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Like us on Fb: bit.ly/FacebookTheDoctorsįollow us on Twitter: bit.ly/TheDrsTwitterĪdhere to us on Instagram: bit.ly/InstagramTheDoctorsTVĬomply with us on Pinterest: bit.ly/PinterestTheDrs You’ll get the Monitor Weekly magazine, the Monitor Daily email, and unlimited access to you have a liked 1 you’d love to persuade to stop smoking cigarettes? Physician Mike Varshavski joins The Physicians to talk about a viral video clip that could aid. If you’re looking for bran muffin journalism, you can subscribe to the Monitor for $15. We’re about kicking down the door of thought everywhere and saying, “You are bigger and more capable than you realize. We have a mission beyond circulation, we want to bridge divides. We’re known as being fair even as the world becomes as polarized as at any time since the newspaper’s founding in 1908. We’re run by a church, but we’re not only for church members and we’re not about converting people. The Monitor is a peculiar little publication that’s hard for the world to figure out. And I’m going to argue that we change lives precisely because we force open that too-small box that most human beings think they live in. We’re the bran muffin of journalism.īut you know what? We change lives. We’re seen as being global, fair, insightful, and perhaps a bit too earnest. If you were to come up with a punchline to a joke about the Monitor, that would probably be it. Sometimes, we call things ‘boring’ simply because they lie outside the box we are currently in.” My work in Kenya, for example, was heavily influenced by a Christian Science Monitor article I had forced myself to read 10 years earlier. “Many things that end up” being meaningful, writes social scientist Joseph Grenny, “have come from conference workshops, articles, or online videos that began as a chore and ended with an insight. He goes gaga, too.Ībout a year ago, I happened upon this statement about the Monitor in the Harvard Business Review – under the charming heading of “do things that don’t interest you”: Sophie lowers his guard and raises his consciousness. Stanley would seem to be Allen’s own worst (albeit comic) version of himself: a man whose fear of the unexplainable, of death, has sapped his life of any true joy. He is seized by a newfound feeling: happiness.įirth is effective as the insufferable Stanley, who is ripe for his comeuppance from the very first time we see him haranguing his help backstage after a performance in Berlin. Taken in by her charms, he declares that he has been all wrong about the nonexistence of God and the spirit world.
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We can see where this is going, even if Stanley can’t. But is she a fake?Īllen plays out the scenario as a variant on Shaw’s “Pygmalion,” with Stanley as the imperious Henry Higgins flummoxed by Sophie’s low-born but radiant Eliza Doolittle. She doesn’t need any fancy powers to size people up. (“She’s a visionary and a vision,” he coos.) For Sophie, who grew up poor, all this Gatsbyish glamour is eye-popping, but she has a core of shrewdness. Grace’s ukulele-toting son, Brice (Hamish Linklater), a harmless twit, is also gaga for Sophie and wants her to marry him. Sophie and her domineering mother (Marcia Gay Harden) are ensconced in the Riviera villa of Grace Catledge (Jacki Weaver), an American widow who wants to communicate with her dead husband and is more than willing to fund a “foundation” to trumpet Sophie’s gifts. When he is approached by a magician friend of his (Simon McBurney) about an American clairvoyant, Sophie Baker (Emma Stone), who seems like the real deal, Stanley takes up the challenge of unmasking her. A brittle and belligerent egomaniac, Stanley, all rational all the time, takes a special pleasure in debunking the claims of spiritualists. Set in the 1920s, mostly on the gorgeous Cote d’Azur in the south of France, “Magic in the Moonlight” is about a famous magician, Stanley Crawford (Colin Firth), whose face is known to his public only as the Chinese conjurer Wei Ling Soo. He keeps returning to the scene of the crime, poking around for fresh clues. Allen himself has long diddled with these issues in his movies and writings. It deals with the same issues that Allen’s idol, Ingmar Bergman, often grappled with – namely, the battle zone of reason versus mysticism – but offhandedly.
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Woody Allen’s “Magic in the Moonlight” is a “serious” movie attempting to be lighthearted.