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The Longform Guide to Thievery

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The inside story of the Pink Panthers, the greatest bank robber in Texas history and the article that became The Bling Ring—a collection of our all-time favorite picks about thieves.

John Demjanjuk: The Last Nazi

John Demjanjuk has had a huge year. Twenty years after being sentenced to die, he finally climbed to the pinnacle of the Wiesenthal Center's list of Nazi war criminals this April, shortly after the Germans filed the arrest warrant that allowed the OSI to put him on the jet to Munich.

The Collected Works of Michael Paterniti

Our sponsor this week is Random House, which has just released a fantastic new collection of stories by Longform regular Michael Paterniti, Love and Other Ways of Dying.

In the remote Ukranian countryside, Paterniti picks apples (and faces mortality) with a real-life giant; in Nanjing, China, he confronts a distraught jumper on a suicide bridge; in Dodge City, Kansas, he takes up residence at a roadside hotel and sees, firsthand, the ways in which the racial divide turns neighbor against neighbor. (You can hear Paterniti talking about many of these pieces on Longform Podcast #93.)

George Saunders has described Paterniti's writing as “expansive and joyful” and Dave Eggers has called him “one of the best living practitioners of the art of literary journalism.” Needless to say, everyone here at Longform is a huge fan.


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The Meth Lunches

just three months, we have seen Charlie and Tessy through a lifetime of crises — temporary sobriety, meth binges, two stints in jail, three moves, one eviction, several religious, end-of-the-world texts on our phones, a dozen different phones and phone numbers (meth addicts go through “Obama Phones” like packs of cigarettes), and a stay in a psychiatric hospital. Every day brings some kind of cruel surprise, some hardship that would pummel me, but is just business as usual for them.

Weekend At Kermie's: The Muppets' Strange Life After Death

To this day, no one (outside of the movie's own crew) knows how the Muppets rode bicycles in The Great Muppet Caper, the classic Henson movie from 1981. In that scene, Kermit stands up on one frog-leg on the seat of his bicycle to impress Miss Piggy, and then the whole gang joins them on their bikes, doing circles and figure eights, singing “Couldn’t We Ride?” It's a wonderful piece of filmmaking, and still a complete delight to watch because the effect relied on the ingenuity and bravado of the puppeteers and crew, not CGI wizardry. Contrast the joy and ebullience of this scene to the elegant chiaroscuro slickness of the post-Henson Muppet Christmas Carol in which we see old fogies Statler and Waldorf, as the Marley brothers, floating in mid air. No viewer is impressed; no one really thinks about it at all. And that's because when a then 29-year-old Brian Henson directed that film, he threw the rules out the window. Statler and Waldorf “float” because Goelz and Nelson, the men working the old guys, were standing behind them during filming and then were removed in post production. It’s an elegant fix—a cutting of the Gordian knot—but it is a complete break with an aesthetic 35 years in the making.