Thor: Ragnarok director Taika Waititi has said on multiple occasions that his upcoming entry to the Marvel cinematic universe was inspired by one of my all-time favorite movies, Big Trouble in Little China.
In 1998, I had the pleasure to see one of American theater’s great dramas, Eugene O’Neill’s The Iceman Cometh, staged at one of the grand old theater houses of London’s West End, the Old Vic, where Kevin Spacey was then headlining in the role of doomed interventioner (and erstwhile salesman) Theodore “Hickey” Hickman. I’ve reread the play a couple times over the years, including this past week. This most recent reading uncovered some of the plays more deeply held pleasures—well, deeply held from me, that is—and I’d like to talk about ‘em. Maybe during this discussion, I’ll discover why I keep returning to O’Neill’s depressing world of drunks, addicts, layabouts, and ne’er-do-wells.
Last night, I watched Star Wars for the first time in a few years. I know, I know -- what is there to say about it? Well, don't worry; I'm not about to launch into a 10,000 word treatise on its many virtues, but I did have a few thoughts:
SPOILERS AHEAD I'd love to meet and talk with a WWII-generation Japanese citizen who saw Gojira (aka Godzilla) for the first time in 1954. It's no secret that Japanese pop-culture – from Manga comics to big-robot/big-monster sci-fi – has acted as a pressure-release for the anger and anxiety built up from America's bombing of Japan in World War II. (The…
Bob here. I met Andi Cumbo-Floyd through Twitter, where she holds weekly discussion with other writers. She's one of the kindest, most thoughtful people I've interacted with, and her writing reflects that. Besides her ongoing pursuit of creative nonfiction, Andi is also a teacher and editor. She recently launched a new online community for writers, and she maintains an artistic…
One of the myriad pleasures of the classic TV series Twin Peaks is sensing the artistic tug-of-war between showrunners David Lynch and Mark Frost. By now it’s received wisdom that Frost—an alum of more traditional story-driven shows like Hill Street Blues—was a necessary correction for Lynch, the dreamy abstractionist.
In competing narrative voices (mostly first with a dash of third), author Mayer ably explores the turbulent headspace of Quinn, a teenager with a condition known as congenital analgesia—he can't feel pain.
Imagine Marvel’s Doctor Strange, with all of its trippy imagery, cool psychic battles, and supernatural-bordering-on-super-science worldbuilding. Now imagine that story written by a master novelist with protean-powerful command of first person, and you’d have David Mitchell’s Slade House. Needless to say, SPOILERS LIE AHEAD!