What Writers Ought to Know About Die Hard (Part One)
Normally, when I sit down to write a Trashy Tuesday Writing School post, it’s because I’m trying to redeem some element of sitting down and watching a terrible movie. Films like the Josh Kirby series, which started badly and ended badly and reached a high water mark around number 3, or Speed Racer, which is a triumph of style but a massive failure as a script, or Robot Jox with…well, you get the picture. I should not that trashy isn’t applied to these films as a statement of quality – I adore the Speed Racer film for its ambition, and loathe Josh Kirby for…well, reasons that will require a blog post of their own. Trashy is instead used as an aesthetic judgement, a way of categorizing films that are unified by a sense of pop-cultural kitsch and the ability to seep into the popular consciousness. True, not all trashy films are good. In fact, most of them are pretty terrible;
