Fall TV season! For you it began long ago, when NBC first started airing those endless commercials for “Whitney.” For me it began even longer ago, and involved a two-week press tour in Los Angeles in August. (Rough life, I know — boo hoo.)
I was trying to figure out why I haven’t blogged in so long (erm, THREE MONTHS) other than the usual excuses, most of them having to do with my undying admiration for what Nancy Nall manages to pull off nearly every weekday morning of the year — while also working her fingers to the bone on other paying gigs. My stuff here definitely remains in the slowest possibble slow-blogging category. And yes, that’s a thing, or once was.
On the upside, I guess, it’s just you and me now. No one comes here anymore.
Book luvvers, the One-Man Book Club has some friends and they have been — I believe the term busy as shit applies here, writing some very good books. I’ve got my own copies and if you’re lucky I’m going to give you yours. But really what I want you to do is go out an’ buy one. Hardcover is nice; e-book works too.
I’ve not read all of these yet, but you can bet I intend to. If I wait until I do, then I’ll miss the wave of woot-woot that has accompanied each of these. Let’s get to it. Here are the rules:
For all y’all who’ve spent a lot of this week snowed in …
Washington was spared (this time) but for some reason I was having vague memories about this piece, from February 2003, and I wanted to go back and make sure I wasn’t imagining that I actually wrote it. I remember it was inspired (and suggested) by Frank Ahrens. It’s short. It’s about how guys go all macho when it snows and stomp in to the office unshaven and fleeced out.
Enjoy it all over again, or for the very first time.
My broader analysis of the cultural zombie fixation, vis-a-vis my Walking Dead review on Sunday.
And another nice use of art on the section front (see below), courtesy of illustrator Zohar Lazar. The print edition of the newspaper is still a bargain and a visual treat that the web site just frankly still isn’t. However, with the web version, you get a brief slide show of zombies. In a perfect world, you’d get both the lovely freelance illo AND the web extras. Maybe iPad will somehow deliver on the promise of principled design and neat, new geegaws…
Orson Welles said that. I say AMEN.
I haven’t been blogging as much because it’s like a department store in December around here. I’m the TV critic for The Washington Post. That’s my bread, that’s my butter. There is ENTIRELY TOO MUCH to do this time of year. (The rest of the year, there’s only always a little too much to do, which is how I like it.)
I only thought I’d typed my last words about Lost for The Washington Post. This morning, post-finale, it turned out we really needed someone to make the case for purgatory, amid all the other theories we were posting, either by Liz Kelly and Jen Chaney (our in-house “Lost” PhD’s), or from lots of devoted readers. Here’s what I wrote, which is getting me lots of argumentative e-mail in return. It’s online only. (We’ve decided that we’ve killed enough trees trying to elucidate Lost.)
IT WAS PURGATORY, PEOPLE
By Hank Stuever / (c) The Washington Post / posted on May 24, 2010 (updated version)
Here’s something I wrote for the paper about the end of (perhaps meaning of) Lost. More important, here’s the Owen Freeman illo that went with it. Only, when it came time to run the essay, the powers that be decided to run it on A1 on Friday, where we would just never ever run an illustration. (Then again, who would have ever thought deepish essays about TV would ever be on the front page of the Washington Post, either?) So, Owen’s art went with a “Lost”-releated story by Jen Chaney on Saturday’s Style front instead. The best laid plans, etc. — I’m glad it saw print.
At long last, the greatest hits of Gene Weingarten. Coming in July.
I got into newspapers in high school because I liked the way they look. In college, I chose writing and editing over design, but two decades later I keep wondering if I made the right choice.
We’ve been attempting a bit of visual branding with some of my longer reviews/essays about television in the Style section. This means deeper thoughts (haha) and most of all, Better Art. I’ve been loving these illos that we hired graphic artist Owen Freeman to do for Treme, Betty White, and my piece on mockumentaries. They give off a bit of an Alex Ross graphic novel realism …