Megan Fox, to be precise. The first time I saw Ms Fox on the front of a magazine (a novelty at the time, a quite familiar experience nowadays) was in autumn 2007, while staying overnight in a Sunderland hotel prior to a literary event (yes, a literary event) at the city's main football stadium the following day. The mag in question was Collective, a clearly advertising-led 'lifestyle' title covering the cultural beat of Sunderland and indeed the broader North East. Wor Megan has clearly done well for herself since those days.
I daresay her success confirms the degree to which Angelina Jolie has set the female standard of Hollywood beauty (lush-lipped, tattooed bodily, essentially dark) over the last decade - before which it was Nicole Kidman in whose honour the chicks were all getting cosmetic surgery, the better to resemble more closely. Megan Fox, I hasten to add, is clearly young enough to have had no need of surgical enhancement or correction. Maybe one day I'll get to see her in a movie, see what (else) all the fuss is about...
My film column this month is about A Serious Man by Joel and Ethan Coen, of which I say:
"A Coens movie with ‘Serious’ in the title filled me at first with the same misgivings as did the idea of Funny Games (1997) by the solemn Michael Haneke. In both cases one anticipates a thumping irony. Joel and Ethan Coen are super-smart guys and consummate filmmakers, but often their tendency to drollery has deprived the films of pathos. A Serious Man is every inch a Coens film, and by no means a tearjerker; yet it looks to me to mark both a departure and a great advance in their work."