Social thriller

A social thriller is a film genre using elements of suspense to augment instances of oppression in society. The genre gained notoriety in 2017 with the release of Jordan Peele's Get Out, a film highlighting instances of racial alienation, which veil a plot to abduct young African-Americans. Prior to Peele, other film actors, directors and critics had used the term to describe an emerging genre of cinema with examples from all over the globe. Many social thrillers focus on issues of race, class, gender, sexuality or nationhood, often within the format of genre films more broadly categorized as film noir, drama, horror cinema, or Bollywood musicals, among others.

Early usage

Social thriller actor Sidney Poitier (left) at the 1963 March on Washington, alongside Harry Belafonte and Charlton Heston

"Social thriller" first appeared in film criticism to denote films using elements of suspense to heighten dramatic tension caused by social inequity.[1] Often appearing in quotes, the term was being used as early as the 1970s to retrospectively describe political neo-noir cinema. An early example comes from cinema writer Georges Sadoul's characterization of El Wahsh ("The Monster"), an Egyptian crime film entered into the 1954 Cannes Film Festival.[2] Sadoul sums up the film as "a social thriller based on an authentic police case about police pursuit of a drug-addicted gangster." Sadoul goes on to describe the film's documentary style and backdrop of life in the Egyptian countryside.[3] Other early uses of the term can be found in descriptions of French New Wave films, such as The Nada Gang, Claude Chabrol's 1974 film Inspired by the May 1968 events in France.[4] In their book, French Culture Since 1945, Malcolm and Martin Cook wrote that "Chabrol's career has been almost exclusively devoted to what might be called the 'social thriller'" and go on to define the genre as, "films using a suspense format often akin to that of Hitchcock to comment on the deviousness and duplicity of French society."[1]

Many other film critics bandied about the term in their reviews prior to the 2010s but seldom in a way that gave the social thriller its own status as a codified genre in cinema. Prior to 2017, most writers used the term only once, usually in a single review, and to characterize an individual film. In his biography on William Wyler, Axel Madsen calls the 1937 Humphrey Bogart picture Dead End a social thriller.[5] TLA Video reviewer David Bleiler described the 1950 Sidney Poitier film No Way Out as "an exceptionally made, tense drama which succeeds both as medical soap opera and social thriller."[6] Douglas Brode called Spencer Tracy "the alienated anti-hero of the social thriller" for his 1955 performance in Bad Day at Black Rock.[7] Another Poitier film, 1967's In the Heat of the Night, got tagged as social thriller by Leonard Maltin,[8] and was also cited as such on the floor of the U.S. House of Representatives.[9] Both Tracy and Poitier also appeared in 1967's Guess Who's Coming to Dinner, a film that would later be identified as a key "non-thriller" example of the social thriller genre.[10]

For films produced outside the U.S., more than one reviewer has named the 1961 British film Victim as a social thriller. As the first English language film on record to use the word "homosexual" in its dialogue, Victim raised controversy in the United Kingdom for its critique of Britain's anti-gay laws that would remain in place until the passing of Sexual Offences Act 1967 decriminalized homosexuality for men in England and Wales.[11][12] Ismal Xavier called the 1962 Brazilian train robbery film O Assalto ao Trem Pagador a social thriller.[13] Taiwanese director Bai Jingrui's 1982 film Offend the Law of God has been called "an exploitation social thriller"[14] and the 1996 Spanish film Taxi, about the rise of the racist right wing, has also been given the label.[15]

In his Historical Dictionary of Russian and Soviet Cinema, author Peter Rollberg goes a bit further than the one-mention references of his peers. In describing the work of Russo-Belarusian director Aleksandr Faintsimmer, Rollberg writes, "Fainsimmer devoted himself to the traditionally underrepresented genre of the social thriller with blockbusters such as No Right to Fail (1974) and The Cafeteria on Piatnikskaia Street (1978)." Rollberg also names Leonid Filatov's 1982 film The Rooks and Vadim Derbenev's 1985 hit The Snake Catcher as landmarks of the genre in the Soviet Union.[16]

21st century western cinema

At the onset of the 2000s, critics and scholars continued to label a number of contemporary films as social thrillers. The authors of Sociology: An Introductory Textbook and Reader wrote of the 2002 British film Dirty Pretty Things as being "not a documentary but a social thriller which blends aspects of the global urban legends about child kidnapping for organs and prostitutes drugging unsuspecting barflies who wake up in a hotel bathtub minus a kidney."[17] The New Yorker echoed this sentiment, saying, "Dirty Pretty Things is not a violent thriller. It might be called a social thriller—a creepy, tightly knit suspense film that, on the fly, reveals more about the lives of immigrants in London than the most scrupulously earnest documentary."[18] Other films labeled as social thrillers from the first decade-and-a-half of the new millennium include 2005's British production of The Constant Gardener[19] and the 2008 Italian film As God Commands, both based on the best-selling novels of the same names.[20] The Wall Street Journal called 2011's The Social Network "Part morality play, part social thriller,"[21] the 2012 Canadian child abduction film The Tall Man got called a social thriller for its DVD release,[22] and the French film festival hit Corporate was called a social thriller in 2016, several months in advance of its 2017 release.[23][24]

Modern Indian cinema

Bollywood star Amitabh Bachchan speaking in April 2006

Like the West, Indian cinema has a longstanding tradition of identifying some movies as "social films" or "social problem films", genres that emerged when talking pictures first came to India in the 1930s.[25][26][27] The rise of "social thriller" as a genre garnered familiarity in India, as it did in the U.S., in its association with a major box office hit. 2016's Pink, a courtroom drama that deals with rape, was India's highest-grossing film ever to be released. Pink starred longtime Bollywood icon Amitabh Bachchan, who named the film a social thriller.[28] Bachchan said of Pink that, "the context and the premise of the film shall always be of prime interest," but that "much is not spelt out because of the nature of the story and, of course, the nature of its genre—a social thriller!”[29]

Before Pink the term social thriller was applied occasionally by Bollywood's directors and marketers and then repeated by the press to describe selected movies, such as 2014's film Fugly starring olympic boxing medalist Vijender Singh.[30][31] Prior to Fugly's release, the press were unfamiliar with the genre, and in a film preview the India Times said that it was "the movie that's been billed as a 'social thriller' (whatever that is)."[32] After Fugly, other social thriller tags followed suit, such as 2014's Bhopal: A Prayer for Rain about the Union Carbide Disaster,[33] and 2015's Yeh Lall Rang about the organized crime trafficking in human blood.[34]

South Indian film columnists may have been using the term prior to their North Indian counterparts. G. Dhananjayan called the 2009 Tamil language film Achchamundu! Achchamundu! ("There is fear! There is fear!") a social thriller, citing it as "one of the rare mainstream Tamil films with the subject on pedophiles."[35] Tamil director Bramma G. called his 2014 debut film, Kutram Kaditha, a social thriller.[36][37] The same year Jean Marcose called his 2014 Malayalam film Angels a social thriller.[38] Film Beat's Akhila Menon used the term to describe both Puthiya Niyamam[39] and Evidam Swargamanu in 2015.[40] Other Tamil social thrillers include 2016's Kabali,[41] and Aagam. Director Vijay Anand Sriram said, "Aagam has a message but it will not be preachy. It’s a social thriller with commercial elements in it,”[42]

Post-Pink social thrillers in Indian cinema have included Adanga Maru,[43] Jhalki...Ek Aur Bachpan,[44] Mulq,[45][46] Pinu,[47] and Parari,[48] all released in 2018.

Get Out and after

Director and comedian Jordan Peele performing in 2012

Broadly categorized as a horror film,[49] director Jordan Peele stated that his directorial debut, Get Out, was part of a lineage of social thrillers, meaning that whatever scary things manifest onscreen, society is actually the true evil.[50] In a February 2017 interview, Peele told the Chicago Tribune, "I define 'social thriller' as thriller/horror movies where the ultimate villain is society."[51] In March he told the New York Times that social thrillers “all deal with this human monster, this societal monster. And the villain is us.”[50] He later told New York Magazine, "I was trying to figure out what genre this movie was, and horror didn’t quite do it. Psychological thriller didn’t do it, and so I thought, Social thriller. The bad guy is society—these things that are innate in all of us, and provide good things, but ultimately prove that humans are always going to be barbaric, to an extent. I think I coined the term social thriller, but I definitely didn’t invent it."[52]

To coincide with the release of Get Out, Peele curated a film series for the Brooklyn Academy of Music (BAM) called The Art of the Social Thriller.[53] The series featured classic horror films like Rosemary's Baby, Night of the Living Dead, The Shining, The Silence of the Lambs, Candyman, The People Under the Stairs, and the first film of Wes Craven's Scream series. Peele also included films outside of the horror genre, such as psychological thrillers Funny Games and Misery, Hitchcock's mystery thriller Rear Window, and comedy-thriller The 'Burbs. The sneak preview of Get Out was preceded by the 1967 comedy-drama Guess Who's Coming to Dinner, the first Hollywood film to address interracial marriage[54] and a big influence on the premise for Peele's own film.[55][56] When asked about its inclusion in the series, Peele told the Village Voice, "It’s not an actual thriller, it’s just a great exploration of the social phenomenon of how we deal with race, putting it in a package that everyone can understand. Anybody can relate to the fear of meeting your potential in-laws for the first time... At a certain point with Get Out, I realized that I was making a sort of thriller take on Guess Who’s Coming to Dinner."[10]

After Get Out's success, Peele announced that he had plans to make four more social thrillers in the next decade. In an interview with Business Insider he said, "The best and scariest monsters in the world are human beings and what we are capable of especially when we get together. I've been working on these premises about these different social demons, these innately human monsters that are woven into the fabric of how we think and how we interact, and each one of my movies is going to be about a different one of these social demons."[57]

By mid-2017 the press started touting upcoming films as belonging to the genre, including international Cannes Film Festival favorites like Colombia's Matar a Jesús,[58] Frence's L'Atelier;[59] Brazil's Rifle,[60] and the remake of Argentina's La Patota.[61] Variety wrote that animated film Tales of the Hedgehog was both "a children’s thriller" and "a social thriller-fable" after director Alain Gagnol described it as a “suspenseful social fable.”[62] From Hollywood, the social media scandal movie Assassination Nation,[63] and James Gunn's The Belko Experiment,[64] were promised as social thrillers, as was Stephen King's The Dark Tower, the third of the author-director's movies to be cited as part of the social thriller canon.[65]

Critique

Use of social thriller as a genre term has come under scrutiny since its widened use. One critique is that niche genres such as horror are re-labeled to draw a more mainstream fanbase. In a news piece about 2017's most successful horror films, journalist Haleigh Foutch wrote that "Get Out is being billed as a 'social thriller' now that the film has dominated at the box office and conjured early awards buzz."[66] Critic Jacob Knight has also cited uses of "social thriller," "social horror" and "elevated horror" to describe Get Out and the 2018 films Hereditary and A Quiet Place, saying, "'elevated horror' (or even 'social horror', for that matter) doesn’t exist. It never did, and it never will. Filmmakers have been attempting to distance themselves from the 'horror' label for decades, as it’s a genre that’s been ghettoized for most of its existence."[67]

In other media

Literature

"Social thriller" has been used to describe works beyond cinema. Literary critics have used the term as early as the first decade of the 2000s. Writing on the psychological crime novels of Ruth Rendell in 2002, Lidia Kyzlinková at Masaryk University remarked, "Rendell may be seen as having developed a kind of social thriller, in which various representations around region, class, race, gender, or age form an important part of the plot."[68] Three years later Kyzlinková subtitled another chapter on Rendell, "Social Thriller, Ethnicity and Englishness," in which she characterized works whose plots focus less on detectives or police as being "socio-psychological, or social thrillers."[69]

Also writing in 2002, The New York Daily News said that Iain Pears Riverhead's book The Dream of Scipio "uses a larger-than-ever canvas to construct this genre-bending historical and social thriller." Business Wire later called Kathleen Kaufman’s 2009 dystopian novel The Tree Museum "an environmental thriller that follows a world completely transformed by an enigmatic and powerful totalitarian force" in a review titled, "New Social Thriller, The Tree Museum, to Challenge the Ethics of State-Enforced Environmentalism."[70] MacMillan Publishing described Six Suspects, Vikas Swarup's 2010 follow-up to Slumdog Millionaire as "a richly textured social thriller."[71]

Theatre and television

As film writers began applying the term with greater frequency after its 2017 upsurge, theatre critics followed suit. Time Out New York reviewer Adam Feldman wrote that the Broadway show Junk "melds a breadth of genres—crime story, tragedy, issue play, cautionary tale—into a fast-moving, broad-ranging social thriller."[72] By 2018 the term had leapt to television, and was used to describe the Netflix series What/If.[73]

References

  1. 1 2 Cook, Malcolm (1993). French Culture Since 1945. London: Longman. p. 86. ISBN 9780582088061.
  2. ↑ "Festival de Cannes: The Monster". festival-cannes.com. Retrieved 2009-01-31.
  3. ↑ Sadoul, Georges (1972). Dictionary of Films. Berkley: University of California Press. p. 411. ISBN 9780520021525.
  4. ↑ Atack, Margaret (1999). May 68 in French Fiction and Film: Rethinking Society, Rethinking Representation. Oxford University Press. p. 129. ISBN 9780198715153.
  5. ↑ Madsen, Axel (2015). William Wyler: The Authorized Biography. Open Road Media. ISBN 9781504008600.
  6. ↑ Bleiler, David (2013). TLA Film and Video Guide 2000–2001: The Discerning Film Lover's Guide. St. Martin's Press. ISBN 9781466859401.
  7. ↑ Brode, Douglas (2003). Edge of Your Seat: The 100 Greatest Movie Thrillers. Citadel Press. p. 12. ISBN 9780806523828.
  8. ↑ Maltin, Leonard; Sader, Luke; Clark, Mike (2008). Leonard Maltin's 2009 Movie Guide. Penguin. p. 681. ISBN 9780452289789.
  9. ↑ Thompson, Bennie G. (February 26, 2004 to March 10, 2004). "Etension of Remarks: A Tribute to Ms. Beulah "Beah" Richards". Congressional Record. Government Printing Office. 150 (3): 2872. Check date values in: |date= (help)
  10. 1 2 Ebiri, Bilge (February 14, 2017). "Get Out's Jordan Peele Brings the 'Social Thriller' to BAM | Village Voice". Village Voice. Retrieved 16 August 2017.
  11. ↑ Kremer, Daniel (2015). Sidney J. Furie: Life and Films. Louisville: University Press of Kentucky. p. 58. ISBN 9780813165981.
  12. ↑ Rose, Steve (17 July 2017). "Dirk Bogarde: why 'the idol of the Odeons' risked everything for art". The Guardian. Retrieved 14 August 2017.
  13. ↑ Balderston, Daniel; Gonzalez, Mike; Lopez, Ana M.; Ismal, Xavier (2002). Encyclopedia of Contemporary Latin American and Caribbean Cultures. London: Routledge. p. 550. ISBN 9781134788521.
  14. ↑ Yeh, Yueh-yu; Davis, Darrell (2012). Taiwan Film Directors: A Treasure Island. New York: Columbia University Press. ISBN 9780231502993.
  15. ↑ Mira, Alberto (2010). The A to Z of Spanish Cinema. Scarecrow Press. p. 277. ISBN 9781461672173.
  16. ↑ Rollberg, Peter (2016). Historical Dictionary of Russian and Soviet Cinema. Rowman & Littlefield. pp. 179, 238, 243. ISBN 9781442268425.
  17. ↑ Nehring, Daniel; Plummer, Ken (2014). Sociology: An Introductory Textbook and Reader. London: Routledge. ISBN 9781317861737.
  18. ↑ Denby, David (September 15, 2003). "Heartbreak Hotels". The New Yorker. Retrieved 16 August 2017.
  19. ↑ Beaver, Frank Eugene (2006). Dictionary of Film Terms: The Aesthetic Companion to Film Art. Peter Lang. p. 115. ISBN 9780820472980.
  20. ↑ Maule, Rosanna (2008). Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy and Spain Since the 1980s. Intellect Books. pp. 122–23. ISBN 9781841502045.
  21. ↑ Murray, Fiona (25 February 2011). "Armie Hammer: The Breakout". Wall Street Journal. Retrieved 16 August 2017.
  22. ↑ Hunter, Rob (14 August 2017). "In Defense of Pascal Laugier's 'The Tall Man'". Film School Rejects. Retrieved 31 August 2017.
  23. ↑ Goodfellow, Melanie (May 9, 2016). "Cannes: Indie Sales adds social thriller 'Corporate' to slate". een Daily. Retrieved 14 August 2017.
  24. ↑ Guihéneuf, Philippe (3 April 2017). ""Corporate", thriller social utile de Nicolas Silhol". Le Huffington Post (in French). Retrieved 4 September 2017.
  25. ↑ Dwyer, Rachel (2005). 100 Bollywood Films. Lotus Collection, Roli Books. p. 82. ISBN 9788174364333.
  26. ↑ Bingham, Adam (2015). Directory of World Cinema: INDIA. Intellect Books. p. 78. ISBN 9781841506227.
  27. ↑ Dwyer, Rachel (2006). Filming the Gods: Religion and Indian Cinema. London: Routledge. p. 8. ISBN 9781134380701.
  28. ↑ Groves, Don (September 14, 2016). "Amitabh Bachchan Thriller Set To Clash With Horror Movie Starring Emraan Hashmi". Forbes. Retrieved 12 August 2017.
  29. ↑ IANS (11 September 2016). "Pink is a social thriller: Amitabh Bachchan". The Indian Express. Retrieved 12 August 2017.
  30. ↑ PTI (November 21, 2013). "Sana Saeed does an item song for Akshay Kumar's film – Indian Express". Indian Express. Retrieved 12 August 2017.
  31. ↑ Paul, Amrita (4 June 2014). "Meet the Fuglies: A social thriller with a message". Deccan Chronicle. Retrieved 12 August 2017.
  32. ↑ India Times (April 7, 2014). "First Look: Akshay Kumar's Film Fugly (ft Vijender Singh)". India Times. Retrieved 13 August 2017.
  33. ↑ "Kal Penn, Raajpal Yadav and Manoj Joshi bring Bhopal to Mumbai Film Festival". Bollyspice. October 22, 2014.
  34. ↑ Press Trust of India (13 April 2015). "Randeep Hooda to star in 'Yeh Laal Rang'". The Indian Express. Retrieved 13 August 2017.
  35. ↑ Dhananjayan, G. (2014). Pride of Tamil Cinema: 1931 to 2013: Tamil Films that have earned National and International Recognition. Blue Ocean Publishers. p. 492.
  36. ↑ "Kutram Kadithal is meant for the masses as well: Bramma". Deccan Chronicle. 15 September 2015. Retrieved 13 August 2017.
  37. ↑ Nath, Parshathy J (November 6, 2014). "A reel dream come true". The Hindu. Retrieved 13 August 2017.
  38. ↑ "Jean Markose talks about making his directorial debut". Khaleej Times. July 10, 2014. Retrieved 13 August 2017.
  39. ↑ Menon, Akhila (30 November 2015). "Malayalam Cinema: Christmas Releases 2015". Filmi Beat.com. Retrieved 13 August 2017.
  40. ↑ Menon, Akhila (12 May 2015). "Mohanlal's 10 Underrated Movies". Filmi Beat. Retrieved 13 August 2017.
  41. ↑ Upadhyaya, Prakash (July 28, 2016). "Rajinikanth's 'Kabali' poster takes inspiration from Irrfan Khan's 'Madaari'?". International Business Times, India Edition. Retrieved 13 August 2017.
  42. ↑ Subhakeerthana, S; Subramanian, Anupama (31 January 2016). "Not touched the darker side of politics in 'Aagam': Vijay Anand Sriram". Deccan Chronicle. Retrieved 13 August 2017.
  43. ↑ Cinema Express Features (May 21, 2018). "It's almost a wrap for Adanga Maru". The New Indian Express. Retrieved 11 June 2018.
  44. ↑ "Screening of Kaagaz Ki Kashti… Biopic on Jagjit Singh by Brahmanand S Siingh!". APN News. 2018. Retrieved 11 June 2018.
  45. ↑ "Freeze frame: Taapsee Pannu, Emraan Hashmi, Jenna Dewan". The Telegraph. May 25, 2018. Retrieved 11 June 2018.
  46. ↑ "Mulk first look: Taapsee Pannu returns to the courtroom as a lawyer in Anubhav Sinha's film- Entertainment News, Firstpost". FirstPost. May 21, 2018. Retrieved 11 June 2018.
  47. ↑ "Ronnie Screwvala, Siddharth Roy Kapur collaborate to co-produce social thriller 'Pihu'". Television Post. May 23, 2018. Retrieved 11 June 2018.
  48. ↑ George, Nina C. (10 June 2018). "Metrolife: An ode to all mothers". Deccan Herald. Retrieved 11 June 2018.
  49. ↑ Bruni, Frank (18 March 2017). "The Horror of Smug Liberals". The New York Times. Retrieved 12 August 2017.
  50. 1 2 Castillo, Monica (March 10, 2017). "Where to Stream the Movies That Influenced 'Get Out'". New York Times. Retrieved 12 August 2017.
  51. ↑ Phillips, Michael (February 24, 2017). "Jordan Peele's 'social thriller' launches a directorial career". chicagotribune.com. Retrieved 22 August 2018.
  52. ↑ Yuan, Jada; Harris, Hunter (February 5, 2018). "How Get Out, the First Great Movie of the Trump Era, Got Made". New York Magazine. pp. 28–35.
  53. ↑ "Jordan Peele: The Art of the Social Thriller". Brooklyn Academy of Music. Retrieved 12 August 2017.
  54. ↑ Alexander, Chris (9 January 2017). "Jordan Peele to Curate Horror Series at BAMcinematek". ComingSoon.net. Retrieved 14 August 2017.
  55. ↑ Atkinson, Sophie (June 8, 2017). "'Get Out': Check Out This List of Movies Which Inspired it". Highsnobiety. Retrieved 12 August 2017.
  56. ↑ Ferri, Jessica (30 March 2017). "Stepford Whites: On Get Out and the Social Thriller". ComingSoon.net. Retrieved 12 August 2017.
  57. ↑ Guerrasio, Guerrasio (February 17, 2017). "Jordan Peele plans to direct a whole series of horror movies about 'social demons'". Business Insider. Retrieved 12 August 2017.
  58. ↑ Pablos, Emiliano De (21 May 2017). "Cannes: Latido Boards Colombian Social Thriller 'Killing Jesus'". Variety. Retrieved 14 August 2017.
  59. ↑ Mintzer, Jordan (May 22, 2017). "'The Workshop' ('L'Atelier'): Film Review | Cannes 2017". The Hollywood Reporter. Retrieved 14 August 2017.
  60. ↑ Mintzer, Jordan (February 12, 2017). "'Rifle': Film Review | Berlin 2017". The Hollywood Reporter.
  61. ↑ Betancourt, Manuel (June 2017). "Director Santiago Mitre On Fighting the Patriarchy by Remaking a 1960s Argentine Film". Remezcla. Retrieved 14 August 2017.
  62. ↑ Hopewell, John (9 June 2017). "Annecy: 'Cat in Paris' Directors Prepare 'The Tales of the Hedgehog' (EXCLUSIVE)". Variety. Retrieved 14 August 2017.
  63. ↑ Jao, Charline (April 19, 2017). "Social Thriller Assassination Nation Adds Anika Noni Rose to Their Amazing Cast". The Mary Sue. Retrieved 14 August 2017.
  64. ↑ Douglas, Edward (May 17, 2017). "The Belko Experiment Review: A Grim But Effective Social Thriller". LRM Online. Retrieved 14 August 2017.
  65. ↑ Bianco, Julia (August 2017). "The Dark Tower headed for $20 million opening weekend". Looper.com. Retrieved 14 August 2017.
  66. ↑ Foutch, Haleigh (20 July 2017). "The Highest Grossing Horror Movies of the 21st Century, Ranked". Collider. Retrieved 14 August 2017.
  67. ↑ Knight, Jacob (8 June 2018). "There's No Such Thing as an "Elevated Horror Movie" (And Yes, 'Hereditary' is a Horror Movie)". /Film.
  68. ↑ Kyzlinková, Lidia (2002). "Ruth Rendell/Barbara Vine : social thriller on The crocodile bird and Asta's book" (PDF). Brno studies in English. 28: 137–146. Retrieved 23 August 2018.
  69. ↑ Kyzlinková, Lidia (2005). Drabék, Pavel; Chovanec, Jan, eds. "Ruth Rendell/Barbara Vine: Social Thriller, Ethnicity and Englishness" (PDF). Theory and Practice in English Studies: Proceedings from the Seventh Conference in English, American and Canadian Studies. Brno: Masaryk University. 2: 109–114. Retrieved 23 August 2018.
  70. ↑ "New Social Thriller, The Tree Museum, to Challenge the Ethics of State-Enforced Environmentalism". Business Wire. April 14, 2009. Retrieved 23 August 2018.
  71. ↑ "Six Suspects | Vikas Swarup | Macmillan". US Macmillan. Retrieved 23 August 2018.
  72. ↑ Feldman, Adam (November 2, 2017). "Junk". Time Out New York. Retrieved 23 August 2018.
  73. ↑ Chitwood, Adam (17 August 2018). "Renée Zellweger to Lead "Social Thriller" Netflix Series 'What/If'". Collider. Retrieved 23 August 2018.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.