Tom Carson

Tom Carson won two National Magazine Awards during his stint as Esquire's "Screen" columnist and has been nominated twice more as GQ's movie reviewer. Formerly a staff writer at LA Weekly and The Village Voice, he is the author of Gilligan's Wake (a New York Times Notable Book of the Year for 2003) and Daisy Buchanan's Daughter.

Recent Articles

Another Note for the Bettie Page Files

A new documentary, Bettie Page Reveals All, provides not only a bonanza of images of the proto-hipster pinup girl in her prime, but her later-in-life musings as well. 


It's fun to think of Bettie Page as Hugh Hefner's female rival. Six decades ago, Playboy's incredibly dull founder created an empire that turned women into interchangeable sex objects in the guise of liberating Americans from their Puritan hangups. All Page had to counter him with was a body that couldn't be mistaken for anyone else's and an extraordinarily expressive face. Hef made millions while Page posed for chump change for amateur shutterbugs, at least until softcore fetish king Irving Klaw and then pinup photographer Bunny Yeager recognized her uniqueness and she wound up in Playboy itself.

Jim Lehrer's No Good, Very Bad JFK Assassination Novel

All you really need to know about Top Down is that it reads like a YA novel for old people.

Unless we watch PBS on hallucinogens, which is as unlikely in my case—I can't speak for you, obviously—as watching it at all, we have no idea what Jim Lehrer looks like when he's bug-eyed with a spirit of gleeful larceny. But imagine the thrill of un-Lehrer-like cunning he no doubt felt at bringing out Top Down—boldly subtitled "a novel of the Kennedy assassination"—just in time to cash in on the 50th anniversary of the big event. Et tu, Jim? Now that Newshour's heretofore cleaner-than-a-hound's-tooth anchorman has acquired a taste for this kind of sordidness, he'll probably be arrested for shoplifting next.

Mailer's Mark

AP Images/Kathy Willens

It sometimes chagrins me that there is no author whose work I’ll ever know the way I do Norman Mailer’s. An adolescent immersion in Alexander Pope (unlikely) or Stendhal (if only) might have stood me in better stead, but it wasn’t to be. Until I came up for air sometime after college—Mailer as lodestar didn’t survive Edith Wharton, let alone Nabokov—I was an avid member of the boys’ club inflamed by his example.

Royal Rumble: Academics vs. Film Critics

AP/Belknap Press

It's not every Sunday morning I find myself engaged in a Twitter quarrel with Richard J. Evans, today's foremost (though Ian Kershaw may disagree) academic historian of the Third Reich. But Sir Richard—yes, he's been knighted—is also the foremost academic defender of Ben Urwand's controversial new book The Collaboration: Hollywood's Pact With Hitler, and I had a bone to pick with him. I can't say I'm not grateful he answered, although my dream of blowing off Cambridge's Regius Professor of Modern History by tweeting, "Gotta go. Saints game's on!" didn't materialize.

You’re Tearing Us Apart, Tommy!

Greg Sestero and Tom Bissell’s new book, The Disaster Artist, basks in the delightful weirdness of The Room and its chief architect.

Photo by Amanda Edwards/PictureGroup

"The greatest bad movie ever made." That's what the subtitle of The Disaster Artist, by Greg Sestero with co-author Tom Bissell (Simon & Shuster, $25.99), calls crackpot director-writer-star Tommy Wiseau's The Room, on which Sestero labored as costar, line producer, and thunderstruck eyewitness. The object of a worldwide cult that's still going strong a decade after the movie's 2003 "release”—it played for two weeks in a single L.A. theater rented by Wiseau, to mostly empty houses until word began to spread that this was no ordinary train wreck—The Room has definitely displaced the previous bad-movie champ, Ed Wood's legendary 1959 Plan 9 From Outer Space, in both notoriety and audience affection. And what a bitter pill for Wood's ghost, since the only superlative he ever earned has been snatched away by an even crazier usurper.