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Speaking of writing to process things, you're pretty unflinching. Is there ever something that just feels too personal? I have found that no matter what I've written, someone somewhere has come up to me and said, "Me too." The truth can be offensive, but it's always nourishing, in a way. You recognize it. You can feel it. And even if [readers] think, "My god, I would never get in those situations," within those ridiculous circumstances that I have created for myself, they know the way I respond is probably what they would...
...statistically impossible for it not to be. It has a fantastic sense of showmanship (MacFarlane, who voices dad Peter and others, loves writing musical numbers to show off his Broadway side) but suffers from comic ADHD. A send-up of Family Guy on South Park revealed it to be written by manatees picking colored balls with random joke topics inscribed on them...
According to a study by the AARP, 30% of primary-care physicians already have some kind of pay-for-performance incentive written into their plan contracts, and 28% of group practices include performance benchmarks. Since 2007, Massachusetts has required all its citizens to have health insurance, about 20% of which involves some kind of global coverage - handling all of a patient's health-care needs for the duration of the policy. In July, the state announced plans to go further, eliminating fee-for-service entirely within five years and mandating global care statewide. Similar plans are ramping up in Minnesota...
There’s nothing inherently modern about John Eccles “Semele.” Written at the beginning of the 18th century, the Baroque opera narrates an Ancient Greek myth about a mortal protagonist whose jealousy for her divine lover costs her her life. But Harvard Early Music Society’s production of “Semele,” which ran this past weekend at the New College Theatre, manages to spruce up the antiquated setting quite a bit, perhaps predictably arranging the action in America’s own period of mythical free love...
...Written by John Eccles, the piece itself is an archetypal example of Baroque opera. Each character sings recitatives (narratives that serve the purpose of advancing the story) and arias (songs that do not move the plot forward). Characters are accompanied by a small pit orchestra of strings and a harpsichord. Eccles’ “Semele” is a more sexually graphic version than the better-known Handel opera of the same name. Because the Early Music Society shifts the setting of the story, however, the raunchy nature of the opera does not seem as out-of-place...