Coen Bros: Inside Llewyn Davis part 5

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This movie is still in theaters. If you keep reading this analysis, things will be spoiled for you. Just sayin’.

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Comic alert!

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A comic I created with the incredible R. Sikoryak has just been posted at the high-tone, fancy-schmancy website Slate as part of their 12-Panel Pitch series. Enjoy!

Coen Bros: Inside Llewyn Davis part 4

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Now, don’t go a-readin’ this here analysis before you’ve seen the movie, because it’s awesome. The movie I mean.

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Coen Bros: Inside Llewyn Davis part 3

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Hey guys, be cool, don’t go reading this if you haven’t seen the movie, it’ll just spoil it for you.

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Coen Bros: Inside Llewyn Davis part 2

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As this excellent movie is still in theaters, let the reader beware: spoiler alert.

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Coen Bros: Inside Llewyn Davis part 1

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As this excellent film has just started its run in theaters, let the reader beware: spoiler alert.

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Todd Alcott: now available in book form!

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Attention, people who can read! There are two excellent new books out, Devastator #9 by the editors of The Devastator and Lebowski 101 by Mr. Oliver Benjamin.

What makes these particular books excellent? I am featured in each! Devastator #9, a typically sly and brilliant issue of Geoffrey Golden’s humor quarterly, features one of my rarer-than-hen’s-teeth comics pieces, and Lebowski 101, a volume of smart writing on everyone’s favorite Coen Bros movie, features my own take on the now-classic.

Pick them both up today at your favorite online retailer!

Why zombies?

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The current wave of zombie entertainment began with 28 Days Later, moved on to Zack Snyder’s remake of Dawn of the Dead, which spawned a remake of Day of the Dead, and, from George Romero, Land of the Dead, Diary of the Dead and Survival of the Dead. Pride and Prejudice and Zombies was a hit novelty book, and suddenly zombies were everywhere, culminating in The Walking Dead and now World War Z, which became a smash hit in spite of a wave of negative buzz.

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Some thoughts on the state of screenwriting in 2013

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It was a great weekend for American filmmaking. Gravity is a solid thriller, made by a great director, Alfonzo Cuaron, a man with a bold cinematic vision, backed by a fearless producer, David Heyman, who ushered Cuaron’s vision to the big screen, produced in collaboration with a huge studio, Warner Bros, who supported Gravity‘s vision and ushered it into theaters with a hugely effective marketing push. Miracle of miracles, the movie made a ton of money and will continue to do so. Because Gravity fulfills one of the essential qualities of commercial filmmaking in 2013: you gotta see it in a movie theater. This is a movie that will not be the same experience when you’re watching it on your phone while waiting in line at the grocery store.

Here’s the thing: in an ideal world, Gravity would be an average American movie. Why isn’t it?

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Breaking Bad and the importance of plot

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As Breaking Bad draws to its close, internet folk have deployed millions of pixels to dissect its meanings. All of which attention the show richly deserves. However, I haven’t yet seen an article describing what the show has meant to me, and to writing for television, so I’m going to write it now.

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