It's a fabulous week.  The Forsyth review should, ideally, be done tomorrow night sometimes (it's a long one; this is  my only defense).  But I'm overflowing with new materials.  I received the last of the Taylor trio yesterday, and the fabulous Oldphan over at the Philmography helped me find several elusive musical versions, much to my delight!  And my crowning moment of the week was an email from Dave Reiser, composer of The Pinchpenny Phantom of the Opera, who had read my review and kindly offered to send me a copy of the score so I could hear the music as well as read the script.

I never cease to be amazed by the fabulous, kind people who help me out with this project.  A huge thanks to all of you, and I'll be adding to the Reiser/Sharkey review as soon as I finish up my current flailing.

Sorry, I know, no Forsyth review yet.  I've finished reading it, but I'm low on time at home.  However, I just got two of the three Jones books, and a few other things are on order--yay!

The Thomas/Gillis review is up!  Woohoo!  I'm excited, because it's time for the Forsyth book, which is one of the more widespread and widely discussed books out there, not to mention being one of the very first of the "sequel" kind of model for the Phantom story.  Huzzah.

Something better, indeed.  The Riley review is up, and I'm taking a quite time machine trip back a decade for one more film that got out of the continuity.  They're slippery little bastards, always showing up when I'm trying to advance things.