“Journalist Wanted. No Pay.” ugh (and other adventures in social networking)
Stuff my followers on Facebook, Twitter, and Google+ saw today…
Stuff my followers on Facebook, Twitter, and Google+ saw today…
Stuff my followers on Facebook, Twitter, and Google+ saw today…
Links my followers on Facebook, Twitter, and Google+ saw today…

What we witness here is the destruction of the old Bond mystique, and the creation of a new one. This is the sneaky cleverness of the film: it is, at last, going to tell us why Bond still matters.

Insanely grand… My god, I love this movie. It’s every movie. It’s the ultimate movie.
Links my followers on Facebook, Twitter, and Google+ saw today…
There’s a little bit of Hammer horror in Julie Taymor’s messy but thrilling adaptation of Shakespeare’s last play, and there’s more than a little turning-of-the-tables, all of which brings a new perspective on the play, and a new appreciation for it, which is the best we can ask for the umpteenth adaptation of a centuries-old work.
In response to something I posted recently about “the female gaze,” I got an email from a male reader who appeared to believe that “the female gaze” refers to “movies women like to watch.” It doesn’t. Not even close. But his email got my thinking that perhaps I need to explain what “the female gaze” … more…

John Keats is the intruder in Fanny Brawne’s story, and you might be forgiven for assuming that she’s the one who became legendary, for how the film defies convention by lavishing its focus on her.
I wanted to like this, because it’s British and costume-y and 1920s and 30s and I’m a complete sucker for all that jazz. And I just can’t.