L.A., 1969: Another kid hops off the bus with dreams of Hollywood glamour in his head. This time, movie-mad proto-punk Vikar Jerome has Hollywood on his head — a tattoo of Montgomery Clift and Liz Taylor. As monkish Vikar chats up dewy starlets, grizzled studio vets, and armed revolutionaries (and rises from grunt worker on the Paramount lot to prizewinner at Cannes), his adventures read like a fable inspired by the French New Wave. Steve Erickson’s Zeroville inhabits a sweet spot where fiction and film criticism merge, wryly imagining a world in which house burglars parse John Ford Westerns.
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