I'm the Bomb Morgan Hobbs Books
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When the most successful film studio in Hollywood is racked with failed projects, financial reversals and bizarre accidents, rumors swirl that legendary long-time studio head Nero is on the chopping block. The notorious and increasingly erratic Nero engineers a pre-emptive strike against the studio’s parent company by staging a star-studded film shoot in the desert and then orchestrating a series of increasingly traumatic accidents—prematurely triggered pyrotechnic effects, blanks switched out for live ammo, and worse—guaranteed to make the project fail so lethally that it brings down the very studio that he created. The cast and crew settle into their temporary desert home blissfully unaware that the entire location sits on top of a radioactive waste dump. As the film’s magnetic lead actor Tony Billings scrounges for drugs and cheap sexual thrills, he is stalked by an obsessive entertainment journalist, Frederick M Barclay, who pursues his ultimate objective to once and for all lay open his subject in the most gruesome possible way.
I'm the Bomb Morgan Hobbs Books
With I'M THE BOMB, Morgan Hobbs draws on his experience working in the film industry to tell a laugh-out loud fable about art and ego (and nuclear waste) in Hollywood, one that would make an outrageous movie itself. Just as the White Stripes carried on the tradition of vintage garage rock, Hobbs resurrects the black comedy stylings of ‘60s writers like Terry Southern, Bruce Jay Friedman, Hunter Thompson, Richard Brautigan, Donald Barthelme, William Kotzwinkle, Stanley Elkin, Thomas Berger, Robert Coover, and Thomas Pynchon, while also reflecting the influence of contemporary writers like Mark Leyner, Neal Pollack, George Saunders, and Sam Lipsyte. Its knowing satire would appeal to readers of other writers about Hollywood like Bruce Wagner and Michael Tolkin.Product details
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I'm the Bomb Morgan Hobbs Books Reviews
With I'M THE BOMB, Morgan Hobbs draws on his experience working in the film industry to tell a laugh-out loud fable about art and ego (and nuclear waste) in Hollywood, one that would make an outrageous movie itself. Just as the White Stripes carried on the tradition of vintage garage rock, Hobbs resurrects the black comedy stylings of ‘60s writers like Terry Southern, Bruce Jay Friedman, Hunter Thompson, Richard Brautigan, Donald Barthelme, William Kotzwinkle, Stanley Elkin, Thomas Berger, Robert Coover, and Thomas Pynchon, while also reflecting the influence of contemporary writers like Mark Leyner, Neal Pollack, George Saunders, and Sam Lipsyte. Its knowing satire would appeal to readers of other writers about Hollywood like Bruce Wagner and Michael Tolkin.
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