The controversial Church of Scientology has been in the crosshairs of the media of late, notably with Pulitzer Prize winner Lawrence Wright’s excellent journalistic study Going Clear and Paul Thomas Anderson’s film The Master. Now comes Allen Barton’s play Disconnection, which opened Saturday at the Beverly Hills Playhouse venue of the Skylight Theatre Company in Los Angeles.
Like The Master, Disconnection does not mention the “S”-word but it is more than obvious the celebrity-driven religion famed for almost imprisoning its gullible and needy adherents is the subject here. The play, however, is considerably more potent and provocative than the Anderson movie, which is surprisingly ponderous given its dramatic subject.
Barton, who extricated himself from Scientology some years ago, tells the story of the apostasy of two members of the church, a father and a daughter, who have themselves been estranged from each other. The two are trying to disconnect from the religion and reconnect with each other — and it isn’t easy. The father (Jay Hugely), a lawyer, is struggling with his aging piano teacher (Dennis Nollette), himself a reluctant member of the church and onetime friend of its mercurial L. Ron Hubbard-like founder, Oldman. The daughter (Carter Scott), herself now a high ranking church official, is trapped in a nightmare with Oldman’s successor, a junior Gestapo-type named The Chairman.
Indeed Disconnection often puts you in mind of other totalitarianisms, including today’s radical Islamic versions where apostasy is, of course, penalized in even more draconian manners than in Scientology, although there are imputations, both in and out of Barton’s play, of brutal, even homicidal, behavior for the more modern religion.
The play is unconventional in its form, at times breaking the fourth wall, and includes, in one of its best moments, a soliloquy by Oldman (well played by Robert L. Hughes) justifying why he has created this bizarre monstrosity. It almost had me taking the plunge to get an e-meter reading. (I didn’t.)
The production was skillfully directed by Joel Polis and produced by Gary Grossman for Skylight. Barton’s previous work Years to the Day was highly acclaimed and was performed in Paris, New York, Kansas City and at the Edinburgh Festival. The superb Disconnection seems destined to follow in its footsteps. If you’re in the SoCal area, see it.
This week American Theatre Magazine ran a widely shared story suggesting that the nation’s theater companies and college theater departments spend the next year focused on the events of Ferguson and their consequences. They provided a list of plays, new and old, that the theater community “can program, read and teach that will be in resonance with this moment and this movement…” ATM (apt initials) is the mouthpiece of Theater Communication Group, the primary mission of which is to increase funding to its member organizations, the country’s leading non-profit theaters.
When TCG makes a suggestion about what theaters should be programming it’s a big deal, it has enormous influence on the non-profit theater industry and by extension the university programs that feed into it. In this case what they are urging offers some clarity about the ways in which our elite creative class seeks to indoctrinate theater artists and audiences into a very specific progressive worldview. A crucial stage in this indoctrination is the dissemination of the idea that art’s value is first and foremost based in its ability to bring about social justice.
As pleasant as it may sound, in this context “social justice” is far from a politically neutral term. It is clear from the article’s list of plays and further readings that the only acceptable perspectives on the issue of Ferguson are those in resonance with “the movement.” This illiberal insistence on group think is bad for audiences and artists. Not only does it marginalize those theater artists who may have right-leaning views, it also limits the boundaries of the art form as a whole.
Artists should not be foot soldiers marching in formation across a predesigned arc of history, they should be unique voices challenging accepted norms on all sides. Our universities should be training theater artists not political activists.
Conservatives need to take a hard look at the money spent directly by the government and indirectly by tax deductible donations to organizations, such as TCG and its members. Public money for the arts needs to create platforms for all artists to present diverse work, not feed funding into “the movement”. We need to hold universities accountable when their teaching of art turns into political indoctrination.
Make no mistake, major non profit theaters, their donors and university writing programs produce a vast number of our cultural content creators. Allowing them set to the agenda for art in America in the hyper-idealogical way offered by American Theater Magazine will do irreparable harm to the hope of an American culture based on the free and open exchange of ideas and stories.
If you had to affix a precise date to the beginning of Mike Tyson’s professional decline, you could do worse than December 9, 1988. On that day, Tyson fired Kevin Rooney, the masterful boxing trainer who had guided him to the world heavyweight championship, and moved firmly into the camp of Don King, a man whose name is interchangeable with corruption and degradation. Once an invincible fighter with precise punches and defensive skills, Tyson got sloppy, trading his scientific pugilism for flat-footed brawling. Seduced by a world of women and money, he abandoned all discipline. His laziness caught up with him in February 1990, when a journeyman named Buster Douglas outclassed him in a championship fight and knocked him out.
This was still merely the beginning of the end. In 1992, Tyson was convicted of raping a young beauty queen named Desiree Washington, and spent the next several years in an Indiana prison. Emerging in 1995, he knocked out a few tomato cans before fighting the bigger names, biting ears and going on ridiculous rants about eating people’s children and stomping on their testicles. He nurtured an obsession with pigeons and exotic tigers, living as an eccentric in his own Xanadu. More arrests ensued, more assaults, more crude outbursts.
What’s the point of rehashing this ugly tabloid history? The point is that the name “Mike Tyson” comes with a lot of unwanted baggage, which I simply couldn’t set down while watching the premier of Tyson’s new “show,” a 15-minute animated sketch called Mike Tyson Mysteries. It airs on Adult Swim, which is a grown-up portion of the Cartoon Network featuring peculiar and often graphic shows that blend violence and dark humor. The show has Tyson voicing an animated version of himself. A retired boxer, he is inexplicably portrayed as a freelance mystery solver. His team, a cross between Animal House and the Scooby Doo gang, consists of Norm Macdonald as an alcoholic talking pigeon, the ghost of the Marquess of Queensberry, and Tyson’s brainy adopted daughter.
Maybe you’ve never considered spending your hard-earned vacation time in Cleveland. It’s certainly understandable because many people only know the city as the “Mistake by the Lake” or the home of the burning Cuyahoga River. But things have changed on the North Coast, and you might be surprised at all the cultural attractions the city on the shores of Lake Erie has to offer — great food, museums, theater, and more. The RTA buses run between most Cleveland locations and Uber just announced that they’re starting service in Cleveland, which will make getting around even easier.
Here are the Top 10 Things to Do in Cleveland:
10. Little Italy
Historic Little Italy is on Cleveland’s East Side, located on “Murray Hill” not far from Case Western Reserve University. It features charming restaurants and bakeries, art galleries, and frequent festivals and art shows. Our favorite restaurant there is Trattoria on the Hill. If you go, try the Shrimp & Gnocchi Trattoria, which features their gnocchi served in Trattoria’s homemade cream sauce with mushrooms, scallions, and a hint of cayenne pepper. If you’re not in the mood for pasta, try the Spinach & Prosciutto Pizza with black olives, white garlic sauce, and feta cheese.
For dessert, stroll down Mayfield Road to Presti’s Bakery for a cannoli or a delicious gelato.
The Feast of the Assumption is the biggest event of the year in Little Italy. Held in August to commemorate Mary being taken to heaven, the festival is an unusual combination of Catholic religious ceremonies, carnival rides, fireworks, lots of incredible Italian food, and heavy, heavy drinking.
Somewhere in Punxsutawney, PA, Phil the groundhog is weeping.
Harold Ramis, the brilliant comedic writer, director, and actor, died today at age 69. He suffered from ill health for the last three years and finally succumbed to “complications of autoimmune inflammatory vasculitis, a rare disease that involves swelling of the blood vessels, his wife Erica Mann Ramis said. He was 69.”
His astonishing body of work included some of the most iconic Hollywood comedies of all time, including directing Caddyshack and Groundhog Day, producing Multiplicity and Bedazzled, and acting in memorable roles for Stripes, Ghostbusters, and National Lampoon’s Vacation.
But it was his writing that got him his first break. His wicked wit and sweet sense of pathos endeared characters like Groundhog Day’s Bill Connors and Caddyshack’s wacky groundskeeper Carl Spackler to audiences. It’s no accident that both characters were played by Bill Murray, who collaborated with Ramis on six projects. Allahpundit expounds on the Ramis-Murray team:
There are endless salutes to the subtle genius of “Groundhog Day” online, from National Review to the Atlantic to the Guardian and beyond. Murray was the perfect Ramis hero, never more so than in GD: Seemingly shallow but with great depth, and tenderness, underneath. How many mainstream comedies can seriously be parsed for hidden religious meanings? That’s the level Ramis had reached. RIP.
Ramis was a key player in the Chicago comedy scene in the 1970s with the advent of the improvisational troupe Second City. Ramis wrote for both the stage shows and the successful TV project SCTV, where he honed his improvisational skills and collaborated with Murray, John Belushi, and other future comedians.
As zany as Ramis’ early comedies were, they rigorously pursued a theme close to the heart of someone who grew out of the 1960s counterculture: characters rebelling against institutions, be they authoritarian college administrators and pampered rich kids (“Animal House”), a stuffy golf club (“Caddyshack”) or the military (“Stripes”). After the collapse of his first marriage and the flop of his 1986 comedy “Club Paradise” (with greedy developers as the institutional villain), the Jewish-raised Ramis immersed himself in Zen Buddhism.
“It’s my shield and my armor in the work I do,” he said. “It’s to keep a cheerful, Zen-like detachment from everything.”
Ramis’ later directorial efforts, starting with “Groundhog Day” and including “Stuart Saves His Family” (1995), “Multiplicity” (1996), “Analyze This” and his “Bedazzled” remake (2000), reflect a spiritual striving, exploring individuals’ struggles with themselves more than outside forces.
Comparing his later to earlier comedies, Ramis told the Tribune: “The content’s different, but it comes from the same place in me, which is to try to point people at some reality or truth.”
He recalled that at the “Analyze This” junket, a writer told him his genre had become “goofy redemption comedy,” to which Ramis responded, “OK, I’ll take that.”
Ramis had been living in Los Angeles since late the ’70s before he returned to Chicago, basing his production company in downtown Highland Park.
“In L.A., you’re much more aware of an artificial pressure, just that you’re in a race of some kind,” Ramis recalled one morning over a veggie egg-white omelet at the coffee shop downstairs from his office. “You know, if you’re not moving forward, you’re dead in the water, because everyone around you is scheming, planning and plotting to advance themselves, often at your expense.
“I’ve compared it to high school: Am I popular? Am I cool? Am I in? Who’s the in crowd? How do I get into that party? These are not things I ever wanted to worry about. Here I’m so liberated from that.”
Like his contemporary John Hughes, whose comedies of teen angst and romance spoke to audiences in special ways, Ramis’ films did more than make us laugh. They were, at bottom, films about the human condition and how all of us manage to muddle through despite life’s challenges.
My favorite Ramis film is one of his first efforts at writing. Meatballs was a sweet, sentimental, uproariously funny film designed to evoke memories of childhood summer-camp experiences. A bit overplayed by Bill Murray as head counselor Tripper Harrison, the movie nevertheless portrayed the mysterious passage from child to young adult in an intelligent, inspiring manner.
It almost seems as if the 1980s has finally died along with Harold Ramis.
See the previous parts of Susan L.M. Goldberg’s blogging on Ion Mihai Pacepa’s Disinformation:
“The first Soviet tsar, Vladimir Lenin, killed thousands of priests and closed most of Russia’s churches so as to make Marixsm-Leninism the country’s sole religion. Stalin, who continued that bloody rampage, transformed Lenin’s new religion into Marxism-Leninism-Stalinism, and used it to portray himself as a Soviet saint in order to keep his famished, oppressed population quiet.”
In his book Disinformation, Lt. Gen. Ion Mihai Pacepa supports a wealth of evidence with a first-hand accounting of the Soviet empire’s war on Judaism and Christianity. Stalin’s purpose in attacking both religions was simple:
“… atheistic communism’s very existence and expansion required that it discredit and demonize its chief competitor”
Consequently, Stalin followed the tsarist suit, employing Russia’s historic anti-Semitism (think: Protocols of the Elders of Zion) to portray America as “a Zionist realm owned by Jewish money and run by a greedy ‘Council of the Elders of Zion’.” According to Pacepa, Stalin “…transformed his Georgian anti-Semitism into a national and international policy.” As a result, the Soviet dictator, ”labeled Zionism as the main tool used by the United States to undermine the ‘socialist camp,’ and he committed unlimited Soviet political, military, and financial support to Israel’s historical enemies, its neighboring Arab states.” Simultaneously, Stalin purged his party and the Soviet nation of millions of Jews “…allegedly to preserve the ‘purity of Eastern European Socialism’.”
Stalin also played on post-World War II global fears of European anti-Semitism to discredit his number one enemy: The Pope of the Catholic Church. As the number one religious leader of the western world, the Pope was tapped by President Truman in his “Campaign of Truth” against the expansion of communism, “the mortal enemy of religion – of all religions.” The Catholic Church had a history of railing against Communism since the days of Marx. Now, legitimized by the Western World, Stalin the Nobel Prize winner decided it was time to make his move.
If this two-pronged attack on Western religion sounds confusing, don’t worry. It’s supposed to be. As Pacepa explains, the “nature of disinformation” is that of “a sophisticated, complicated, long-term, multifaceted campaign of pure lies and smears.” When the seeds of pure lies planted by Stalin in 1945 finally flourished, they contributed to the creation of an intellectual and spiritual cataclysm in the West.
And in other news, the Nobel Peace Prize still lacks all credibility. According to the Washington Times:
Russian President Vladimir Putin was nominated for the Nobel Peace Prize by an advocacy group that credits him with bringing about a peaceful resolution to the Syrian-U.S. dispute over chemical weapons.
The Russian advocacy group International Academy of Spiritual Unity and Cooperation of Peoples of the World nominated Mr. Putin, characterizing his forged agreement with Syrian President Bashar Assad — to turn over admitted chemical weapons cache to international authorities — a world-class and prize-worthy piece of diplomacy, United Press International reported.
The group also took a dig at the United States.
While announcing the nomination during a press conference in Moscow, group officials said Mr. Putin deserved the Peace Prize much more than President Obama, who won the recognition in 2009.
Um… that group name sounds a lot like a survival from USSR Communist times. They were big on unity and the cooperation of peoples — on paper — while they positioned the boot just right to crush the unwary’s windpipe. But to give the devil his due, you cannot deny that Putin deserves the Nobel Peace Prize more than Obama did.
Putin might be a tyrant, a dictator, and responsible for the oppression of innocents in his own land and abroad, but he does do more than look good and say he’s not Bush. Which is all Obama did to win the Nobel Peace Prize.
We live in very funny times, for anyone with an appreciation of black humor.
I am just writing a piece about Maureen Dowd that begins with a quotation from William Hazlitt: “Those who lack delicacy hold us in their power.” La Dowd exemplifies the melancholy truth of Hazlitt’s observations in her girly, gossipy prose that brings the cattiest of sorority nastiness to the august pages of a once-serious newspaper. It’s the disjunction that causes the frisson: you’re expecting some sort of serious analysis or opinionating and what you get instead is this painful smart-ass calling people names and calling attention to herself like a poorly brought-up, pubescent brat who recently discovered that her sex could be deployed as a weapon as well as an excuse.
But let me leave Maureen Dowd for later on. Now I want to remark on the wide application of Hazlitt’s principle: “Those who lack delicacy hold us in their power.” You can, I’m sure, think of plenty of examples. Here’s one. My friend Kevin Williamson, a writer for National Review, author (most recently) of The End is Near and It’s Going to Be Awesome, and theater critic for the magazine I edit, The New Criterion, got tossed out of a theater last night. Why? Because Hazlitt’s principle was working overtime. Let Kevin explain:
The show was Natasha, Pierre, and the Great Comet of 1812, which was quite good and which I recommend. The audience, on the other hand, was horrible — talking, using their phones, and making a general nuisance of themselves. It was bad enough that I seriously considered leaving during the intermission, something I’ve not done before. The main offenders were two parties of women of a certain age, the sad sort with too much makeup and too-high heels, and insufficient attention span for following a two-hour musical. But my date spoke with the theater management during the intermission, and they apologetically assured us that the situation would be remedied.
The situation was not remedied. On the contrary, “The lady seated to my immediate right (very close quarters on bench seating) was fairly insistent about using her phone. I asked her to turn it off. She answered: “So don’t look.” I asked her whether I had missed something during the very pointed announcements to please turn off your phones, perhaps a special exemption granted for her. She suggested that I should mind my own business.
This is where things got interesting.
So I minded my own business by utilizing my famously feline agility to deftly snatch the phone out of her hand and toss it across the room, where it would do no more damage. She slapped me and stormed away to seek managerial succor. Eventually, I was visited by a black-suited agent of order, who asked whether he might have a word.
Kevin wondered, as I would have done, whether management had come over to give him a pat on the back and congratulate him on dealing effectively with a public nuisance. I hope you will be as shocked as I was to learn that instead, he got the boot. There is, Kevin concluded, “talk of criminal charges.” I assume, but do not know, that he means he is contemplating suing the female in question, the theater, or both. It’s been suggested to me that, on the contrary, the possible charges might be directed at Kevin.That, I suppose, is possible, but only because William Hazlitt, with his laser-like insight, saw deeply into the heart of human folly.
In his often-bizarre but oh-so-brilliant analysis of the disastrous Star Wars prequels, Mike Stoklasa of Red Letter Media (video embedded below) commented on the opening sequence of A New Hope:
Compare this fecal matter [the Phantom Menace plot] to the opening of the original Star Wars. You see, a guy named William Shakesman once said, “Brevity is the soul of wit.” This just means “don’t waste my time.” You keep it nice and simple. Without saying one word of awkward, boring political dialogue that goes on for ten minutes we know everything we need to know just by the visuals. Rebels. Empire. We get a sense of how small and ill-equipped the rebels are and how large and powerful the Empire is. The low angle implies dominance and the length of the Star Destroyer implies the long reach of the Empire. This shot says everything we need to without saying one word. In fact, this is so genius I have a feeling that George Lucas had nothing to do with it and probably fought against putting it in the movie.
Having Michelle Obama, first lady of the United States, present an Academy Award was such a brilliant strategy for advancing the post-structuralist deconstruction of America, even the Obamas themselves probably didn’t realize how genius it was.
When the first lady’s name appeared in Oscar tweets I checked to see if they were posted by The Onion; it sounded like the perfect goofball story. My heart sank when I realized she was really participating, and though I am sometimes petty or partisan in spite of my best efforts, I know if Laura Bush or Nancy Reagan had been teleported to Hollywood, the sick feeling in the pit of my stomach would have been the same.
There’s nothing like having the wind of public opinion at your back on a controversial issue. I used to, but the wind changed. Gay marriage will come to my adopted state if voters let stand the Maryland legislature’s recently passed same-sex marriage law. The gradual leftward shift on this, in Maryland and nationally, defies a prediction I made years ago. Mine is no longer the clear majority view – and it certainly never was among my fellow homosexuals. Ignoring the matter as long as possible has been my response. But time’s up. The November 6 vote is near. Having consulted my conscience, I find that my opposition remains.
It would be wimpy to tiptoe quietly to the polls. Not when the “Yes on 6” side is having so much fun mobilizing politically, financially, and even theatrically. Three local stage companies have put on plays intended to boost support for same-sex marriage in the run-up to the election. I decided that, forced to again take up this question, I could at least mobilize myself to enter the civic arena and attend some live theater.
My field trips, about which more below, prompted rumination about plays for the opposition to mount – if so inclined, which of course they’re not – that would cast an approving glow over heterosexual matrimony. Eugene O’Neill? Edward Albee? The more I thought about it, the more obvious it was that a staple of the modern theater has been husbands treating wives perfectly shabbily and vice versa. Well then, what about that old stand-by, Shakespeare, whose comedies end in nuptials? No. He only shows the first moments of marriage. For all we can say, Beatrice and Benedick, Orlando and Rosalind and the others wind up tearing into each other with all the sadistic zest of Martha and George in “Who’s Afraid of Virginia Woolf?”
Despite how they were billed in the newspaper, the three productions I saw — two in Baltimore City and one in Columbia — addressed not same-sex marriage but the past prejudices that brought down upon us the cruel contempt of our fellow citizens. Who could disagree with preachments in favor of toleration? Two out of three so preached, I should say, for “Drunk Enough to Say I Love You?”, being the “edgiest” of the lot, was a total loss. A two-man play, it arrived in 2006 as British dramatist Caryl Churchill’s way of floating her theory that the UK’s close foreign policy collaboration with the United States was rooted in an erotic attraction between Tony Blair and George W. Bush. The piece has been revised to make it less keyed to those individuals and more symbolically about the evils of capitalist-imperialist Uncle Sam. But it was still expressionism, and we were still Baltimoreans. In the Q and A after the show, audience members did not hesitate to share their bafflement.
The other two were staged biographies: “The Temperamentals,” about Harry Hay, founder of the earliest gay rights organization, and “Breaking the Code,” about Alan Turing, the British computer science and artificial intelligence pioneer who played a crucial role in defeating Adolf Hitler. (Turing broke the Nazis’ Enigma code.) The latter drama, which was written by Hugh Whitemore in 1986, was well-acted. It was pitiful and searing to watch a world-historical figure being humiliated by the government he served.
“Be Prepared To Spend a Few Years Working Boring Jobs You Think You’re Overqualified For That You Hate So You Can Pay The Bills. Just Take Whatever You Can Get So You Can Survive and Not Live in Mom and Dad’s Basement. Do Not Expect Your ‘Dream Job’ To Be Waiting for You When You Graduate. It Can (And Really It Should) Take Years Before You Break Into Your Field And Shift From Working Jobs to Living Your Career.”
Over the past few years, this has generally been the time when the younger, college-age writers finish up their BA or Master’s, prepare to venture off into the “real world,” and ask if I have any suggestions for them. (I was in their shoes six years ago.) The advice above summarizing my own post-college misadventures usually isn’t met with much enthusiasm.
And since 2008′s economic downturn, this injunction to “Just Take Whatever You Can Get” fell on deaf ears when passed on to some of my job-hunting friends. As long as they had an unemployment check flowing in or free rent from Mom and Dad, then what’s the rush to take a job that’s beneath you? Shouldn’t they hold out for something great? “I’ve got a college degree. Why should I work a job that I could’ve gotten just out of high school? I deserve better! I’ve worked for it!” But eventually the unemployment checks would run out.
Then it was time to cash the Reality Check, to go down to the temp office and take whatever job they’ll give you.
That’s the setting for the first act of Reality Check, a new musical comedy from father-and-son writing team David and Ben Shapiro that debuted with two performances last week in Los Angeles.
Reality Check takes the common young adult archetypes of The Breakfast Club and Friends and reinvents them for 2012. Five friends from high school rediscover each other at the temp office and find that after 10 years they’re still all clinging to the immature identities they embraced as teenagers:
- Sarah Brandon plays Lindsay, the workaholic overachiever who’s never able to focus her energy into real success and happiness. (Courtney Cox on Friends)
- Justin Buller plays Edward, the sex-obsessed jock, ladies man, and tough guy. (Matt LeBlanc in Friends and a blend of Emilio Estevez and Judd Nelson in The Breakfast Club.)
- Samantha Rose Cardenas plays Brittany, the cheerleader and princess (Jennifer Aniston in Friends and Molly Ringwald in The Breakfast Club.)
- Alex Robert Holes plays Alex, the “sensitive,” high-minded writer-artist eager to write the Great American Novel, always scribbling down notes (David Schwimmer in Friends meets Anthony Michael Hall in The Breakfast Club with sprinkles of Lisa Kudrow’s Phoebe Buffay and Ally Sheedy-style “ooh! look at me!” pseudo-creative weirdness.)
- Haqumai Waring Sharpe plays Jimmy, the class clown joking through life. (Matthew Perry on Friends.)
The whole cast shines, with each performer embodying the high school stereotypes we know so well. The personalities are so universal that every audience member should see himself in at least one of the characters on the screen. I sympathized with the pretentious writer Alex who was dressed in the standard tortured artist uniform — all black, always carrying around a book, and facial hair that just doesn’t work. That was me senior year of high school. Even down to playing the Schwimmer role chasing Princesses who in turn pursue misogynistic men and then come running back to us for emotional support only to play with our hearts, never committing to a relationship. Reality Check hits this universal dynamic in the love triangle between Alex, Brittany, and Edward — a story told many times in real life and fiction and well done here.
But stealing every scene he’s in is Peter Pergelides as “The Man,” who runs the temp office and implores the adult-children to grow up with a song that’s still stuck in my head: “Let Go The Banana.” Here are some of the lyrics which set the tone of the whole production — fun, upbeat, clever, but still sincere:
In the jungles of Africa / This is how they catch a monkey
It’s a method that they’ve used for years / And it’s now become a habit
Take a jar with an opening / Slightly larger than a monkey’s hand
Put a banana inside the jar / And the monkey will soon grab it
He can’t see the reason / He can’t take his fist out
Now the hunters grab him / All because the monkey won’t
Let Go the Banana
He won’t let go the banana / You’ve got to know
For you to grow / You let go the banana
What are the bananas Reality Check targets? Several that should resonate not just with we Millennials now creeping up on 30, but also those in older generations, some of whom still struggle with letting go of the illusions trapping them in repeating cycles of self-destruction. The challenge of growing up and maturing into happy, responsible adults is a process that’s as necessary and ongoing at 53 and 76 as it is at 28.