Yes, it’s time for yet another edition of Wired Magazine to hit the stands.
In the May edition of the mag (which hit streets today), yours truly came up with the ultimate artifact from the future for the back page of the mag — a futuristic version of the classic Hasbro game Operation. Wonder what a game like that might challenge you to take out of a futuristic human? Well, look no further.
Now go out and buy the magazine so you can read the articles.
Getting that first, in-print book review, is always a nice milestone.
That’s why it was a pleasant surprise to see that YRB Magazine did an early review in their March/April issue on The Lost Blogs.
They say that “The Lost Blogs is the answer to your prayers.” Which is a good thing. Even if you’re not religious. Or something like that. You can see a scan of the article here.
Apparently, today is the day everything I’ve ever written hits the stands.
Such is also the case for the March/April edition of the ever-so-quirky mental_floss magazine. This month it features a 10-pager by me entitled Scatterbrained: Colors. In it, I write about everything from yellow journalism to white noise to the history of crayons that were removed from your favorite 64-pack and the color “maroon-ed” (movies about being stranded on a desert island). You can find it at your favorite newsstand or local bookstore.
So get it or do what you normally do which involves eating a muffin while perusing the magazine and then putting it back on the shelf all oily and crap.
Yeah, the words keep on coming.
The March edition of Wired Magazine hits stands this week (yes, I know it’s still February) and includes my piece on the upcoming Wes Craven remake horror-flick The Hills Have Eyes.
And while I won’t tell you what my exact opinion of the flick is (that’s what buying the magazine is for), I will tell you that this was the first and only movie in my life that I literally felt ill watching — one that had me wondering if anyone would be mad if I stumbled over them and out of the theater at a studio press screening.
So, you know — take that for what it’s worth.
Sometimes you should be afraid of words.
At least that should be the case, this week, when the February issue of Wired Magazine hits stands and includes my article A Red Light for Greenlight about the strange phenomenon currently afflicting the M.I.A. Project Greenlight film, Feast.
Without a release date in sight and no reaction or response from the film’s producers (The Weinstein Company) I dug deep into the story and had a little chat with PGL notables Chris Moore, Director John Gulager and the co-producers of the film (Maloof Productions). What I found out about the behind-the-scenes situation was altogether surprising, intriguing and horrific.
So you know, go out, grab one and have a feast. (Yeah, I know.)