David Van Tieghem

This tense workplace thriller examines the realities of so-called “post-racial” America. Co-workers are driven apart by the machinations of their boss, and a chilling power struggle ensues that spins wildly out of control.

This tense workplace thriller examines the realities of so-called “post-racial” America. Co-workers are driven apart by the machinations of their boss, and a chilling power struggle ensues that spins wildly out of control.

An amusing, extraordinarily insightful conversation between client and service provider takes place in admittedly a most unlikely location; a location where what one would expect turns out to be quite the opposite than the anticipated. The unlikely location is Tiffany's fantasy dungeon, where anything is possible. The result... A challenge to the nature of existence and the essence of love.

When facing even the most dire of situations, the strength of the human spirit prevails.

A small Oklahoma town is stripped of its innocence when one of its boys turns up mute and bloodied by the lakeside. Unable to tell his story, the local sheriff embarks on a quest to uncover the roots of a gruesome crime. He's led to Ainsley DuPree and her new husband, Jack, a man whose interest in family may very well outweigh his morals.

White Homeland Commando takes the familiar terrain of network action drama and tilts the playing field. Reminiscent of today's popular reality-based cop shows, White Homeland Commando offers a straightforward story: four members of a special police unit investigate and infiltrate a New York-based white supremacist organization. But that is where the commonplace ends. The teleplay is shot and edited in a highly textured visual style, the colors are subdued yet somehow garish, and the sound is deliberately just out of sync with the speaker's lips. Occasional static combines with jumps in the plot — the editing is reminiscent of a television viewer flipping channels.

A short segment of film is played with musical backing at various speeds for a jarring effect.

Geoffrey (Stephen Ramsey) and Lillian (Miriam Healy-Louie) are a couple spending the summer in the country in hopes of smoothing over some rough patches in their relationship. However, Geoffrey, who is a research scientist, has brought his work with him, which hardly helps, since Lillian's biggest problem with him is that he doesn't spend any time with her, and he seems more concerned with his career than his marriage. This is all the more galling for Lillian because she has given up her career as an artist in order to be more supportive of Geoffrey's work. Geoffrey is also upset because he's only been able to use mice for his lab experiments with new medications, and he is eager to begin working with larger animals; in his impatience, he begins trapping dogs, and he eventually catches the pet of a little girl named Frances (Ashley Arcemont).

Geoffrey (Stephen Ramsey) and Lillian (Miriam Healy-Louie) are a couple spending the summer in the country in hopes of smoothing over some rough patches in their relationship. However, Geoffrey, who is a research scientist, has brought his work with him, which hardly helps, since Lillian's biggest problem with him is that he doesn't spend any time with her, and he seems more concerned with his career than his marriage. This is all the more galling for Lillian because she has given up her career as an artist in order to be more supportive of Geoffrey's work. Geoffrey is also upset because he's only been able to use mice for his lab experiments with new medications, and he is eager to begin working with larger animals; in his impatience, he begins trapping dogs, and he eventually catches the pet of a little girl named Frances (Ashley Arcemont).

A documentary by Shaun Costello about Time Magazine

Penn Jillette and Teller are called upon to display their unique brand of humor to save civilization from strange extraterrestrial beings who have invaded Earth and who, disgruntled and bored with the mundane nature of human life, threaten to blow up the planet unless someone gives them a good reason not to.

A lesbian college graduate, trying to bankroll her own photography business, works as a high-priced New York City escort.

A concert film directed by and featuring the music of Laurie Anderson, filmed at the Park Theater in Union City, New Jersey, during the summer of 1985.

This ambitious live satellite link-up of Japan, Korea and the United States features interviews with Keith Haring and architect Arata Isozaki, and performances and works by Philip Glass and the Kodo Drummers, Charlotte Moorman, Nam June Paik, and Lou Reed. In an extraordinary section, a performance in Japan of classical Western music is accompanied by a group of Kabuki dancers.

An opera for television by Robert Ashley. Set in the American Midwest, it is “about” bank robbery, cocktail lounges, geriatric love, adolescent elopement, the changing of the light at sundown, et al. One of the definitive text-sound compositions of the late 20th century, it has been called "the most influential music/theater/literary work of the 1980s".

The story of Willard from Ashley's opera Atalanta, recounted in 3 parts.

Revisiting this acclaimed work – a brutal one-act comedy about a learning-to-drive daughter who comes face-to-face with the mother she thinks has let her down – Good As New first played in 1993-94 as part of MCC’s (then called Manhattan Class Company) One Acts. It was then extended to a full-length work and presented by MCC in 1997.