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Thursday, Apr 17, 2003 5:27 PM UTC2003-04-17T17:27:00Zl, M j, Y g:i A T

Over your dead body

Mary Roach talks about decay, body recycling, gravediggers and her new book, "Stiff: The Curious Lives of Human Cadavers."

Over your dead body

It’s a lovely, sunny Tuesday afternoon in California’s famous “City of the Dead,” the only incorporated city in America in which the deceased outnumber the living. Nowhere is this ratio more obvious than here at the Cypress Woodlawn Memorial Park, where we are looking out on an ocean of tombstones. With the exception of one hearse — which rolls by at about the same time as the day’s lone cloud — the cemetery is almost empty.

We make a cozy party of five, nestled on the grass: me, Mary Roach, Bong, Rosita, and Clarita. Roach and I are here to talk about her new book, “Stiff: The Curious Lives of Human Cadavers.” The other three are here because this is their home. Bong (1966-1987), Alicia (1899-1987) and Clarita (1904-1987) make for silent but gracious hosts.

It should be a morbid gathering, just as Roach’s book should be a morbid read, with its tours of embalming rooms, crashed jetliners, medical dissecting labs, and Swedish mausoleums. But reading “Stiff” is a funny, intellectually stimulating experience — one that makes you realize that there really is a chance for life after death. As a cadaver, you can advance medical knowledge (though be forewarned, your body may be used to practice face lifts rather than lung transplants), or you can become part of a human compost pile in Scandinavia. You can even serve time as a crash-test dummy in Detroit.

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Sheerly Avni is a freelance writer living in Oakland.  More Sheerly Avni

Wednesday, Jun 1, 2011 12:32 PM UTC2011-06-01T12:32:00Zl, M j, Y g:i A T

10 year time capsule: “Sex and the City” on aging gracefully

In a season that began with a life crisis, Darren Star's show proved it could hold its own with HBO big boys

Carrie Bradshaw: one of 20th century television's most iconic figures.

Carrie Bradshaw: one of 20th century television's most iconic figures.

June 3, 2001: Carrie Bradshaw and her three best friends hit HBO’s run … er … airways once again, beginning the fourth season right as Sarah Jessica Parker’s character was turning the big 3-5. “[It's] a landmark age for women,” Parker said during an interview about the episode, (titled “The Agony and the Ex-Tacy,” woof), “It makes her think about choices she makes and what she doesn’t want to repeat.”

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Drew Grant is a staff writer for Salon. Follow her on Twitter at @videodrewMore Drew Grant

Friday, Apr 8, 2011 12:40 PM UTC2011-04-08T12:40:00Zl, M j, Y g:i A T

Saved by Pop Culture: How “Six Feet Under” killed my depression

Sometimes salvation comes from strange places. For me, it was HBO's saddest family

Gallows humor from the Fisher family.

Gallows humor from the Fisher family.

After a painful breakup, there’s always “that song” or “that band” that you can’t listen to anymore, because they are painful reminders of your former relationship. But I’ve always wondered about the good pieces of pop culture that survives past a relationship or other tragedy. You know, like the show you never would have watched unless your boyfriend made you, and which ultimately lasted longer than your dating history? Or that bluegrass band you only started to appreciate after your dad passed?

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Drew Grant is a staff writer for Salon. Follow her on Twitter at @videodrewMore Drew Grant

Thursday, Jul 23, 2009 10:23 AM UTC2009-07-23T10:23:00Zl, M j, Y g:i A T

Kevin Spacey needs a “Shrink”

The two-time Oscar winner talks about his move away from Hollywood and his new role as a pothead Dr. Phil type

Kevin Spacey in "Shrink."

Kevin Spacey in "Shrink."

Roadside Attractions/Jihan Abdalla

Kevin Spacey in “Shrink.”

One way of looking at Kevin Spacey’s film-acting career is that most of it happened in another century and he has moved on. A two-time Oscar winner in the ’90s — for best supporting actor in “The Usual Suspects” and best actor in “American Beauty” — Spacey has literally and figuratively left Hollywood behind, devoting most of his energies to directing the Old Vic Theatre in London, where he has lived since 2003.

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Andrew O

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Sunday, Nov 2, 2008 11:20 AM UTC2008-11-02T11:20:00Zl, M j, Y g:i A T

I Like to Watch

The sexy vampires of HBO's "True Blood" charm our mortal pants off, while the churlish motorcycle thugs of "Sons of Anarchy" stoop to a new low. Is the new fall TV season just a filthy tease?

I Like to Watch

 I’m over this fall TV season. Like a dull girl who hides her below-average intelligence by cultivating a mysterious vibe — mostly by keeping her mouth shut and refusing to put out — the fall TV season somehow teased us into submission. She flashed a little thigh in mid-June, made one half-assed joke at the television critics’ tour in late July, claimed not to believe in sex before marriage throughout September (while sleeping around like a filthy whore behind our backs), then she threw herself on us in October, sticking a rough, sluggy tongue down our throats and pledging her undying love forever and ever while we reeled in agony.

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Heather Havrilesky is Salon's TV critic and author of the rabbit blog. Her memoir, "Disaster Preparedness," published in 2010.   More Heather Havrilesky

Thursday, Sep 11, 2008 10:47 AM UTC2008-09-11T10:47:00Zl, M j, Y g:i A T

Arab-American beauty

En route from "Six Feet Under" to "True Blood," TV genius Alan Ball snuck in "Towelhead," an earnest drama about race and sexual awakening in '90s suburbia.

Arab-American beauty

Warner Independent Pictures

Peter Macdissi and Summer Bishil in “Towelhead.”

I first wrote about “Towelhead,” the film-directing debut of “Six Feet Under” impresario Alan Ball, last January at Sundance, before it became clear that Ball’s energies were focused on a new prime-time HBO series featuring hot young vampires. Now that “True Blood” has reached Ball’s core upper-middle HD-cable audience, “Towelhead” looks even more like a noble but ultimately minor detour — the agreeable but overly formulaic young-adult novel tossed off by an author of epic-scale melodramas.

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Andrew O

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