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Matthew Yglesias

Matthew Yglesias - Matthew Yglesias is a fellow at the Center for American Progress Action Fund.
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Matthew Yglesias is a fellow at the Center for American Progress. His first book, with the working title Heads in the Sand: Iraq and the Strange Death of Liberal Internationalism, scheduled to be published next spring by John Wiley and co., deals with the Democratic Party's struggle to find a post-9/11 foreign policy, focusing primarily on the rise and (hopefully) fall of the liberal hawk movement.

Previously, he was a staff writer at The American Prospect and an Associate Editor at TPM Media, where he contributed to the group blogs Tapped and TPMCafe. His main blog, now at The Atlantic, has existed in various forms since the dark ages of the blogosphere in January 2002.

His writing has appeared in The Guardian, Slate, The New Republic, and The Washington Monthly, and he is a regular on BloggingHeads.tv and makes the occasional radio or television appearance.

Desperately out of touch with the American mainstream, Yglesias was born and raised in Manhattan and studied philosophy at Harvard where he was editor in chief of The Harvard Independent, a campus alternative weekly.

His latest writings can be found on the Matthew Yglesias blog.

Slightly Outdated Movie Commentary

By Matthew Yglesias
Nov 8 2007, 4:33 PM ET Comment

I think Ross is basically right about Michael Clayton and basically right about Into the Wild but I wouldn't join him in lumping the two together as films I liked "more than [they] deserved." The problems with Into the Wild are of an ethical or philosophical nature.

Jon Krakauer's book versionbook version of the story is already far too kind to Christopher McCandless and his antics and the film erred even further in that direction. But if you believe -- as Sean Penn seems to -- that McCandless' recklessness and cruelty toward his immediate family were, in fact, a noble spiritual journey worthy of celebration, then Penn's done a brilliant job of transforming the story into a film that sees what Penn sees. I feel like that's a bit of an irresponsible thing to do, but it's good filmmaking; a very good movie, just one promoting a weird and wrongheaded point of view.

Clayton, by contrast, I was super-enthusiastic about while watching and immediately after leaving the theater, but thinking back the preposterousness of the underlying plot seems like a big problem. It didn't bother me at the time, but I have a hard time believing it wouldn't bother me if I watched it again.

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