew up in one. When an earthquake wrecked Sicily, many of the ensuing conversations circled around what happened to the stalwart Dom-Inos. The structures created what Grima calls ’a stage for the theater of everyday life,’—one that’s featured in 99 Dom-Ino, a film series Grima created with Space Caviar.”
4. “Hope-Watching vs. Hate-Watching in TV’s New Golden Age.” Alan Sepinwall argues that patience can be rewarded—or sorely punished—when you give shows a chance to find themselves.
“And as content providers make more episodes available upfront—whether Netflix and Amazon debuting entire seasons at once, or cable channels sending critics lots of episodes of new shows to review—hope can only take you so far. FX sent critics nine episodes of The Comedians, and I had my fill after three, even though one critic who watched them all told me it improved by the end. When I recently mentioned on Twitter that the early episodes of Netflix’s Bloodline didn’t thrill me, someone asked why I wouldn’t just watch the rest to see if it got better (which he insisted it did); I replied that while I might catch up eventually, I’d rather go with something I already knew I liked. When there are so many good shows on all the time—not to mention complete runs of some of the best TV shows ever made, all ready to stream with the click of a button and the right subscription—why gamble that an unknown quantity can realize its potential when it’s easy to find a sure thing?”
5. “Game Over: HEALTH Finish First Album in Six Years.” Pitchfork’s Ian Cohen sits down with the members of the band.
“When you take that long, you keep absorbing, and new shit is changing around you, and you’re like, ’Hey man, we gotta update.’ You hear that about movies that take forever to be made or—this sounds really nerdy—the Duke Nukem Forever video game. The dude [George Broussard] lost his mind because he wanted to have the most next-level shooter. He was supposed to make it in ’98 and it came out in 2011. Every year he would freak out and keep updating it because he had the hottest new mechanics. And then it came out and it was fuckin’ terrible. That was always in the back of my mind, like, ’Oh no, there’s this new genre out! We need to have the hottest shit!’ Obviously we’re always responding to new trends, but we have our own sound aesthetic, so we’re not so much like, ’Can’t wait until this moombahton jam is the hot genre of the second.’”
Video of the Day: Jurassic World gets a new trailer:
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