‘Bright Orange for the Shroud’ (1965) dominated by dark villain
Sleuthing Sunday (Book review): In a novel criticizing the attempted “taming” of Florida, MacDonald shows how scary an untamed man can be.
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‘Bright Orange for the Shroud’ (1965) dominated by dark villain
MacDonald goes all-in on McGee with double-length ‘Deadly Shade of Gold’ (1965)
Sleuthing Sunday (Book review): After the four 1964 novels introduce the unorthodox sleuth, the fifth tome is an international epic.
Twists come at a fast draw in ‘A Purple Place for Dying’ (1964)
Sleuthing Sunday (Book review): Travis McGee finds things aren’t so civilized out West in the third adventure of John D. MacDonald’s series.
‘Muppet Treasure Island’ (1996) a swashbuckling, less Muppet-centric adventure
Throwback Thursday (Movie review): You won’t want to delete this Spa’am-featuring entry, even though it focuses on the humans.
Collins eases fans back into ‘Dark Angel’ with ‘Before the Dawn’ (2002)
‘Dark Angel’ flashback (Book review): After the TV show’s cancellation, this spinoff prequel takes us back in time.
McGee’s ‘Nightmare in Pink’ (1964) only partly comes from juggling women
Sleuthing Sunday (Book review): The second McGee novel especially reveals the secret that these are men’s romance novels.
‘TMNT Adventures’ 32-37 and ‘Mighty Mutanimals’ 1-5 (1992) become ‘the banned issues’
Turtle Tuesday (Comic book review): Under Archie in the 1990s, Clarrain was allowed to tie foreign cultures into his mythology. Viacom isn’t so keen on that.
‘Tales of Leonardo: Blind Sight’ (2006) wins the battle of Turtle-focused miniseries
Turtle Tuesday (Comic book review): Jim Lawson combines striking silhouette art with a thoughtful meditation on the leader of the group.
‘Mummy’ (1999) puts impressive wrap on 20th century Universal Monster flicks
Frightening Friday (Movie review): And it’s debatable whether anything from the new century has matched Stephen Sommers’ film.
‘Face/Off’ (1997) among the ‘who’s who’ of great body-swap movies
Throwback Thursday (Movie review): Fun, thrilling and surprisingly touching, John Woo’s actioner explores the proclivities of identity.