Roland Emmerich’s Anonymous delivers an alternative account of the Bard’s identity
Roland Emmerich’s films (Godzilla, The Day After Tomorrow, 2012) always portray one thing: disaster.
There is a difference between watching a disaster film and bearing witness to an actual disaster. Sometimes, as in the case of Independence Day, the general chaos makes for a pretty memorable film. But more often than not in Emmerich’s work, the audience senses the impending, apocalyptic doom, not for the characters but for themselves.
Family-run Basha’s food cart part of long tradition
“If you don’t love what you do, get out,” said Maggie Hodroj, arms crossed over a black outfit splotched with enough Mediterranean ingredients to indicate how much dedication a person needs to own and run a food cart. “It took me a while to realize that this was my place, but when I finally did, I realized that I’m not really doing any work at all—I’m doing what I love.”