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I cast another glance at Yashka and went out. I did not want to stay—I was afraid to spoil my impression. But the heat was still as unbearable as before. It seemed to hang over the earth in a thick, heavy layer; through the fine, almost black dust, little bright points of light seemed to whirl roun…

“Across the fields many a path is winding,” he sang, and we all felt entranced and thrilled. I must confess I have seldom heard such a voice: it was a little broken and had a sort of cracked ring; at first, indeed, there seemed to be an unhealthy note in it; but there was in it also genuine deep pa…

For example, there’s a sequence in the film Bicycle Thieves that starts about fifty-four minutes in. The events in that sequence are: A father and his son are searching for the father’s stolen bicycle. A lead they’re following slips away, because of a mistake the father makes. When the son asks him…

The movie producer and all-around mensch Stuart Cornfeld once told me that in a good screenplay, every structural unit needs to do two things: (1) be entertaining in its own right and (2) advance the story in a non-trivial way.

We will henceforth refer to this as “the Cornfeld Principle.”

In …

Chekhov is averse to making pure saints or pure sinners. We saw this with Hanov (rich, handsome bumbler and drunk) and we see it now with Marya (struggling noble schoolteacher who has constructed her own cage through joyless complicity in her situation). This complicates things; our first-order inc…