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All The Books Mentioned In Dash & Lily



Dash and Lily read these books and now you should too.

Dash & Lily was filled with literary references and they’re all definitely must-reads.


The Story of a Shipwrecked Sailor by Gabriel García Márquez

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Dash mentions The Story of a Shipwrecked Sailor within the first five minutes of the series after noticing that it’s out of place at The Strand. He brings it to the front counter so it can be re-shelved under the correct name and category.

What it’s about: Gabriel originally wrote The Story of a Shipwrecked Sailor as a series of newspaper articles chronicling the plight of eight crew members of a Colombian destroyer who were washed overboard and disappeared. Ten days later one of them turned up, barely alive, on a deserted beach in northern Colombia and the book shares the sailor’s ordeal.

Get it on Amazon for $13.04.


French pianism by Charles Timbrell

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French pianism comes as the first clue in Lily’s bookstore scavenger hunt, where she encourages Dash to do some “heavy reading.”

What it’s about: This 372-page book surveys the historical development, performance practices and pedagogical philosophies of the Paris Conservatoire, whose rigorous professors taught the characteristic French piano style for over 150 years.

Get it on Amazon for $27.95.


Fat Hoochie Prom Queen by Nico Medina

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Lily’s second clue in her scavenger hunt at The Strand came from YA novel Fat Hoochie Prom Queen.

What it’s about: Margarita “Madge” Diaz is fat, foxy, and fabulous and adored by almost everyone at Winter Park High School…except queen bee Bridget Benson. During a heated argument, the girls decide there’s only one way to end their rivalry: to be named prom queen. While they’re both committed to doing whatever it takes to win, they both realize they also have some things to hide.

Get it on Amazon for $9.69.


The Lion, the Witch and the Wardrobe by C. S. Lewis

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As Lily’s third clue, she mentions that this C. S. Lewis novel “isn’t a Christmas story but Santa does show up to hand out weapons!”

What it’s about: As the second book in The Chronicles of Narnia series, it follows Peter, Susan, Edmund, and Lucy Pevensie as they step through a wardrobe door and into the land of Narnia. Though the land is enslaved by the power of the White Witch, the return of the Great Lion, Aslan, signals a great change and a great sacrifice.

Get it on Amazon for $7.64.


The Joy of Gay Sex by Charles Silverstein and Edmund White

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Lily’s final book in her scavenger hunt comes from “the most popular title in sex and sexuality” and was compliments of her older brother who was the one who actually read the book.

What it’s about: The Joy of Gay Sex has informed countless men about the ins and outs of gay life, love, and pleasure since its publication. It has served as a resource on building self-esteem, as a coming out guide for young gay men and addresses the many emotional and relationship-oriented issues in gay life.

Get it on Amazon for $21.99.


Franny and Zooey by J. D. Salinger

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Lily notes Franny and Zooey as one of her favorite books and it’s where she chose to hide her notebook on the shelves of The Strand. She even once tried to strike up conversation about the book with another teen bookstore patron, but it didn’t go as planned!

What it’s about: Franny and Zooey is comprised of short story Franny and novella Zooey, both members of the fictional Glass family. Franny follows a college undergrad who is becoming disenchanted with the selfishness and inauthenticity of those around her. Meanwhile, Zooey follows her older brother who tries to come to her aid while she is suffering a spiritual and existential breakdown.

Get it on Amazon for $9.29.


Seymour: An Introduction by J. D. Salinger

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During Lily’s convo about Franny and Zooey, she recommends Seymour: An Introduction but notes that she doesn’t enjoy it as much as it’s so stream of consciousness.

What it’s about: Seymour: An Introduction tells the story of Seymour Glass, through the lens of his closest brother, Buddy. After his passing, he leaves behind 184 unpublished poems and his siblings want Buddy to do something about it.

Get it on Amazon for $8.89.


The New York Stories of Edith Wharton by Edith Wharton

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At one point in the series, Lily can be spotted reading The New York Stories of Edith Wharton while taking the subway home.

What it’s about: New York native Edith Wharton chronicled her life through twenty stories of the city, written over the course of her career.

Get it on Amazon for $17.95.


Alice’s Adventures in Wonderland by Lewis Carroll

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Lily asks Dash to leave the notebook at the Alice in Wonderland sculpture in Central Park, calling Alice the “patron saint of weird girls.”

What it’s about: Alice’s Adventures in Wonderland tells the tale of a young girl named Alice, who falls through a rabbit hole into a world of fantasy populated by peculiar, anthropomorphic creatures.

Get it on Amazon for $6.80.


The Phantom of the Opera by Gaston Leroux

Netflix / Via

While visiting a costume shop to track down Lily, Dash compares himself to the Phantom as he’s wearing a “mask” because he doesn’t let people get to know him.

What it’s about: As the inspiration behind the film and the hit musical, The Phantom of the Opera follows a young, Swedish girl who is raised in the Paris Opera House after the passing of her famous musician father. She is watched over by a protective angel of music who teaches her to sing. Things take a turn when the angel of music, who is the deformed, murderous ‘ghost’ of the opera house, grows violent in terrible jealousy.

Get it on Amazon for $9.99.


Cyrano de Bergerac by Edmond Rostand

Netflix / Via

Right before Dash believes he’s about to meet Lily, he asks his friend Boomer to be his “Cyrano” and talk to Lily first on his behalf.

What it’s about: Gallant French soldier Cyrano de Bergerac is a brilliant, strong-willed man of many talents, including poetry and music. However, he has an extremely large nose, which makes him self conscious and prevents him from expressing how he feels to the woman he loves. Instead, he finds a way to help another man who loves the same woman by covertly writing to her.

Get it on Amazon for $5.95.


From the Mixed-Up Files of Mrs. Basil E. Frankweiler by E. L. Konigsburg

Netflix / Via

Lily affectionately refers to her great aunt as Mrs. Basil E. as she carries the same whimsy as the fictional character and used to send her on scavenger hunts in the Metropolitan Museum of Art, like the the book.

What it’s about: When Claudia Kincaid decides to run away, she chooses someplace comfortable, beautiful, and elegant — the Metropolitan Museum of Art in New York City. She invites her younger brother Jamie and once they arrive, they find themselves caught up in the mystery of an angel statue that the museum purchased at an auction. Despite the low price tag, it may be early work of the Michelangelo, leading the siblings to Mrs. Basil E. Frankweiler, the remarkable old woman who sold the statue.

Get it on Amazon for $9.98.


Harry Potter by J. K. Rowling

Netflix / Via

Dash compares his peacoat to Hagrid’s magical jacket in that he can always find something in his pocket that he didn’t expect.

What it’s about: I think everyone knows but in case you don’t, Harry Potter follows the magical adventures of a young wizard and his friends as they attend the prestigious Hogwarts School of Witchcraft and Wizardry.

Get it on Amazon for $17.73.


Brave New World by Aldous Huxley

Netflix / Via

When Dash and Lily (unknowingly) meet for the first time, Dash quotes Brave New World, saying, “If one’s different, one is bound to be lonely.”

What it’s about: Dystopian novel Brave New World follows life in a genetically-engineered future where life is pain-free but also meaningless

Get it on Amazon for $13.20.

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Multiverse of Madness? Why the Marvel Cinematic Universe no longer exists in perfect isolation | Film




The internet briefly looked up from its coffee and raised an eyebrow last week when Doctor Strange director Scott Derrickson appeared to confirm that every Spider-Man movie since Tobey Maguire’s 2002 debut as the wisecracking web-slinger is now considered to be part of the wider Marvel Cinematic Universe. “All Spider-Man iterations are defacto MCU,” wrote Derrickson during a Twitter exchange with Moon director Duncan Jones.

The film-maker, currently working as an executive producer on the Sam Raimi-directed sequel Doctor Strange in the Multiverse of Madness, later clarified he was only joking. But given how connected Marvel’s movies now seem to be to the Sony Spidey films (and that Raimi directed all the Tobey Maguire movies), it’s easy to see why fans wondered if Derrickson might have inadvertently revealed a Hollywood insider secret.

For where the MCU was once its own perfect, solitary island in the superhero ocean, able to craft intelligently interconnected tales of costumed crimefighters without fear of interference from other, less competent studios, it now finds itself in a position where shaky land bridges have inadvertently formed to other continents, created not for creative reasons but for corporate ones. The danger here is that allowing its gleaming superhero monolith to be taken over by invasive species could undercut a quality control system that has seen Marvel outpace all rivals over the last 12 years.

It all started after Sony made a mess of its own Spider-Man films with the undercooked The Amazing Spider-Man 2 in 2014 and came wall-crawling to Marvel for help. Thanks to this link-up we now have a Marvel-led Spidey (Tom Holland) who appears both in his own Marvel-Sony spin-offs and also regularly in the mainstream of Marvel films. But we have also started to see strange nods to the older Spider-Man movies, such as the inclusion of JK Simmons’ J Jonah Jameson in Spider-Man: Far from Home, ostensibly an MCU movie. There are also industry reports that Jamie Foxx is to return as Electro (reprising his role from The Amazing Spider-Man 2) in the as-yet-untitled third Marvel-Sony Spidey film.

Then, of course, there’s Deadpool. The Merc with a Mouth is due to arrive in the MCU thanks to a different corporate deal, the one that saw Marvel owner Disney buy up 20th Century Fox last year. Industry insiders now report the potty-mouthed mutant will retain his R-rated status, despite the Marvel movies always being made for a PG-13 audience. There are two solutions here: either Reynolds avoids dropping f-bombs and keeps the bloody violence to a minimum whenever he appears in a mainstream MCU film, or he simply does not appear outside his own standalone movies. Neither sounds precisely perfect.

Doctor Strange in the Multiverse of Madness offers yet more potential for crossover with other superhero universes, since it will introduce the concept of the multiverse, via which alternate reality versions of Marvel’s best-known superheroes might well exist and end up meeting. Then there’s the speculation in the geekosphere, fuelled by news that Warner Bros is to bring back Michael Keaton and Ben Affleck as different versions of Batman for the rival DC universe’s crossover episode The Flash (loosely based on the comic book Flashpoint event), that Tobey Maguire and Andrew Garfield might return as Spider-Man/Peter Parker in the next Spidey movie. Sony already included multiple wall-crawlers in the Oscar-winning animated film Spider-Man: Into the Spider-Verse after all, though it’s an unwritten rule of comic book flicks that film-makers working in animation are usually allowed far more leeway than their live-action counterparts.

The studio has so far handled its newfound interconnectedness to other people’s movies relatively well. The monologuing vlogger J Jonah Jameson of Spider-Man: Far from Home may or may not have been the same as the rowdy newspaper editor we saw in the Sony films; only Spider-Man has been allowed to appear in the main Marvel series, though I cannot be the only fan of Willem Dafoe and Alfred Molina who would love to see the Green Goblin and Doc Ock somehow resurrected.

But can Marvel really just cherrypick all the best bits of the movies it didn’t have a part in making, while asking us to ignore the worst? If you turn up to the cinema in 2022 for the opening night of Doctor Strange in the Multiverse of Madness and are greeted with the horrible sight of Tobey Maguire sashaying through Manhattan’s theatre district with an awful emo-haircut, you’ll know it’s all gone horribly wrong …

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And the Oscar goes to … a movie by a streaming platform? | Film




Usually at this time of year, thoughts are turning to awards season and an enticing winter of quality cinema ahead, but – and you’re probably utterly sick of hearing it – this year it’s different. Instead, we have got shuttered cinemas and no prestige dramas to put in them anyway. Hollywood is in hibernation.

But the awards show must go on. Next year’s Baftas and Academy Awards are delayed until April, rather than the usual February. Deadlines and eligibility rules have been loosened: usually a movie must have screened in a Los Angeles cinema for seven consecutive days to qualify for the Oscars, but this year an online release is enough. So, good news for Trolls World Tour but potentially disastrous for cinemas.

In the absence of Hollywood competition, this could be the first year the best picture award goes to a movie by a streaming platform, which could be something of a tipping point. The current frontrunner is David Fincher’s Mank, which goes out on Netflix this Friday. It ticks all the boxes: Hollywood mythology (Gary Oldman plays the writer of Citizen Kane); marquee names; technical brilliance; impersonations of real figures (awards juries love that); and unanimous critical acclaim.

Mank’s chief rivals might include Ma Rainey’s Black Bottom (a posthumous best actor for Chadwick Boseman seems likely), Da 5 Bloods and The Trial of the Chicago 7 – also all from Netflix. Or Regina King’s One Night in Miami (Amazon Prime Video). There are non-streaming contenders – Nomadland, for example – and big releases such as Tom Hanks western News of the World, due in January. Others could slip in under the wire, although these movies may well also have to release online to qualify.

It would be a tragic irony if awards season killed off the very institutions it was designed to celebrate. Traditionally, Bafta, the Academy and others have been the champions of Cinema – with a capital C – as worthy of gongs and black-tie formality and reverent speeches as any other artform. But the type of “cinema” the awards bodies were geared to celebrate is disappearing from actual cinemas, which are now powered by big-budget franchise movies. Awards buzz was one of the few tools left to staunch the inexorable defection. If the buzz goes to a Netflix movie instead, it’s another reason to stay at home, and another nail in the coffin of the industry.

It would be a double irony if Mank was the movie that sealed this deal. It is a loving, lavish homage to Hollywood at its height, not only in its detailed industry lore and its digital recreation of 1930s cinematography, but also in its nostalgia for cinema as both an auteurist artform and a popular medium with the potential to topple giants. Will either of those ideas still hold true after this year? The jury’s out.

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Can You Name All 11 Of These "Outer Banks" Characters From Season 1?




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