My essays on BROKER (2022), ELVIS (2022), DECISION TO LEAVE (2022), DRIVE MY CAR (2021), BURNING (2018), TWIN PEAKS: THE RETURN (2017), TONY TAKITANI (2004), CHAN IS MISSING (1982), & THE CRIMSON KIMONO (1959) can be read at Bright Wall/Dark Room (@BWDR)! https://t.co/PaPFkKwhjx
@PhilNobileJr@BrianWCollins Brosnan returning for a one-off makes a whole lot of sense for the reasons stated above. I wonder if Amazon ever pushed EON to make an “Old Man Bond” limited series with him during the streaming arms race.
My review of BEYOND THE ICON: ASIAN AMERICAN GRAPHIC NARRATIVES has been published in the latest issue of BIOGRAPHY. In my introduction, I discuss how Asian characters were portrayed in the very first issue of DETECTIVE COMICS, the comic that would eventually feature Batman.
Happy to announce that my essay “Why I Teach THE CATCHER IN THE RYE” has been published in BROAD SOUND, VOLUME 2 — PART ONE. I’ve included the first page here as well as the front and back cover. You can order a physical copy from Amazon here: https://t.co/SwiO5XitCX
The proof copy of Broad Sound Vol. 2 - Part One is in transit, so why not share a copy of the table of contents for the print edition. Look at all that talent in one place. It'll make your head spin. Coming next week.
MAD MAX 2: THE ROAD WARRIOR is a post-apocalyptic chase movie, a refined prototype for not only the next three films in the saga but every “End of the World” movie or TV show thereafter.
MAD MAX is basically a Western with cars and motorcycle gangs, a pre-apocalyptic revenge flick with outstanding action. It’s the kind of exploitation flick from the days of VHS where you’re like, “Whoa, what is THIS?”