The New Beverly pays tribute to actress Karen Black.
Of Robert Altman's many heterodox masterworks, Nashville is the easy pick for the proverbial desert island. Just as Joyce believed that Dublin could be rebuilt, scrap for scrap, from Ulysses' descriptions, Altman's best saves '70s America from the ether by mashing the era's complex artistic, social, and political moods into a rich, electric, panoramic sprawl. Forget narrative: The 24 characters that the omnivorous camera tracks — image-conscious stars, populists, aspiring Patsy Clines, a babbling BBC correspondent — fit together like tectonic plates and the matter-of-fact action emerges from their long weekend of agitation, crossed paths, politics, and gospel/country music. Brimming with life's messy permutations, Altman's critique of celebrity appropriately ends on an unsettling (and notorious) note.