We live in a world filled with crimes, but most of them don't have much to tell us. They're cases of mere stupidity, cruelty or greed. But every now and then one comes along that invites larger thoughts about the culture.
One of Amy Schumer's comedy routines begins with the declaration, "I'm a little sluttier than the average bear. I really am."
Degrees of sluttiness may be hard to define, but Schumer does talk frankly about many subjects — including sex — that can be uncomfortable for people, both in her stand-up act and on her Comedy Central series, Inside Amy Schumer, which was recently renewed for a second season.
Perhaps it's the combination of Sunday night's Mad Men finale and the flurry of Sopranos discussion that followed the death of James Gandolfini, but it's hard not to be struck by the explosion of writing about television that's occurred in the last 15 years or so, facilitated (of course) by the ability to go from rolling credits to publication in an hour (if necessary). After any major episode, there will be a flurry of commentary, and even after minor episodes of minor shows, there are write-ups here and there.
Israeli graphic novelist Rutu Modan's deceptively clear and simple line work — she can conjure a face in two dots and a single, expressive pen stroke — is a deliberate artistic choice. Narratively, Modan's work (including the acclaimed Exit Wounds andher Jamilti and Other Stories) lives in the realm of the indistinct, the undefined and the hotly disputed. In her books, conflicts between family members, lovers and nations all occur in the context of Jewish cultural history.