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Issue 20: Mike Nichols

January 2015

Closer (2004) | art by Brianna Ashby

Hello, Stranger

Tracy Wan·
Issue 20: Mike Nichols
Throughout Closer, we make eye contact with different characters, through mirrors, through cameras, through watching them watch others.
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Entertaining Angels

Kara Shroyer·
Issue 20: Mike Nichols
Angels in America belongs in a psalter—not because of its spiritual rambling, but because of its poetry.
Read More

Break, Blow, Burn, and Make Me New

Chad Perman·
Issue 20: Mike Nichols
Mike Nichols’ Wit puts death center stage and never pretends otherwise.
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I’m Quite Aware of How Ridiculous I Am

Andrew Root·
Issue 20: Mike Nichols
The Birdcage's script, direction, and performances afford a dignity and completeness to Albert and Armand’s relationship.
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A Postscript to Working Girl (Or: “Tess McGill Doesn’t Like Others Doubting What She’s Earned”)

Kelsey Ford·
Issue 20: Mike Nichols
No one thing pushed me over. I’d been on the brink for awhile.
Read More

Scoring

Arielle Greenberg·
Issue 20: Mike Nichols
How can it be fun for you if I don’t want it?
Read More

Talking Through The Graduate

Elizabeth Cantwell·
Issue 20: Mike Nichols
Chris & Elizabeth Cantwell, discuss one of the most legendary films of the 1960s.
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A Drowning Man Takes Down Those Nearest

Sarah Malone·
Issue 20: Mike Nichols
Taylor and Burton’s physical awareness of each other is palpable, moment by moment. They calibrate their positions and postures to and against each other, playing off what each can anticipate the other will do.
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It Takes Two

Fran Hoepfner·
Issue 20: Mike Nichols
What’s so magical about Nichols and May is that they don’t have a straight man or a funny man. They’re both and they’re neither: they’re everything.
Read More

Letter from the Editor

Chad Perman·
Issue 20: Mike Nichols
Mike Nichols spent a lifetime telling stories, in one form or another.
Read More

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