"This remains one of my top favorite HP books! The Voldemort origins, the Dumbledore/Harry business, Draco's mission, the Snape reveal, and the moment the trio decide to not return to Hogwarts so they can stop Voldemort once and for all. It's a book that manages to balance so much darkness with light, so evident too in the last line. #AdamRereadsHP"

"That was in 1994. That was right around the time I was finishing college and moving to California, in that period of my life, and I was secretly interested in the entertainment business but didn’t tell anybody. There was something about the writing and the music and John Travolta’s resurgence. Sam Jackson was just a badass motherf—er. I love Tarantino’s writing."

"A dystopian novel that feels like it could be happening today, where women who either can’t or won’t carry their own pregnancies rent the wombs of a hand-picked cohort of gestational surrogates, who spend their nine months being closely monitored in a posh resort that’s like Canyon Ranch meets the panopticon. The story follows Jane, a poor surrogate from the Philippines, desperate to obtain a better life for her daughter, and the women around her, from the older nanny who hooks her up with the gig to the wealthy young striver who dreamed up the business to a fellow surrogate who has reasons of her own for participating in the project. Nobody’s motives are pure and, when one of the surrogates threatens to expose the Farm, it turns out that the business of surrogacy is as complicated as motherhood itself."

"Another film that feels like a documentary. Garrone has managed to take all the sentimental glamour out of the Mafia—which sneaks into a lot of films on the subject—and shows it to be the frightening, feeling-less business that it must be. Paradoxically, the lack of emotion is what gives the film its power, and what ultimately makes it so moving and memorable."

"Poetic and oh-so-funky, Orson Welles’s filmic essay on deception has balls of experimental steel. Cobbled together in his later years of European exile, it’s both a cheeky thesis on the nature of fakery and the best example I can imagine of filmmaking as giddy, childlike play. Now if someone would only do a decent DVD of The Trial, we’d be in business. (Nudge, nudge.)"