Five Ways to Save on Concert Tickets


If you’re tired of doing the usual old things at the weekend, such as going to the movies, going out for dinner or even staying at home, you might be thinking about purchasing some concert tickets. If a favorite band or artist will soon be performing in yourhome town, getting tickets to the show can be a great way to spend an upcoming weekend. But concert tickets do not always come cheap, and outrageously overpriced tickets are certainly not in everybody’s budget. However, even if you don’t have much to spend when it comes to your entertainment budget, there are plenty of ways you can still get to see that show. We’ve put together some of the best ways to find cheap tickets, ticket deals and discounted tickets to concerts and a range of other events, such a sports games, online.

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Drink of the Week: The Cold Brew Negroni

The Cold Brew Negroni.Long before my serious cocktailing days, boozy drinks that featured coffee were a go-to for this caffeine addict. Then and now, I’ve found the effect both invigorating and relaxing and, let me tell you, drinks that are insults to the good name of Irish Coffee have gotten me through a great many long night/morning at the craps table.

So, when shadowy forces who, as far as I can tell, are either in the employ of Big Coffee or Big Italian Digestif, sent me today’s drink, a clever and direct twist on a true cocktail classic, I decided to break my rule against home-made infusions. Today’s selection sounded just good enough, and just simple enough, to make it a worthy DOTW. Let’s see what you think.

The Cold Brew Negroni

1 ounce cold-brew coffee infused Campari (see below)
1 ounce sweet vermouth
1 ounce gin
1 orange slice (desirable garnish)

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Movie Review: “The Birth of a Nation”

Nate Parker, Armie Hammer, Aja Naomi King, Gabrielle Union, Colman Domingo, Aunjanue Ellis, Jacke Earle Haley
Nate Parker

“The Birth of a Nation” is sometimes an oddly inconsistent film, but it’s a movie that’s never without passion. Nat Turner’s story, as depicted by actor, writer, producer and first-time director Nate Parker, is often a moving experience. Though the Turner biopic has garnered controversy recently, as past rape allegations against an acquitted Parker have come to light, there’s no denying that Parker’s directorial debut is an emotional piece of work.

When Nathaniel “Nat” Turner (Parker) was a boy, he had a vision of his ancestors marking him as a future leader. This isn’t the only vision that comes to Turner, who, from a young age, was taught to read and the word of God by Elizabeth (Penelope Ann Miller), the wife to his present slave owner and mother to his future slave owner, Samuel (Armie Hammer). Turner grows into a strong, baptist preacher, speaking the word of God to the slaves on the plantation. When Samuel, who falsely believes he’s better than other slave owners because of his rare moments of empathy, has Turner start preaching on other plantations, he can no longer stand the horrors he sees. The slave owners hope a preacher discussing peace could help prevent insurrection, but their plan has the opposite effect, as Turner’s visions – including one of a crop filling up with blood – propel Turner to lead a violent rebellion.

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Movie Review: “The Girl on the Train”

Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Edgar Ramirez, Allison Janney
Tate Taylor

Paula Hawkins’ “The Girl on the Train” instantly drew comparisons to Gillian Flynn’s “Gone Girl” thanks to the use of multiple viewpoints, but let’s make something clear: as enjoyable as “Train” was to read, it doesn’t come close to plumbing the emotional depths that Flynn wrote into the truly psychotic Amy Dunne. At the same time, this works in the favor of the film version of “The Girl on the Train.” Erin Cressida Wilson’s script puts a higher percentage of the source material into the film (the one thing book fanatics complain about the most), and the story’s main obstacle (recovering a lost memory) is a tried and true film device. Ask anyone who saw “Jason Bourne” earlier this year.

Films, however, reveal things that books do not, and that is what prevents “The Girl on the Train” from hitting the next level. It is competently made, with some outstanding performances, but the book is capable of concealing things that the film cannot. And with that, we will say no more.

Rachel (Emily Blunt) is a sad, drunk divorcee, taking the train five days a week to a job she no longer has. The train takes her by the house she once lived in, the one her ex-husband Tom (Justin Theroux) now shares with Anna (Rebecca Ferguson) and their baby daughter. A couple of houses down, Rachel sees a younger couple that seems blissfully in love. Recognizing that they have what she’s lost, she becomes obsessed with them, giving them fake names and occupations while she spies on them for a few seconds each day. One day, Rachel sees what appears to be a betrayal on a member of the happy couple, and when one of them disappears shortly after, she offers what she thinks she knows to the police, only to discover that in doing so, she has made herself the prime suspect.

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Vaudeville Villains: Why Hollywood has a villain problem


Stories are only as good as the problems their protagonist must overcome. The dramatic conflict that arises must truly be an interesting and formidable opponent that stops the hero from living a peaceful life or seeing his dreams fulfilled. To know a story is to know that central conflict, and in those stories where the conflict is perpetrated or predicated on the actions of another character, those are truly big shoes to fill for the antagonist. Or, put another, simpler way: stories are only as good as their villains.

True, the protagonists must be understandable and sympathetic to some regard, and their dreams must be easily grasped and shared by the audience. To have a blank slate as a hero is to have a large gap at the center of plot. But assuming that the hero is easily drawn and understood, their actions come about and their characters are revealed when drawn into conflict (and contrast) with the villain. It’s a pretty central tenet of storytelling, and yet one that has woefully been forgotten by Hollywood in the past few years. There have been exceptions, but by and large, while studios have been able to show a villain’s threat with greater ease thanks to CGI, rendering that villain interesting and memorable has proven far more difficult.

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