Can’t miss prospects often do

To listen to Michael Jordan say it, it seemed like the Washington Wizards had found the next, for lack of a better adjective, Michael Jordan.

“We feel his potential is unbelievable,” Jordan said. “In a couple of years he may be a star. It became apparent after we saw him work out that he has the skills and desire. We bought him in for a second workout and were convinced.”

From the description, this player was bound for greatness, destined for glory and tabbed to be the best thing since Bill Russell. He was a can’t miss. A future All-star. A player the team would be able to build around for years and years. But the player Jordan was gushing about?
Kwame Brown.

On Wednesday night, the NBA will hold its 2006 NBA draft at Madison Square Garden. Just five years ago on that very stage, Michael Jordan and the rest of the NBA world anointed Brown the new king as the No. 1 pick in the 2001 draft, despite Brown never having scored a single professional basket, or won a championship.

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Postmodernism and Arrested Development

February 10, 2006 marked an unspectacular end to one of the best television shows you’ve never watched — Arrested Development, a character-driven comedy series about a largely dysfunctional, and formerly wealthy, family. From its inception, it was clear that Arrested Development would be a unique sitcom, employing intertextual and reflexive features, deeply embedded in postmodern thought. Intertextuality is simply one text that quotes or alludes to another. An example would be the Fox cartoon Family Guy, which constantly references other pop culture in cutaways, interweaving Star Wars, Justin Timberlake and United States President George W. Bush into its own comedy. Along the same lines, reflexivity is a concept of self-reference. For instance: “This blog entry deals with a postmodern critique of Arrested Development.”

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