Author: Nick Fleming

Robert Osborne: Memories of the Movie Man

Post by Nick Fleming

Robert Osborne, film enthusiast, historian, journalist, and host of Turner Classic Movies passed away March 6. The following post, written in the days since his death, is in honor of his memory. (more…)

Review: “Spectre”

Ian Fleming’s fictional spy, James Bond, returns to theaters in his 24th adventure, Spectre. Before taking a closer look at what may very well be Daniel Craig’s final outing as James Bond, Nick Fleming briefly looks back at the actor’s mark on both the character and the series at large.

The following review contains MINOR SPOILERS.

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Wish Bones & Dutch Apple Pie: The Humble Beginnings of my Bond with Bond

With a few weeks to go before James Bond makes his 24th official return to the U.S. with Spectre, Nick Fleming reflects on the beginnings of his affection for the series against the backdrop of the holidays.

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Jean Shepherd: The Voice in the Night

The mass media landscape is littered with characters that are easy to like, personalities we love to hate, and everything in-between. Here at The 2 Shot, we on occasion take a closer look at a specific talent we think you need to know about. In this edition of what we call “Below the Line,” Nick Fleming spotlights raconteur, Jean Shepherd (July 26, 1921 – October 16, 1999).

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Gallows Humor: “The Hateful Eight” Teaser Trailer Reaction

Quentin Tarantino’s “go for broke” approach continues in the teaser trailer for his eighth film, The Hateful Eight (The H8ful Eight).

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Cathode Ray Colonialism

–Scott Stalcup

Critics like Alan Sepinwall and Brett Martin champion the current productions that constitute the developing Third Golden Age of Television.  Existing predominantly on cable and pay cable channels, the programs were less subjected, or not subjected at all, to FCC regulations regarding obscenity.  Nor were they subjected to pandering to advertisers.  Thus, by having limited-to-zero commercial interruptions, seasons on cable had a shorter length.  As a result, “it meant tighter, more focused serial stories [and] less financial risk on the part of the network, which translated into more creative risk on screen” (Martin 6).  This, in turn, shifted storytelling from “bottle” episodes to “the equivalent of countless movies” and at the production level thereof (6).  Fantastic though it all sounds, the mother country got there first.

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