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Mitt Romney - he had a Rock Hudson thing going, shoeblack hair and a well-hung resume, but even for a shameless, position-shifting phony he seemed a trifle insincere.

James Wolcott

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James Wolcott
Age: 71
Born: 1952
Born: December 10
Journalist
Novelist
New York City
New York
Insincere
Well
Romney
Resume
Even
Hung
Thing
Seemed
Shameless
Going
Rock
Resumes
Rocks
Mitt
Hair
Phony
Hudson
Position
Trifles
Trifle
Wells
Shifting

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Everyone is entitled to his own nostalgia.
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It isn't that NPR is matriarchal but that it has dedicated itself to not being patriarchal in its outlook and presentation, stipulating from the outset that its headline voices would not resound across the fruited plains from big male bags of air sent from Mount Olympus.
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What a turnaround in sentiment 'Glee' exemplifies. It was only a few years ago that pursuing the dream of a Broadway career or cabaret stardom relegated some poor yearning dope to a lavender ghetto of losers, self-deluders, and social rejects.
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At 'The Village Voice,' there were all these fevers inside the offices, that would break out into full-scale rumbles between writers.
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Book-jacket design may become a lost art, like album-cover design, without which late-20th-century iconography would have been pauperized.
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I've always stayed on the periphery of things. When I used to go to the punk clubs and things like that, I was never up front. I always wanted to be in the back, or on the side, because I wanted to get the whole view, rather than be staring up at someone's nostrils.
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Historically, Hollywood comedy has arrived in skinny envelopes. From fence post Buster Keaton to herky-jerky Jerry Lewis to wiry nerve-bundle Woody Allen to hung-loose Richard Pryor to whippy contortionist Jim Carrey, its comics and clowns have tended to be sliced thin and bendable.
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'Hairspray' was a movie turned Broadway musical turned Hollywood remake, and that is the 'Lion King' circle of life as we know it in Times Square, the creative loop that swings for the stars and sometimes crashes into the upper deck.
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It's one thing to fight for what you believe in, another thing to fight for what others believe in.
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Popular culture no longer craves archangels and new dawns. Pop culture traffics in vampires and deads of night.
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I never accepted why there should be some invisible, wavy cutoff line separating Great Fiction from phosphorescent beauties and dollhouse miniatures, novels that contain a whole world in a snow globe.
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High expectations weren't nurtured in my neck of nowhere back then - children weren't fawned over from an early age as 'gifted' and groomed for a prizewinning future self-esteem was considered something you had to pick from the garden yourself.
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Even the most piddling life is of momentous consequence to its owner.
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With 'Black Swan,' the ballerina saga flips its tiara and goes on a hallucinatory bender, a scary acid trip where transfiguration and disfiguration meet.
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Slashing its way to the finish line, Black Swan is the first ballet movie for highbrow horror fans for whom ballet itself signifies little to nothing. Those of us who know and love ballet can only look on it with a different kind of horror.
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And what could be a hotter ticket than the improbable triumph of 'The Book of Mormon,' the musical-comedy moon shot of the season? Its creators, Matt Stone and Trey Parker, of Comedy Central's 'South Park,' are the most unlikely Rodgers and Hammerstein team ever to bowl a thundering strike.
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People want somebody to be a daredevil, even if they're not going to be a daredevil themselves.
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Like 'Twin Peaks,' '24,' 'Mad Men,' and 'The Sopranos' before it, 'Downton Abbey' enriches the iconography and collective lore of pop culture. It replenishes the stream.
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Who elected Larry King America's grief counselor? We, the viewing public, did, by driving up his ratings whenever somebody famous passes.
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A lost election can have the jolt of a drop through the gallows door, leading to a dark night of the soul in which the future presses down like a cloud that will never lift.
James Wolcott