Dan Levy's Parents Knew He Was Gay Long before He Told Them — Facts about the Emmy-Wng Actor

is llewyn davis gay

In the Coens' screenplay the dience disvers the character of Llewyn at a crossroads his life and reer, adrift the New York folk scene of 1961. When they began to wre, the brothers took as a startg pot the openg image of a folk sger gettg beaten up a back alley of a Village folk club; the qutn they then asked themselv was, "How did this character get here—what were the events that led to this?" Acrdg to the Coens, when they s down to wre they only have the most general ia of where the story is gog. "We never, cludg on this movie, do an outle or figure out what's gog to happen, how the screenplay's gog to unfold," Ethan says. "We jt start wrg wh the first scene and we see where go." "In this se, though, we did know how we wanted to end," Joel says. When we meet him, Llewyn is stgglg to make as a sgle act after the suici of his sgg partner, Mike Timl. He is eager, almost sperate for succs, so he n earn a ltle b of money; on the other hand he wants to rema te to himself. Circular Story The screenplay begs and ends wh Llewyn endurg a beatg outsi the Gaslight Café; the fal pag of the script Llewyn fds himself walkg to a prediment that bears a myster remblance to the one he walks to the script's openg pag. "One thg we wanted om the begng was to have a circular stcture to the story," says Joel. "It was always the ia, even before the whole story was thought through, that was gog to wd up the place where started. And we knew that was always gog to take place wh a prsed perd of time, a ty slice of time—roughly a week maybe." "Another thg that was always on our mds, as we wrote, was when—exactly when, at the end of the movie—we were gog to let the dience know that the story was g, so to speak, back to the prent," Ethan says. "When will the dience get the ia that the story is kd of pletg a circle?" The brothers expla that they refully nstcted the closg scene at the Gaslight: "It isn't until the scene at the very end, when you go back to Llewyn performg Hang Me' at the Gaslight—jt as he did the openg—that we put certa thgs to tell the dience that they're watchg the intil moment they saw earlier," Joel pots out. "Llewyn uld sg the same song any number of different nights—'s part of his repertoire. So we had to very specifilly thk about how to illtrate that this was not jt Llewyn sgg the same song twice, but that this was the same actual performance om the begng of the movie," Ethan says. Joel says: "The shot of Llewyn g off stage, after his number isn't vered by the mera the same way as is the begng, but the scene repeats the same dialogue, so you realize you're watchg the same event, om a different angle." This shot also expands on the moment. Llewyn performs a chos of 'Fare Well' ('Dk's Song') after 'Hang Me.' At that pot the performance is over and he walks off stage. The story has now e full circle. Characters Peter, Pl and Mary The characters who populate Llewyn's story are an amalgam of imprsns the Coens have of certa historil characters and fictnal creatns of their own imagatn. Jean and Jim Berkey, for stance, particular as they perform wh their iend Troy Nelson at the Gaslight Café, rell some ways the folk tr Peter, Pl and Mary. "In fact, the script we gave them a Peter, Pl and Mary song to sg—'500 Mil'," Joel says. Ethan says, "There was a real act lled Jim and Jean but all we sentially took om them—om their act—was their nam. I have no ia who they were as people. Jim and Jean, as they are the movie, they are our ventn. We thought of Jim and Jean as the more clean-cut versn of the folk scene." Roland Turner: John Goodman "Wh the character of Roland Turner we were thkg about the New Orleans, old-school, jazz guys, and Dr. John," Ethan says. "Roland is a pose, on the surface, of var figur." As played by John Goodman, he is an amalgam of the screen persona of Orson Well and Burl Iv. Many viewers perceive him to be a gay, or sexually ambiguo mician due to his relatnships wh his pann (who driv the r to Chigo). Llewyn Davis: Amerin Origal Llewyn is an origal, wholly fictnal character. Insi Llewyn Davis—the tle a reference to Van Ronk's 1963 album, 'Insi Dave Van Ronk'—isn't fact about Van Ronk. Like Van Ronk, Llewyn has a workg class background, but otherwise he rembl Van Ronk only that he shar his repertoire of songs—mic that acrdg to the Coens riv more om what they scribe as the Sts-Irish-Anglo tradn as opposed to the Southern tradn of the blu. Llewyn tak a physil beatg or two the story, but he tak a psychic beatg as well. His ntent relatnship wh Jean Berkey, his bt iend's wife, weighs on Llewyn through the movie. Jean sleeps wh Llewyn, only to go on the attack, tellg him he's got no ambn, isn't gettg anywhere—and everythg he touch falls apart. When he lands a gig rerdg a song he thks is ane about the newly elected Print Kennedy, he somehow manag to lose out when the song be a h. The rerd Llewyn ma on his own isn't sellg, and so he sets his hop on beg signed by Bud Grossman, a mic producer and manager out of Chigo. A goln opportuny to dn for the legendary Grossman sudnly looms when a bizarre twosome—jazz mician Roland Turner and his pann Johnny Five—appears; they are drivg cross untry and need an extra hand for gas money. Llewyn is . Llewyn's trip to Chigo is roughly spired by an cint Van Ronk's life, which Van Ronk suffers through a particularly embarrassg dn for the well-known folk managerAl Grossman (the mol for the script's Bud Grossman). Ethan says, "The trip to Chigo is not a big al Van Ronk's remiscenc, but we felt the movie was so much about New York that the road trip would be a eful tour—we thought of as a kd of foil that might set off New York an tertg way." Llewyn's loss of his Masters Mat and Pilots license is another tail the Coens borrowed om Van Ronk's life, though Van Ronk shipped out twice wh the merchant mar, he never returned to sea after losg his seaman's papers, but otherwise Llewyn's odyssey through New York—and the misfortun that befall him—are the ventns of the Coens.

Contents:

WHO IS DYLAN LLEWELLYN? AGE, HEIGHT, GAY? – BGRAPHY

* is llewyn davis gay *

But Clayton was gay and unmarried, while Jim has a wife named Jean (Carey Mulligan). Many viewers perceive him to be a gay, or sexually ambiguo mician due to his relatnships wh his pann (who driv the r to Chigo).

Insi Llewyn Davis: Everyone thks Llewyn is gay.

My short answer to the qutns is that everyone the film believ Llewyn to be a homosexual. Pappi all of the important chang the plot bee he believ Llewyn to be gay. Pappi nfis Llewyn and sends him to an alleyway wh a strange man bee Pappi believ Llewyn is gay.

DAN LEVY'S PARENTS KNEW HE WAS GAY LONG BEFORE HE TOLD THEM — FACTS ABOUT THE EMMY-WNG ACTOR

Jim lets Llewyn to his home to sleep wh his wife bee Jim believ Llewyn is gay. The one time that he speaks to Llewyn, he opens the nversatn by mentng "Clean Asshole Poems, Orlovsky, " Orlovsky was Alan Gsburg's longtime partner, and his poetry equently ntaed explic referenc to homosexualy, such as "lookg for h butts" and "my gay jubilatn" durg a time when homosexualy was broadly banned. Johnny hts that the police have cracked down on his artistic reer due to the homosexual nature of the subject material.

Johnny opens up to Llewyn about this bee Johnny believ Llewyn is gay.

*BEAR-MAGAZINE.COM* IS LLEWYN DAVIS GAY

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grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><div class="GenericCalloutWrapper-tojWn iHBnEl llout--has-top-borr set-embedd-le" data-ttid="GenericCallout"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Deeper “Insi Llewyn Davis”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/></noscript></picture></span></div></figure></div><p>It’s apt that the Coen brothers have taken on the world of folk mic “Insi Llewyn Davis,” bee there’s somethg folk-like about their entire body of work. Their prciple genre is the tall tale, the story that has e down orally and that grows to s heroic or mock-heroic dimensns through repeated tellg, that has s odd tails polished to gems of wonr and s ner signifince sharpened to high relief as if through the accreted wisdom of the ag. At their bt, the Coen brothers’ movi affect the tone of legend and allegory; legend self plays a signifint role their work (as the openg sequence of “A Ser Man”) and, for all their risive and ribald glory, their films sometim atta, by way of scripture by way of Kafka, an oracular philosophil thory.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">“Insi Llewyn Davis” is centered on the Greenwich Village folk-mic scene 1961, which has long been among the legendary moments morn culture—which is to say that pretty much everyone agre that somethg great and ccial happened there and then, those who lived through keep revisg , and those who didn’t n’t get enough of the tellg. To rep: Llewyn Davis (played by Osr Isaac), a proud but stgglg young New York-based folk sger, lurch om mishap to mishap as he tri to relnch his reer as a solo act after the suici of his mil partner, Mike Timl. Wh their clear, clipped visual prose, Joel and Ethan Coen tell a good and juicy story, enpsulate on an timate sle the sense of a grand historil transn, and elic the story’s granr signifince wh an iriscent briskns that both gets to the re of the historil import and livers s wisdom morn terms to apply to morn life—and even to themselv.</p><p class="paywall">I <a href=">wrote here</a> a few weeks ago about some of the movie’s personal dimensns; to talk about s wir implitns means to talk about tail, to talk about the end as well as the begng, the twists and turns as well as the overall ntours—which is to say, there’s no way to do so whout reurse to spoilers. Those who want to keep the surpris for the viewg, be forewarned.</p><p class="paywall">Discsn of the film seems to gravate around three them, and the strange part is that one of them is a pure plot pot. Several of Davis’s problems revolve around the middle-aged amic uple Mch and Lillian Gorfe (Ethan Phillips and Rob Bartlett), iends who put him up their fortable Upper Wt Si apartment when he has no place else to crash. Davis has two scen wh the Gorfes; the first turns emotnally vlent when he’s gdggly sgg at their home, as if for his supper, and Lillian jos sgg harmony (“Mike’s part”); Davis curs her out and she storms om the room. The next time he viss, apologetilly, Mch is nciliatory, sayg (I quote om memory), “We all get emotnal over Mike.”</p><p class="paywall">Some wrers—startg, as far as I n tell, wh <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Brad Brevet</a>, who reported on the film when screened at Cann, last May—assume that the Gorfes are Mike’s parents. There’s no ncrete evince that this is so—no specific reference to Mike as their son, no sense that the fay is mourng (their grief isn’t tense, they seem pretty chipper, their social and profsnal liv seem active and unencumbered)—but the notn adds a mythopoetic element that’s keepg wh the movie’s air of high legend. Nohels, there is the lgerg qutn of why the Gorfes seem so favorably disposed to Davis as they were to Mike.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">In effect, the Gorfes—together wh another character, a doctor whom Davis viss to arrange an abortn (which, of urse, was illegal at the time) for a woman he slept wh—give the Coens’ movie s “<a href=">Stardt Memori</a>” slant. The Gorfes are folk fans—Mch owns a <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">veted vtage guar</a>, which he lets Davis play; Lillian knows the Timl and Davis repertory by heart—and the doctor tells Davis, “I haven’t seen you at the hoots for a while.” The middle-aged, middle-class liberals are Davis’s re dience, and, regardls of his gratu for their help, he don’t thk that they share his fierce and exactg passn for the mic.</p><p class="paywall">Davis pends on them directly, and directly on many others like them, for whatever reer he may have, but he is fundamentally unsympathetic to them and sens that, were ph e to shove, they wouldn’t be sympathetic to him or to the ept and most timate extrem of his art. For them, folk mic is a pleasure, perhaps a social and polil marker, not their life’s urgent need. Yet here the Coens subtly plant one of their grand ironi, one that lks up wh the movie’s central current of metaphoril power: the Gorfes and the prcipled abortnist prove to be among the most endurg dience that Davis might ever fd, bee his younger, hipper dience (as the movie’s whiplash endg shows) will be among the first to sert him.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Wh his panic epeng, Davis hch a ri to Chigo the hope of dng for Bud Grossman (F. Murray Abraham), the owner of the Gate of Horn night club, who uld give him a gig that would jump-start his reer. That strange terlu has been the subject of ntroversy—as <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">a discsn on Twter</a> wh the crics Dana Stevens and Jsi Gross—bee volv the film’s most extreme ritur, the personae of the two strangers whose ri he shar: a blowhard jazz mician (played by John Goodman) and his tacurn young driver (Garrett Hedlund—a ic b of stg, sce the actor played the Beat lumary Neal Cassady “On the Road”).</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssS ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="gflknd"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssS ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="0kvyq"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">The symbolic aspect of this sibar is clear. The jazzman is a harned cynic wh a wound, a hab—and a reer; the young actor is a self-ludg purist trapped huiatg servu; and for Davis, both optns appear unbearable. He wants neher to be a harned reerist nor a sacrificial ialist—and when he gets outsi of New York, outsi of the swirlg timaci of his daily life, those two optns appear all the more starkly to him as the only choic at hand. Both optns are unbearable; his life has bee all the more hallucatory and unreal to him; th trapped, he needs a miracle to break him out of his bd; and that’s the miracle he hop Grossman will be able to provi, the ex macha that will pull him out of his t.</p><p class="paywall">It don’t happen; Grossman don’t help, and Davis is, effect, nmned to return to his life, to New York, to face the same travails all over aga. Yet a miracle do occur—not <em>for</em> Davis, so to speak, but <em>to</em> him, exactly as happened to the world at large at the same moment.</p><p class="paywall">The movie has somethg of a circular form: opens wh Davis performg a Village club and headg out to s back alley to meet a stranger, who sults him, beats him up, and leav him on the ground. Davis is next seen sleepg on a sofa (at the Gorfes’, turns out), and the suggtn is that the two events happened succsn—first, the beatg the alley, then a recuperatn. Davis, havg been knocked down, <a href=">picks himself up</a>, dts himself off, and starts all over aga. Yet, at the end of the film, that scene turns up aga and be clear that the entire movie has been a quasi-flashback—not necsarily the events as Davis himself rells them (though he is—if my memory serv— every scene the movie, suggtg that the story sticks very close to his own pot of view) but the events that, the recent week, led to Davis’s beatg the alley.</p><p class="paywall">Yet at the end of the film, when Davis has fished performg at the club and heads to the back alley, another performer has already taken the stage—Bob Dylan, sgg his song “Farewell.” Now that Dylan has e on the scene, Davis has been fively phed out of . We unrstand that he’s knocked down, but this time he n’t get up—artistilly and morally more than physilly—bee Dylan has admistered the cisive knockout blow. Llewyn will never be the same; the gig is now up. The Coen brothers here liver their own knockout blow of philosophil irony, that there’s somethg worse than the eternal recurrence—namely, when some tastrophic force breaks you out of the circle you’ve learned to pe wh and sends you to ee fall.</p><p class="paywall">That’s the miracle: Bob Dylan’s arrival, and, wh him, the rise of the sger-songwrer, the repudiatn of pure folk. Llewyn Davis terprets tradnal songs and vts them wh the full force of his emotnal turmoil, his grand pth of feelg. And ’s not enough: Dylan turns up and radilly refashns the elements of folk mic by way of his own poetic gift, an art of radil neoclassicism that tak a tradn and remak even to the breakg pot, to the pot of his own break wh . He was a one-man New Wave.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">P.S. “Insi Llewyn Davis” is a wtry movie, takg place early 1961. Jean-Luc Godard’s “Breathls” opened New York on Febary 7, 1961 (at which time was <a href=">reviewed <em>The New Yorker</em></a> by … Roger Angell, whose passnately enthiastic review is one of the most keenly discerng that the movie has ever received). In 1988, the magaze <em>Actuel</em>, Godard spoke at length about Dylan, explag that he nsired himself to be “<a href=">rrponnce</a>” wh Dylan, and that he saw his own artistic reer parallel wh Dylan’s.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssS ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="rrcwt7"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/movi" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Movi</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt kbxOa-D newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Gogs On</h3><div class="NewsletterSubscribeFormDek-kXonvc cKOhTM newsletter-subscribe-form__k">What we’re watchg, listeng to, and dog this week, onle, N.Y.C., and beyond. 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SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Iphigenia Fort Hills" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Anatomy of a murr trial.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Ja Mallm</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR 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target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Transn</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Transn" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Lyndon Johnson and the events Dallas.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Robert A. Caro</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm eamwqR" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Blood Ti" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Annals of Crime</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Blood Ti</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Blood Ti" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Two brilliant llege lovers were nvicted of a btal slayg. All the years later, why has the se bee a e?</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Nathan Heller</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center 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