Steve Erickson
Steve Erickson
Stephen Michael Erickson, pen name Steve Erickson, is an American novelist, essayist and critic. He is the recipient of the American Academy of Arts and Letters Award in Literature, a fellowship from the John Simon Guggenheim Foundation and the Lannan Lifetime Achievement Award, and is considered an important representative of the Avantpop movement...
NationalityAmerican
ProfessionNovelist
Date of Birth20 April 1950
CountryUnited States of America
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I know it's the first time I've ever seen one in the daytime.
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'Homeland' is necessarily open-ended since the idea behind television is to spend as much time as possible resolving as little as possible, with a story's usual need for resolution replaced by an unrelenting urgency that always defers answers and constantly postpones closure.
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For half a century, the Sunset Strip was the asphalt timeline of American popular music. My most distinct memory, from more years ago than I'll confess to, is waiting for a table at the Olde World, which occupied a wedge of territory at Sunset and Holloway Drive, where the daiquiris became more vicious the longer you sat in the sun.
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'Downton Abbey' is a pageant, a cavalcade of a time when being born right is the first and most irrevocable career move, and in which an older order - whose passing 'Downton's' creator, Julian Fellowes, clearly mourns - is submerging in icy seas as surely as a grand and extravagant ocean liner.
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Meryl Streep and Julia Roberts act themselves senseless in 'August: Osage County,' and by the time they're finished, they've acted their movie senseless, too.
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Moviemaking is a time machine: narrative spliced into fragments and reassembled into a constant present, the end of a story shot before the beginning, which is shot after the middle.
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The ritual of families watching TV together passed into antiquity around the time I was my son's age; that was when households tended to have a single television and when the choices of what to watch were manageable.
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All of Wes Anderson's films are confections, memoirs created in cinematic snow globes, with the subtext that memory is the most extraordinary confection of all.
Like all paradises, Topanga is pitched at the tipping point of promise and peril.
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In 1957's 'There's No You,' Sinatra is suspended at the intersection of a loss he can't face and a memory he can't relinquish.
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Nothing is more linear than a street; nothing has a more fixed beginning, middle, and end.
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Taking place in some Nordic-looking hinterland where all the seasons are out of whack, 'Game of Thrones' is the most aggressive example since 'Battlestar Galactica' of a genre that's perceived as adolescent aspiring to be fully adult.
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Created by writer Beau Willimon, who's worked on several political campaigns, 'House of Cards' cannily exploits the current widespread cynicism for our politics, catering to a public scorn that's warranted and also glib in the sort of cheap pox-on-both-houses way that means not having to pay attention.
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In journalism, as in politics, other people's lives are a currency to be bartered on behalf of notoriety and influence.