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A reunion of some kind, I find myself at a high-school friend's parents' house. I'm hanging out in the foyer; he's not there, we weren't ever close, just two boys--a bit awkward with parents pushing us to socialize. The house is massive, opulent and cold; very "west coast." There's some awkward conversation with one of his brothers--I don't think he really has any brothers but dream logic morphs the man's face to something approximating the old friend, just now with a receding hairline.

There's a scene in David Fincher's adaptation of The Girl with the Dragon Tattoo where Martin Vanger (Stellan Skarsgård) politely invites Mikael Blomkvist (Daniel Craig) into his house, after finding him snooping around. The fact that Martin is the killer well known by Mikael and Martin knows he knows, but because of the human, the social animal need to follow, to be near, to group up, Mikael follows Martin, nearly meeting his end in doing so.

A 44 page, black & white, American comic-sized, square-bound, self-contained, folk horror graphic novel by J.A. Short & David Hitchcock

As AI overtakes the web, five writers reflect on how far it’s fallen and what comes next.

The most recent take on Ripley is simultaneously the most faithful and the most radical departure from the Tom of the book, thanks to some delicious suspenseful pacing and Adam Scott's terrifying performance. Not that the book offered much in terms of an internal-monologue, but here, in a visual medium, we're only privy to Tom's exterior. His hair, his outfits, his calculating gaze and his seemingly perpetual inability to understand all of the messy humans he finds himself surrounded by is the main course of this dish.

This was the iteration of the Tom Ripley that I grew up with. To be clear, I've only watched it recently, but Matt Damon's version swam in the cultural zeitgeist I was party to at the turn of the century. Prior to my watching the limited series and reading the book, this was the version that lived rent free in my head; a poindextered Damon willing to kill for riches.

The first film adaptation is the one that takes the most liberties with the source material. Even the title "Plein Soleil" (aka "full sun") or as it was released to the English speaking world "Purple Noon" take a more poetic tact than any of the other versions. This is a French film and my French is good enough to get most of the dialogue, except anytime there's an Italian speaking, …