Sam Shepard, a Pulitzer Prize-winning playwright, depicted the struggles of American families and their connection to land. He passed away on July 27, 2017.
When Sam Shepard died on July 27, 2017, the world lost one of the greatest playwrights of the past half-century. He was an artist renowned for bravely plumbing his own life for material, spinning much of his own pain into theatrical gold. His best work revealed the hollowness behind the idea of the happy family and its corollary, the American dream. Subversive and funny, Shepard had the soul of a poet and an experimental streak that never faded.
The American family was, no doubt, Shepard’s great subject. His quintet of family plays that premiered between 1978 and 1985 – “Curse of the Starving Class,” the Pulitzer Prize-winning “Buried Child,” “Fool for Love,” “True West” (both nominated for Pulitzers) and “A Lie of the Mind” – form the foundation of Shepard’s lofty reputation.
While researching my recent biography of Shepard, I found that most critics and scholars focused on the playwright’s relationship with his father. Rightly so: Samuel Shepard Rogers suffered from alcoholism and his only son grew up bearing the brunt of his abuse. Shepard’s family plays turn on the collateral damage of the fathers.
Less frequently examined is the playwright’s fixation on the land, and the ways in which this plays out in his work. Both as a writer and in his personal outlook, Shepard drew deeply from the old trope that nature and innocence are intertwined. And according to critic Harold Bloom, Shepard saw doom in the “materialistic and technological obsessions of modern society.”
Throughout his work, Shepard decried so-called progress, especially the rampant development of open space. Whether it was the forced sale of a family farm (“Curse of the Starving Class”) or Native Americans being driven off their reservation (“Operation Sidewinder”), it all came to no good.
To Shepard, a relationship with the land was nothing short of existential. As the playwright told an interviewer in 1988:
“What’s most frightening to me right now is this estrangement from life. People and things are becoming more and more removed from the actual. We are becoming more and more removed from the earth to the point that people just don’t know themselves or each other or anything.”
Shepard arrived at this impulse naturally. When he was in elementary school, his family settled in a small house on Lemon Street in Bradbury, California. An orchard of 80 avocado trees attached to the house meant that Shepard – then known by his birth name, Steve Rogers – was kept busy irrigating and harvesting the crop. He also raised dogs and sheep, and when he had free time he worked the fields belonging to his neighbors. During high school, he was an eager member of the 4-H Club and Future Farmers of America, and spent his summers tending to the thoroughbreds at nearby Santa Anita Park.To Shepard, the creep of development threatened the innocence and vitality of the natural world. Mike Lewinski, CC BY
In college, Shepard’s major wasn’t theater but education. As he once wrote to a friend, back then he wanted to become a “veterinarian with a flashy station wagon, and a flashy blond wife, raising German shepherds in some fancy suburb.” He never finished college nor became a vet. Instead, Shepard left home and made his way across the country to New York City and the East Village, where he would quickly transform himself into the brightest light of the nascent off-off-Broadway scene.
But even as his reputation grew, he never left his agricultural roots behind. In fact, one of Shepard’s early one-act plays was titled “4-H Club” (1965).
Other plays from the 1960s combine his old life with his new one. Rural scenes are full of characters who talk in the hip argot of the Village streets, characters caught in an absurdist situation go “fishing” off the edge of the stage, and Native Americans, by their very presence onstage in plays like 1970’s “Operation Sidewinder,” stake a claim to the land that’s been stolen from them.
With time, the playwright would more directly address the scourge of overdevelopment that he saw happening around him. It would become a running theme of sorts, as Shepard saw the nation growing and changing – but not for the better.
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“One of the biggest tragedies about this country was moving from an agricultural society to an urban, industrial society. We’ve been wiped out,” he told Playboy in 1984.
Shepard’s characters embody this loss. In “Geography of a Horse Dreamer” (1974), one character is a gambler who can predict tomorrow’s winners at the racetrack, but loses that power once he’s physically forced from his usual haunts to a new, strange locale. In “Buried Child” (1979), the land holds the answer to the play’s central mystery: At play’s end, the fallow backyard gives up a baby from a shallow grave, shining a light on the incestuous relationship that has led to the ruination of this family – as if the purity of nature had been offended by a terrible transgression. And in Shepard’s late masterpiece, “Ages of the Moon,” two old friends finally find solace by communing with nature at a small, remote campsite.
Nowhere in Shepard’s oeuvre does land play a bigger role than in 1978’s “Curse of the Starving Class.” The Tate family’s farm stands between husband and wife: He wants to unload it to pay off his gambling and drinking debts; she wants to sell it and use the money to escape her marriage and take the children to Europe. The culminating scene features the husband, Weston, coming to his senses after sobering up and walking around his property. Reconnecting with his land, Weston turns his life around, “like peeling off a whole person.”
Shepard’s love of the country and its open spaces would mark all aspects of his career. Also a celebrated actor, he favored “rural” dramas, those set on farms, racetracks or some windswept piece of desert. In his screen debut, Shepard starred as the doomed farmer in Terrence Malick’s “Days of Heaven” (1978). In his screenplay for the cult classic film, “Paris, Texas,” (1984) Shepard mirrored the desolation of the South Texas desert in the soul of his protagonist, Travis, a man suffering from a malady that Shepard often said he himself felt: “lostness.”
Shepard felt most at home traversing what one western historian called this “strange land full of mystery.” He took pride in being a western writer.
“I was never interested in the mythological cowboy. I was interested in the real thing,” he once said.
“He would call me late in the night,” Patti Smith wrote in a loving tribute, “from somewhere on the road, a ghost town in Texas, a rest stop near Pittsburgh, or from Santa Fe, where he was parked in the desert, listening to the coyotes howling. But most often he would call from his place in Kentucky, on a cold, still night, when one could hear the stars breathing…”
She knew, better than anyone, that such places constituted Shepard’s emotional and physical territory. He adored the vastness of the plains, the green of loping pasturelands; he cherished his time running the highways and byways in his pickup, or sitting next to the campfire on a real-life cattle drive, and reveled in the grit of this country’s less-traveled corners.
Shepard loved America for its beauty, its danger and its promise, forever transforming her in our imaginations.
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Brigitte Bardot defined the modern woman and defied social norms
Ben McCann, University of Adelaide Brigitte Bardot’s death, at the age of 91, brings to a close one of the most extraordinary careers in post-war French cultural life. Best known as an actress, she was also a singer, a fashion icon, an animal rights activist and a symbol of France’s sexual liberation. Famous enough to be known by her initials, B.B. symbolised a certain vision of French femininity – rebellious and sensual, yet vulnerable. Her impact on beauty standards and French national identity was profound. At her peak, she rivalled Marilyn Monroe in global fame and recognition. Simone de Beauvoir, France’s leading feminist writer, famously wrote in 1959 that Bardot “appears as a force of nature, dangerous so long as she remains untamed”.
A star is born
Bardot was born in 1934 to a well-off Parisian family. Raised in a strict Catholic household, she studied ballet at the Conservatoire de Paris with hopes of becoming a professional dancer.Brigitte Bardot, pictured here in 1946, studied ballet as a child.Roger Viollet via Getty Images Her striking looks led her to modelling. By 14, she was appearing in Elle magazine, catching the eye of director Roger Vadim, whom she married in 1952. She began acting in the early 1950s and her appearance as Juliette in Vadim’s And God Created Woman (Et Dieu… créa la femme, 1956) put her on the map. Bardot was instantly catapulted to international stardom. Vadim presented his wife as the ultimate expression of youthful, erotic freedom that both shocked and captivated French audiences. Watching this relatively tame film today, it’s difficult to imagine just how taboo-breaking Bardot’s performance was. But in sleepy Catholic, conservative 1950s France, it set new norms for on-screen sexuality. The film became a global phenomenon. Critics loved it, but censors and religious groups grew nervous.
An 60s icon
Bardot’s lack of formal training as an actress paradoxically became part of her appeal: she adopted a spontaneous acting approach, as much physical as verbal. She was stunning in Contempt (Le Mépris, 1963), Jean-Luc Godard’s masterpiece about a crumbling marriage. Godard used her beauty and fame both as spectacle and critique. The film’s most famous sequence was a 31-minute conversation between Bardot and her co-star Michel Piccoli. Bardot was never better. In Henri-Georges Clouzot’s intense courtroom drama The Truth (La Vérité, 1960), she showcased her dramatic range playing a young woman on trial for the murder of her lover.Bardot in a poster for The Truth, 1960.LMPC via Getty Images In 1965, she co-starred with Jeanne Moreau in Louis Malle’s Long Live Maria (Viva Maria), a rare female buddy film that blended comedy and political satire. Bardot’s anarchic energy remains a dazzling feat. A Very Private Affair (Vie privée, 1962) saw her portray a woman consumed by fame and chased by the media. The plotline was eerily predictive of Bardot’s own future. She popularised fashion trends like the choucroute hairstyle and ballet flats. The Bardot neckline – off-the-shoulder tops and dresses – was named after her. She even wore pink gingham at her 1959 wedding.
Allure and provocation
Bardot’s star appeal lay in her contradictions. She appeared simultaneously natural and provocative, spontaneous and calculated. Her dishevelled glamour and effortless sexuality helped construct the archetype of the modern “sex kitten”. She famously said “it is better to be unfaithful than to be faithful without wanting to be”. Throwing off the shackles of bourgeois morality, Bardot epitomised a commitment to emotional and sexual freedom. Her turbulent love life was a case in point. She was married four times, with dozens of stormy relationships and extra-marital affairs along the way. Forever immortalised as a free-spirited ingénue, Bardot was a muse for filmmakers, artists and musicians, from Andy Warhol to Serge Gainsbourg. Later on, Kate Moss, Amy Winehouse and Elle Fanning mentioned Bardot as an inspiration. Famously, Bardot never succumbed to cosmetic surgery. As she once noted:
Women should embrace ageing because, at the end of the day, it’s much more beautiful to have a grandmother with white hair who looks like an elderly lady than to have a grandmother who’s bleached, dyed, and […] who looks much older but also really unhappy.
Life after the movies
Bardot retired from acting in 1973, aged only 39, citing disillusionment with fame. “It suffocated and destroyed me”, she said, about the film industry. She shifted her attention to animal rights, founding the Brigitte Bardot Foundation in 1986. She became an uncompromising, vocal activist, campaigning against animal cruelty, fur farming, whaling and bullfighting. But Bardot courted controversy from the mid-1990s for her far-right political views, remarks about Islam and immigration and repeated convictions for inciting racial hatred. She publicly defended disgraced actor Gérard Depardieu and pushed back on the #MeToo movement in France. Such statements damaged her reputation, especially outside France, and created a troubling image: the once-liberating sex symbol now associated with nationalist conservatism. While she never identified as a feminist, her unapologetic autonomy, early retirement and outspoken views led some to re-evaluate her as a figure of proto-feminist rebellion. France gradually began to turn against Bardot, bothered by her outspoken views. But some applauded her couldn’t-care-less attitude and unwillingness to play by the rules. Ultimately, by rejecting fame on her own terms, she parlayed her 50s free-spiritedness into a bold stand against conformity and societal norms. Late in life, she told Danièle Thompson, the writer-director of the 2023 mini-series about her career, “I don’t understand why the whole world is still talking about me”. The answer is simple – Bardot continues to fascinate us, flaws and all. Ben McCann, Associate Professor of French Studies, University of Adelaide This article is republished from The Conversation under a Creative Commons license. Read the original article.
The dystopian Pottersville in ‘It’s a Wonderful Life’ is starting to feel less like fiction
A fresh look at It’s a Wonderful Life through the film’s darkest detour—Pottersville—and why its greed, corruption, and desensitization to cruelty feels uncomfortably familiar in America today.
To many Americans, George Bailey’s dystopian nightmare is disquietingly familiar. Paramount
The dystopian Pottersville in ‘It’s a Wonderful Life’ is starting to feel less like fiction
Nora Gilbert, University of North Texas Along with millions of others, I’ll soon be taking 2 hours and 10 minutes out of my busy holiday schedule to sit down and watch a movie I’ve seen countless times before: Frank Capra’s “It’s a Wonderful Life,” which tells the story of a man’s existential crisis one Christmas Eve in the fictional town of Bedford Falls. There are lots of reasons why this eight-decade-old film still resonates, from its nostalgic pleasures to its cultural critiques. But when I watch it this year, the sequence where Bedford Falls transforms into the dark and dystopian “Pottersville” will resonate the most. In the film, protagonist George Bailey, who’s played by Jimmy Stewart, is on the brink of suicide. He seems to have achieved the hallmarks of the American dream: He’s taken over his father’s loan business, married the love of his life and fathered four excessively adorable children. But George feels stifled and beaten down. His Uncle Billy has misplaced US$8,000 of the company’s money, and the town’s resident tyrant, Mr. Potter, is using the mishap to try to ruin George, who’s his last remaining business competitor. An angel named Clarence is tasked with pulling George back from the brink. To stop him from attempting suicide, Clarence decides to show George what life would have been like if he’d never been born. In this alternate reality, Bedford Falls is called Pottersville, a place Mr. Potter runs as a ruthless banker and slumlord.Pottersville, the dark, dystopian version of Bedford Falls, is a place characterized by vice and moral decay.Paramount Having previously written about “It’s a Wonderful Life” in my book on literary and film censorship, I can’t help but see parallels between Pottersville and the U.S. today. Think about it: In Pottersville, one man hoards all the financial profits and political power. In Pottersville, greed, corruption and cynicism reign supreme. In Pottersville, hard-working immigrants like Giuseppe Martini who were able to build a life and run a business in Bedford Falls have vanished. In Pottersville, homeless addicts like Mr. Gower and nonconformist “pixies” like Clarence are scorned and ostracized, then booted out of the local watering hole. In Pottersville, cops arrest people like Violet Bick while they’re at work and haul them away, kicking and screaming.Violet Bick gets dragged away by the Pottersville police as George looks on.Paramount But what horrifies George the most about Pottersville is how desensitized the people living in it seem to be to its harshness and cruelty – how they treat him like he’s the crazy, deranged one for wanting and expecting things to be different and better. This is what the current political moment feels like to me. There are days when the latest headlines feel so jarringly unprecedented that I find myself thinking, “Can this be happening? Can this be real?” If you think these comparisons are a bit of a stretch, consider when “It’s a Wonderful Life” was made, and the frame of mind Capra was in when he made it.
Frank Capra, anti-fascist
In 1946, Capra was just returning to Hollywood filmmaking after serving for four years in the U.S. Army, where the Office of War Information had tasked him with producing a series of documentary films about World War II and the lead-up to it. Even though Capra hadn’t been on the front lines, he’d been immersed in the sounds and images of war for years on end, and he had become acutely familiar with Germany, Italy and Japan’s respective rises to fascism.Frank Capra served in the U.S. Army during World War II.Keystone/Hulton Archive via Getty Images When deciding on his first postwar film, Capra recalled in his autobiography that he specifically “knew one thing – it would not be about war.” Instead, he chose to adapt a short story by Philip Van Doren Stern, “The Greatest Gift,” that Stern had originally sent to friends and family as a Christmas card in 1943. Stern’s story is certainly not about war. But it’s not exactly about Christmas, either. As Stern writes in his opening lines:
“The little town straggling up the hill was bright with colored Christmas lights. But George Pratt did not see them. He was leaning over the railing of the iron bridge, staring down moodily at the black water.”
The protagonist contemplates suicide because he’s “sick of everything” in the small-town “mudhole” he’s stuck in – until, that is, a “strange little man” gives him the chance to see what life would be like if he’d never been born. It was Capra and his team of screenwriters who added the sinister Henry F. Potter to Stern’s short, simple tale. The Potter subplot encapsulates the film’s most trenchant, still-resonant themes: the unfairness of socioeconomic injustices; the pervasiveness of corporate and political corruption; the threat of monopolized power; the need for affordable housing. These themes had, of course, run through many of Capra’s prewar films as well: “Mr. Deeds Goes to Town,” “You Can’t Take It with You,” “Meet John Doe” and “Mr. Smith Goes to Washington,” the last of which also starred Jimmy Stewart. But they take on a different kind of weight in “It’s a Wonderful Life” – a weight that’s especially visible on the weathered face of Stewart, who himself had just returned from a harrowing four-year tour of duty as a bomber pilot in Europe. The idealistic vigor with which Stewart had fought crooked politicians and oligarchs as Mr. Smith is replaced by the bitterness, exhaustion, frustration and desperation with which he battles against Mr. Potter as George Bailey.George Bailey feels helpless in the face of corruption and cruelty.Paramount
Life after Pottersville
By the time George has begged and pleaded his way out of Pottersville, the lost $8,000 is no longer top of mind. He’s mainly just relieved to find Bedford Falls as he had left it, warts and all. And yet, the Bedford Falls that George returns to isn’t quite the same as the one he left behind. In this Bedford Falls, the community rallies together to figure out a way to recoup George’s missing money. Their pre-digital version of a GoFundMe page saves George from what he’d feared most: bankruptcy, scandal and prison. And even though his wife, Mary, tries to attribute this sudden wave of collectivist, activist energy to some sort of divine intervention – “George, it’s a miracle; it’s a miracle!” – Uncle Billy points out that it really came about through more earthly organizing means: “Mary did it, George; Mary did it! She told some people you were in trouble, and they scattered all over town collecting money!”The residents of Bedford Falls come together to save George from financial ruin.Paramount But the question of whether George actually wins his battle against Potter is a murky one. While the typical Capra protagonist triumphs by defeating vice and exposing subterfuge, George never even realizes that Potter is the one who got hold of his money and tried to ruin his life. Potter is never held accountable for his crimes. On the other hand, George is able to learn, from his time in Pottersville, what a crucial role he plays in his community. George’s victory over Potter, then, lies not in some grand final act of retribution, but in the incremental ways he has stood up to Potter throughout his life: not capitulating to Potter’s bullying or intimidation tactics; speaking truth to power; and running a community-centered business rather than one guided by greed and exploitation. In recent months, there have been similar acts of protest, large and small, in the form of rallies, boycotts, immigrant aid efforts, subscription cancellations, food bank donations and more. That doesn’t mean the U.S. has made it out of Pottersville, however. Each day, more head-spinning headlines appear, whether they’re about masked agents terrorizing immigrant communities, the dismantling of anti-corruption oversights, the consolidation of executive power or the naked display of political grift. Zuzu’s petals are still missing. Clarence still hasn’t gotten his wings. But this holiday season, I’m hoping it will feel helpfully cathartic to go with George Bailey, for the umpteenth time, through the dark abyss of his dystopian nightmare – and come out with him, stronger and wiser, on the other side. Nora Gilbert, Professor of Literary and Film Studies, University of North Texas This article is republished from The Conversation under a Creative Commons license. Read the original article.
Bad Bunny Set to Make History at Apple Music Super Bowl LX Halftime Show
Bad Bunny will headline the Apple Music Super Bowl LX Halftime Show on February 8, 2026, at Levi’s Stadium, marking a historic moment for Latin music. Industry leaders praise his cultural impact and global influence. The event promises to deliver an unforgettable performance, celebrating Bad Bunny’s significance in today’s music scene.
Global superstar will take center stage at Levi’s Stadium in February 2026Global Sensation Bad Bunny to Perform at Apple Music Super Bowl LX Halftime Show
The NFL, Apple Music, and Roc Nation dropped major news this week that’s sending shockwaves through the music and sports worlds: three-time GRAMMY® Award-winning artist Bad Bunny will headline the Apple Music Super Bowl LX Halftime Show on February 8, 2026, at Levi’s Stadium in Santa Clara, California.
A Historic Moment for Latin Music
For Bad Bunny, this isn’t just another performance—it’s a cultural milestone. The Puerto Rican sensation expressed the profound significance of this opportunity in his own words:
“What I’m feeling goes beyond myself. It’s for those who came before me and ran countless yards so I could come in and score a touchdown… this is for my people, my culture, and our history. Ve y dile a tu abuela, que seremos el HALFTIME SHOW DEL SUPER BOWL.”
The announcement represents a watershed moment for Latin music on the world’s biggest stage, with Bad Bunny becoming one of the first Latin artists to solo headline the Super Bowl Halftime Show.
Industry Leaders Weigh In
Shawn “JAY-Z” Carter, whose Roc Nation serves as strategic entertainment advisor for the performance, praised Bad Bunny’s impact: “What Benito has done and continues to do for Puerto Rico is truly inspiring. We are honored to have him on the world’s biggest stage.”
Jon Barker, the NFL’s SVP of Global Event Production, highlighted why Bad Bunny is the perfect fit for this moment: “Bad Bunny represents the global energy and cultural vibrancy that define today’s music scene. As one of the most influential and streamed artists in the world, his unique ability to bridge genres, languages, and audiences makes him an exciting and natural choice.”
Oliver Schusser, Apple’s Vice President of Music, Sports and Beats, emphasized the artist’s cultural impact: “Few artists embody that intersection [of music and culture] more perfectly and authentically than Bad Bunny. His music has not only broken records but has elevated Latin music to the center of pop-culture.”
Tune In to the Special Announcement
Apple Music Radio is celebrating the news with a special Halftime Headliner broadcast featuring Zane Lowe, Ebro Darden, and surprise guests. The show aired Monday, September 29th at 9:30am ET across Apple Music Radio platforms.
What to Expect
The Apple Music Super Bowl LX Halftime Show will be produced by DPS, with Roc Nation and Jesse Collins serving as executive producers and Hamish Hamilton directing. The performance will air on NBC during Super Bowl LX, bringing Bad Bunny’s explosive stage presence and genre-defying music to an audience of millions.
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A Winning Tradition
The Apple Music Super Bowl Halftime Show has become synonymous with excellence, racking up multiple Emmy wins in recent years. The Apple Music Super Bowl LIX Halftime Show starring Kendrick Lamar became the most-watched Super Bowl Halftime Show ever, earning four Emmy nominations and winning Outstanding Music Direction. Previous shows featuring Usher, Rihanna, and the legendary lineup of Dr. Dre, Snoop Dogg, Eminem, Mary J. Blige, and Kendrick Lamar have collectively earned dozens of nominations and awards.
With Bad Bunny’s proven track record of delivering unforgettable performances and his massive global fanbase, the Apple Music Super Bowl LX Halftime Show is shaping up to be one of the most anticipated musical events of 2026.
Mark your calendars for February 8, 2026—this is one performance you won’t want to miss.
What are your thoughts on Bad Bunny headlining the Super Bowl? Will you be tuning in? Let us know in the comments below, and follow Apple Music on social media for more updates as we get closer to game day.
Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/
