Coming out of Gone Girl, I was of two minds — appalled pearl-clutcher and delighted crime-fiction geek. On reflection, I’m inclined to side with the pearl-clutcher in me that sees David Fincher’s adaptation of Gillian Flynn’s bestselling thriller as a clarion call for misogynists and men’s rights loons everywhere, but I’d still like to talk about how the movie (adapted by Flynn herself) mashes together a variety of tropes from several decades’ worth of crime-fiction lore — all for a deeply hypnotic end-result.
"Bond had always been a gambler." – from Casino Royale
Casino Royale is hands-down the best James Bond movie, and Daniel Craig is the best James Bond. Yes, Connery is still in second place, but he’s only in second place to my knowledge. I haven’t seen On Her Majesty’s Secret Service, and I suspect that George Lazenby got a raw deal when he made that movie. Most critics I respect have called OHMSS a thematic and tonal sibling to Casino Royale, and that makes me think that the best James Bond all along was Lazenby, not Connery – until Craig, that is.
Like most geeks of my generation, I’ve seen this classic time-travel movie countless times, and over the years, I’ve compiled a modest list of tiny details I’ve noticed and would like to expound upon. These minor details span a range of categories. In some cases, they’re simply powerful moments that have lingered with me, and in other cases, they’re rich details that I only recently noticed – and that I very well might be imagining. I’ll leave it to you to help me decide.
In the final segment of this three-part series, I try to diagnose season five's problems, all while suggesting some possible remedies and proposing ideas for future seasons.
Last time I asked: Where are the kids in season five? I know, I know — we see all of ‘em, if only briefly. We drop in on Randy in his brutal new foster home, where he’s been forced to harden his heart to combat accusations that he’s a snitch. We follow Michael and Dukie through most of season five, and even Namond makes a brief appearance in superheroic mode, kicking ass in a debate competition. Unfortunately, it’s not enough, and it’s not what season five needed, I submit.
As a species, we crave ritual. I just returned from Burning Man, my second trip in as many years to the famed arts and music festival based in the Black Rock Desert of northern Nevada. I’ve got some thoughts to share, but before I launch into them, I want to offer some …
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…
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.
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.
Fanbase Press has one of the great unheralded stories of the comic-book publishing world. Run by Los Angeles-based husband-and-wife team Bryant and Barbra Dillon, Fanbase Press has been putting out top-notch content for the past several years. The company’s first two titles, Identity Thief and Something Animal, were both painterly explorations of dark psychosis. Since those releases, they’ve steadfastly sought…