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The Hype

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Current Obsession: Marimekko’s enduring pop art appeal

Marimekko floral prints and bold designs defined casual cool for five decades. Here, a visual primer on the company that fills Pinterest with pop art

Current Obsession: Poppy Love

Even if you don’t know the name Marimekko, chances are you’ve spotted the design company’s iconic faux naïf patterns on bed linens, shoes and iPod cases. Finnish textile designer Armi Ratia first created the playfully garish pop art prints in the early ’50s, and by the ’60s, they were everywhere. (Jackie Kennedy was the company’s most famous early adopter.) The designs, which manage to be simultaneously sexy and twee, are more popular than ever in this era of Pinterest and all things artisanal. An exhibition on Marimekko, ongoing at the Textile Museum, pays tribute to the company’s flower power past, with floor-to-ceiling prints, vintage ads and articles, and age-of-aquarius quotations from Ratia.

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Five things you need to know about Andrew Pyper and his hot new horror novel The Demonologist

Bestselling Toronto writer Andrew Pyper’s newest novel The Demonologist, a supernatural thriller about old books and ancient monsters, comes out today (although Hollywood director Robert Zemeckis already optioned it over a year ago). Below, Pyper talks to us about his his fan posse, his brush with Alice Munro and why he hates writing for movies.

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Q&A: doc filmmaker Rob Stewart, of Sharkwater fame, on his plan to save the world

In Revolution, the globe-trotting, shirt-doffing filmmaker behind the save-the-fish documentary Sharkwater, turns his attention to a more sizable cause: planet earth

Q&A: Rob Stewart

You made a modest little documentary called Sharkwater about the global shark-finning trade. It ended up earning $5 million and winning dozens of awards. How did that success change your life?
It was incredible. I got to travel around the world and go to a slew of massive film festivals. High-fives. Big parties. Richard Branson and Hayden Panettiere supported the cause, and Leo DiCaprio was a big fan. The film taught me how to be a director and enabled me to make more movies.

How did a kid from north Toronto become an eco–poster boy in the first place?
I was chubby and had a really bad stutter. My parents would take me on exotic vacations and I sort of found a connection with the amazing animals I’d see. Eventually, I became a wildlife photographer—and along the way lost the stutter, and the chubbiness. It was a dream job. When I learned about shark-finning practices, I knew I had to do something.

Your parents are co-CEOs of Tribute Entertainment Media Group—the company that makes those magazines you read in movie theatres. Have they continued to play a role in your career?
They were the executive producers and financiers for Sharkwater and my new film, Revolution. They put me in rooms with CEOs that a 22-year-old would otherwise never have gotten into.

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What are the odds a Torontonian will win the Nobel Prize in Literature? Not great

This year’s winner of the Nobel Prize in Literature doesn’t get announced until October, but London oddsmaker Ladbrokes is already setting off speculation in the book world as to which lucky scribbler will be heading to Oslo in the late fall to collect a medal. Yesterday, Ladbrokes released its list of likely candidates,  and Japanese novelist Haruki Murakami is the clear favourite, with odds of 10:1.

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The Argument: C. S. Richardson’s new novel crowns him the new king of the highbrow Harlequin

The Argument | From Paris, With Love

Left: Photograph by Daniel Ehrenworth; Right: Some of Richardson's best known book-designs

C. S. Richardson is living a double life. As creative director at Random House of Canada, he spends his days fussing over typefaces, margin widths and cover blurbs. He has designed scores of bestselling books. At dinner parties, he often scours the host’s shelves for familiar covers. Given that he’s worked on more than 1,500 books in his three decades as a designer—everything from Giller Prize–winning fiction to volumes of financial self-help—there are always a few. (If he’s had enough to drink and is in a braggy mood, he’ll take some down and show them off.)

In his other life, the 57-year-old Richardson is a rising literary star. His debut novel, 2007’s The End of the Alphabet, about a dying man travelling the world with his beloved wife, was an unexpected international bestseller translated into 12 different languages, and winner of the Commonwealth Writers’ Prize for best first novel. After a five-year break, The Emperor of Paris, Richardson’s ambitious follow-up novel, hits stores this month.

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Current Obsession: Larry Towell’s haunting photographs from the ruins of Afghanistan

The Canadian photographer’s images capture the human side of an unwinnable war

Current Obsession
Larry Towell was in New York for a meeting when he heard that the twin towers had been hit. He immediately grabbed his camera and ran to the scene; his resulting images of dazed and dust-covered New Yorkers have become iconic. That reaction was part of a pattern for the 58-year-old Towell, who for more than three decades has been travelling from his southwestern Ontario home to places like Nicaragua, Lebanon, the Gaza Strip and South Africa to take photos of people caught up in bitter, bloody conflicts. Beginning in 2008, Towell went to Afghanistan to witness first-hand the war that had been sparked by 9/11. He spent months in the country, and though he spent some time embedded with U.S. military units, he was determined to take pictures that said more than what government and political officials were telling the world. Many of his stark and unnerving photos are now on display at the ROM as part of a joint exhibition with the Irish photographer Donovan Wylie. We asked Towell to give us the backstory on some of the show’s unforgettable scenes.

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The Argument: Hot Docs’ takeover of the Bloor Cinema proves the once humble doc is the new crowd-pleaser

Some like it hotLike an old ham of an actor, the Bloor Cinema has veered in and out of respectability in its hundred-odd years of existence. During World War I, it was the Madison Picture Palace, and during World War II it was demolished and completely rebuilt. Throughout the skeezy ’70s it was the Eden, and it showed only soft-core porn (promotional tag line: “Are you Adam enough to come?”). Over the past few decades, the Bloor has operated as a repertory cinema, offering second-run Hollywood fare and the occasional classic, hosting mini film festivals and packing people in for midnight screenings of The Rocky Horror Picture Show while growing ever more dilapidated. By the time it finally closed its doors last summer, the state of the theatre had become almost as unsettling as the sight of Tim Curry in drag.

This spring, the Bloor got transformed into the Bloor Hot Docs Cinema, having been bought by the Toronto-based television and film production company Blue Ice Group, which will operate the theatre in partnership with the long-running Hot Docs festival. While the Bloor will still offer the odd screening of Blade Runner and The Big Lebowski, it will otherwise focus exclusively on documentaries.

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The Argument: the only Shrek with any life is the rampaging anti-hero of the brilliantly nasty book that started it all

The Argument: Some Kind of MonsterShrek has lost his mojo. He has become a shadow of his formerly fearsome self, forced to bare his lopsided grin in a series of sequels and holiday specials of diminishing quality and endure the indignities that come with being the star of a played-out romantic comedy. Shrek the Musical, which lumbers into town this month, demonstrates this all too well. The stage show, like the DreamWorks films, is a mish-mash of pop culture parodies and for-the-parents in-jokes that ends in a chorus of hugs, tears and cheers. Though the story opens with the swamp-dwelling beast in full rage, ranting against the world and rejecting it, by the time he declares his love for Princess Fiona in the final act, Shrek has been reduced to singing, “It’s a big bright beautiful world with happiness all around; it’s peaches and cream if our dream comes true.” Peaches and cream? That’s an image even Maria from The Sound of Music would find a little treacly.

The grumpy green ogre—who once seemed like a rough and refreshing alternative to the blemish-free heroes churned out by Disney—has become yet another vapid, mass-market cartoon character. The seeds of his downfall were sown the moment DreamWorks decided to make Shrek a romantic hero, one who must change his ways and learn the ever-important lessons about friendship and true love.

It didn’t have to be that way: the eponymous hero of Shrek!, the 1990 children’s book by William Steig upon which the franchise is based, was a very different beast, one who would have burned a dairy farm to the ground before being forced to sing about peaches and cream. In the book, Shrek is a relentlessly malevolent creature who never feels a moment of remorse for his wrongdoings. Everything he does, he does with a sneer, not a grin. When he encounters his horrid reflection multiplied many times over in a hall of mirrors, he brims with pride: “He faced himself,” the narrator declares, “full of rabid self-esteem, happier than ever to be exactly what he is.”

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The Conversation: star baritone Russell Braun and musical theatre dynamo Louise Pitre

The place: Aria Ristorante
The people: star baritone Russell Braun and musical theatre dynamo Louise Pitre
The subject: belting it out in different languages

The Conversation: Vocal Point

Filling a room with the sound of your voice is hard enough—imagine having to do it in a second language. For an in-demand baritone like Russell Braun, delivering big emotions and big notes in another tongue is just part of the job. This month, Braun stars in the Canadian Opera Company’s French-language production of Kaija Saariaho’s lush and romantic Love From Afar. Louise Pitre is just as linguistically adept, having spent much of the past year touring North America singing tunes by Jacques Brel, Édith Piaf and Ira Gershwin (with room left for the odd number by Benny Andersson and Björn Ulvaeus). Now she’s unleashing her interpretive powers on her own work for a concert of original dramatic songs—in French and English—written in collaboration with her husband, actor Joe Matheson, and pianist Diane Leah. We brought these two polyglot singers together for a few glasses of wine and listened in.

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The Conversation: Arsinée Khanjian and Megan Follows on collaborating with loved ones

The place: Caffe Doria at Yonge and Roxborough. The people: actors Arsinée Khanjian and Megan Follows. The subject: collaborating with loved ones

The Conversation: The Family Business

Before Anne of Green Gables made her a teen star, Megan Follows (above right) was known as the youngest in a family of theatre people that included actor-director Ted Follows, her father, and actor Dawn Greenhalgh, her mother. They separated when Follows was young but continued to collaborate occasionally. In the decades since, Megan has worked with various members of her acting clan, including in an all-Follows production of Noël Coward’s Hay Fever. This month, she stars as the wife of Odysseus in the stage adaptation of Margaret Atwood’s tartly revisionist The Penelopiad. Arsinée Khanjian also knows the perils and joys of working with family: her best-known roles have been in the films Exotica and Ararat, both directed by her husband, Atom Egoyan. This month, Egoyan directs her onstage for the first time ever in Cruel and Tender, by the British playwright Martin Crimp and based on a work by Sophocles. Like Follows in Penelopiad, Khanjian plays the wife of a soldier who brings his work home with him—in this case, a terrorism-fighting general who may be doing more harm than good. We invited the two to Caffe Doria in Rosedale and listened in as they chatted about mixing the personal and the professional.

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Spotlight: Sebastian Pigott beats the Canadian Idol curse on Being Erica and Bomb Girls

Sebastian Pigott Quick: name a Canadian Idol winner. Unless you’re one of those people who fell for Kalan Porter’s curls or Ryan Malcolm’s glasses, chances are you can’t. Over its six-year run, Idol produced a lot of tears, drama and vocal histrionics, but no bona fide stars. Former contestant Sebastian Pigott may be the exception that proves the rule, having become a hot property despite never making it to the winner’s circle.

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The Conversation: The Book of Awesome author Neil Pasricha laughs it up with Jessica Holmes

The Conversation: Laugh it Up

The place: Tequila Bookworm at Queen and Portland.
The people: Neil Pasricha and Jessica Holmes.
The subject: Surviving the holidays

For those who prefer not to drink themselves into oblivion over the holidays, there are other ways to survive the stress of the season. Neil Pasricha and Jessica Holmes, for example, are big believers in the power of positive thinking (though they wouldn’t necessarily turn down a strategically spiked eggnog). Pasricha is the relentlessly enthusiastic mind behind the mega-selling phenomenon The Book of Awesome and its sequels, including a new, holiday-themed volume. The books, which began life as a daily blog listing all things you-know-what, have made Pasricha a positivity guru who brings his gospel of awesomeness to conferences and corporate workshops (when he’s not working his day job as a human resources manager in Mississauga). Holmes is best known for her stint on the Royal Canadian Air Farce. Following the publication of her 2010 memoir I Love Your Laugh, she began a second career as a motivational speaker, preaching emotional healing through humour. Holmes is currently onstage in Ross Petty’s holiday panto version of The Wizard of Oz, playing (of course) the Good Witch Splenda.

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Current Obsession: With Neil Young as his guide, photographer Joseph Hartman went looking for the town he could barely remember

Joseph Hartman

Neil Young Gothic, if such a thing exists, eschews flash and cleverness in favour of lumber-jacketed authenticity and a wistful, even sentimental yearning for lost homes, places and childhoods. Joseph Hartman taps into that plaintive mode with a new series of photographs created partly as a psychological investigation. Hartman spent his earliest years in First Nations communities on the north shore of Lake Superior, where his mother worked as a teacher. Decades later, he began to wonder if his memories of the area were fabrications based on stories he’d been told by his parents. So, in 2010, at the age of 32, he drove north to find out. Some of the resulting photos, which make up his third solo exhibition, betray the influence of Edward Burtynsky, for whom Hartman works as an archivist. Hartman’s images (like “Boat and Shed, Heron Bay” above), however, are much more intimate than Burtynsky’s, and less journalistic. He is not documenting industry run amok or epic shifts in how we live, but bringing to light seemingly unremarkable places that had, for him, previously existed only in his head. Part of the inspiration for the project, according to Hartman? Young’s aching-for-Ontario tune “Helpless.”

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