Word: stuttered
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Dates: during 2000-2009
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...Akpan stutter-stepped on his run-up to throw off MacMath but struck his penalty weakly to the right. The rebound came back to Akpan off MacMath’s knee, but the ball took a high bounce, and Akpan was unable to get his foot over it, sending his attempt high into the air, and eventually, into the arms of MacMath...
...keep up. Meanwhile, Artie admits to a crush on Tina – “I want to be very clear. I still have the use of my penis,” he informs her – and scores a kiss. But when Tina confides her stutter is fake, Artie, who is always left out, feels betrayed that anyone would sabotage her own chances at fitting in, and he resentfully ends their date. Finally, Kurt (who is apparently trying to bring karate headbands back) feels slighted when Mr. Schue doesn’t give him a chance...
...loser, or has his or her own secret difficulties, and where characters achieve temporary escape by building communities (the Cheerios, the football team, New Directions), or permanent escape through anti-social derangement (desperate Terri, lonely Sue) or at the least false personalities (Tina retreats behind a stutter, Sue adopts an aggressive mask as a bully). It’s a world where everyone is coping, and where performances are an escape. Yet with all the underlying sadness and frustration, the show achieves hilarity. The slapstick montage of the students getting used to their wheelchairs comes to mind, and this angsty...
...heart, or so he claims, that he volunteers to inform on ADM’s price fixing agreements. As a spy, Mark Whitacre is nothing like Jason Bourne. Matt Damon is almost unrecognizable beneath his round face, thick glasses, toupee, and moustache. He easily charms us with his stutter, awkwardness, and apparent good nature, even as he utters one bold-faced lie after another. Damon adeptly tricks us into trusting his character, despite mounting evidence that we should not.The audience is privy to nearly all of Whitacre’s thoughts as he bumbles through his double life. His stream...
...against it. With Tintoretto, the harmony and serenity of Bellini are entirely a thing of the past. Figures whirl, somersault and lunge like darts in and out of the picture. The palette is iridescent, and at close range, the sketchy forms can dissolve into a tangle of near illegible, stutter-step brushstrokes. Tintoretto's portraits were more restrained - aristocratic clients expected to be offered to the world as paragons of poise. But any religious or mythological scene, he could turn into a costumed mosh...