Letters from our readers
Without Carrie Underwood, I wouldn’t have been introduced to country, and it would’ve been my loss.
Your from-the-hip interview, ”The Confessions of Carrie Underwood,” made me an even bigger fan. Who cares whether her music is country or pop? She could do nothing but polka albums, and she’d still have a listener for life.
North Hollywood, Calif.
When I saw the overexposed Carrie Underwood on the cover, I rolled my eyes. I decided to give the article a chance, and now I can confirm that the ”aww, shucks” persona that helped her win American Idol was a charade.
I devoured ”How to Make a Monster.” But you said the 1974 film version of Young Frankenstein ”boasted [Mel] Brooks’ best-ever cast” without listing the late, great Madeline Kahn. Talk about a horror show!
Elizabeth Restivo Saddler
Boca Raton, Fla.
The Lost Boys
There’s no denying that TV and film have glamorized nonthreatening young men (The Final Cut). But what Mark Harris finds unsexy is in fact the allure of these characters: To the 18-to-35-year-old demographic, the confusion of adulthood is 100 percent relatable.
House of Perry
Thanks for covering Tyler Perry (News & Notes). Maybe you can help Hollywood take notice with a feature titled ”Who is this guy, and why is he the next film mogul?”
Reginald D. Garrard
Even though I’ve never seen any of Tyler Perry’s work, he should’ve been on the cover instead of the manufactured pop singer you chose. It is a bit disingenuous for EW to laud him as a force to be reckoned with and then turn around and fail to do just that.
Brian R. Fitzgerald
Princeton Junction, N.J.
David Chase clearly doesn’t get it (Spotlight). In my opinion, people aren’t angry about the Sopranos ending. They’re upset because it didn’t end — it just stopped. It wouldn’t have mattered to me if Tony lived free or was whacked, as long as there was a conclusion.
Scott S. Goldman
I know the Sopranos finale has been done to death, but no one ever hits upon the most basic criticism of the ending: It was badly edited. If David Chase wanted to establish a business-as-usual sentiment (which would have made perfect sense), he should have ended with a fade to black (in a long shot, if I may be so bold) as the Sopranos were discussing the mundane. The abrupt black cut was simply an unmotivated and inelegant cinematic choice.