The publishing phenomenon that is Stephenie Meyer's Twilight is now apparently becoming a film phenomenon. I have not read the books nor seen the film. As a follower of pop culture, I remain open to the possibility of consuming either, or both. Meanwhile, I follow the press coverage.
The reviews of the movie are rolling in, and I was struck in particular by this passage from Kenneth Turan's take:
The Oscar-winning "Ghost" of several years back had one lover living, the other deceased, and "Twilight's" notion that he's undead and she's not is just as good, maybe better. Connecting this to the extreme emotions of the young teenage world, where every moment is a crisis and the chaste romance of passionate soul mates is more attractive than dubious sexual shenanigans, was the masterstroke that created a phenomenon.Has our media memory as a society grown so short that Turan—who, as a film reviewer for the Los Angeles Times and NPR, is among our most visible critics—is seemingly unaware that the very fictional "masterstroke" he ascribes to Meyer and Twilight was already thoroughly explored from 1997 to 2003 on television?