It's one thing to fight for what you believe in, another thing to fight for what others believe in.

The advent of DVD/Blu-ray reissues of classic Hollywood and foreign films has been a boon to film buffs, who can now study their favorites in all their glistening detail and restored palettes.

What a turnaround in sentiment 'Glee' exemplifies. It was only a few years ago that pursuing the dream of a Broadway career or cabaret stardom relegated some poor yearning dope to a lavender ghetto of losers, self-deluders, and social rejects.

After a decade this glum, we deserved a shot of 'Glee,' a show that restored our faith in the power of song, the beauty of dance, and the magic of 'spirit fingers' to chase our cares and woes into somebody else's backyard.

Since I'm a fan of collections and anthologies, believe that the best writing often shines in shards and galloping stretches, I never find myself lobbying for a writer I enjoy reading regularly to hole up in Heidegger's hut for four or five years to bring forth a mountain.

Slashing its way to the finish line, Black Swan is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.

As we divest ourselves of once familiar physical objects - digitize and dematerialize - we approach a 'Star Trek' future in which everything can be accessed from the fourth dimension with a few clicks or terse audibles.