If one film has recently pinged my annoyingly particular radar screen with a single sparkly note, it is The Great Gatsby. Thrilled at the prospect of a big-budget feature finally dedicated to the art of storytelling, eschewing the long-overdone, over-hyped, cheesy SFX genre, I instantly started swinging my vintage Whiting & Davis handbag round my wrist in anticipation. Just as my tootsies started to join in the fun, my Mary Janes ready to Charleston, I learned Baz Luhrmann's The Great Gatsby of 2013 is in 3-D. Zowie!

Be clear, yours truly is no Luddite. I adore and applaud progress, when necessary. If you've read my novels and regularly read my geek-culture articles and blog posts, you shall well know I embrace the Zeitgeist. Love me some Zeitgeist! Still, F. Scott Fitzgerald's literary masterpiece of self-doubt, jealousy, betrayal, murder, manipulation and heartbreak has zero need for 3-D confetti.

Still, how could a jazzy sweet patootie such as myself pass up this sumptuous, vicarious, visual fête of champagne, glitter, diamonds, feathers and fishnets? Surely the story remains in tact; certainly no main chacarters have been sidelined or their magnanimity diminished. So, I agreed to plop down my cabbage and see it, despite the threat of such aggressive progress ... then, I read Rex Reed's brutal and scorching review. Though I am not generally given to paying much mind to film reviews, Reed's warning left me aghast and faint-hearted, stunned by a gilded sense of foreboding. Reed proffers a glimpse into a film so ruthlessly bad that, were I to see it I might turn to stone, like a victim of Medusa, my face frozen in perpetual horror as a Duesenberg hood ornament flies at my powdered face. I had to rethink my decision to shell out said-cabbage. Then, happily, along came new information about the costume design.

The 1920s marked an age as pivotal and dynamic as our own technological age. America was shifting from an agricultural existence to an industrial one as feverishly and unabashedly as a drunken, desperate, last-hurrah, Labor Day dock party in the Hamptons. Single girls were moving from family farms to the big cities in droves, ready to pop their champagne corks and break free from the wasp-waist whalebone corsets and high-neck lace blousons of their Victorian and Edwardian grandmamas. No more milking the cows and darning Pa's socks. The Jazz Age was nigh and it was America's well-earned, Naughty Weekend: sex, jazz and, despite a decade-plus of Prohibition, booze. (Step off, 1960s. You old hippies never even came close.) It was as though we knew the Thirties were coming with it's Great Depression, Dust Bowl, dowdy Red Cross shoes and the distant knell of WWII. It was time to party and party hard. So, ask any twenty-something, what's the best way to party harder than your grandparents ever did, annoy your elders and distance yourself from your parents? Attitude, excessive booze and, of course, style.

By the Roaring Twenties, gone were the tight-laced, buttoned-up, sartorial standards of the wet smacks whom came before this Jazz Age of rowdy pips. Enter stage left: swishy fringe, fouffy feathers, dyed furs, beaded minis, overflowing accessories, unstructured waists, mannish bobs and scandalous hemlines showing off all those great getaway sticks capped with shiny kitten heels, clearly not cobbled for dour farm girls and stay-at-home bankers' wives. Hit the road, Gibson Girl. Hello, Dolly! The middle class was climbing down from the hay lofts and with their new lives came a desire for kippy threads. Brooks Brothers, already a hundred-year old establishment, was there to answer the call, even if their price points have never been solidly middle-class.

If anyone knows Jazz Age dressing, it's our American Brooks Brothers. If anyone knows flash, soiree style, it's the Italian atelier of Prada. If anyone knows production design and costuming it's frequent Luhrmann collaborator, fellow Aussie and BAFTA- and Oscar-winner Catherine Martin (Moulin Rouge, Romeo + Juliet, Strictly Ballroom). When I learned these powerhouses of the posh and panache were responsible for Luhrmann's eye-candy, it was clear I needed to, as I said, rethink this spectacle.

In an instant, I knew Brooks Brothers was involved. When striped, regatta blazers, straw boaters and striped ties make the scene, it's clear they're involved. In fact, the nearly-200-year old haberdasher has been involved from the get-go, even outfitting The Great Gatsby author F. Scott Fitzgerald himself, ordering directly from their catalogs throughout the Twenties. His devotion to the outfitters helped make popular various styles, including their signature button-down, attached-collar shirt.

Founded in New York City in 1818, the same year the White House reopened after having been torched by the Brits during the War of 1812, and the same year the U.S. Congress decided our flag would have thirteen red and white stripes and twenty stars, Brooks Brothers is America's oldest clothing retailer and first ready-to-wear emporium. Spanning nearly the entirety of our country's existence, Brooks Brothers is no drifter when it comes to bespoke clothing for the upper-crust, making history, notoriously as well as famously.

President Abraham Lincoln, a loyal Brooks Brothers customer, was bestowed a special coat upon his second inauguration, the lining embroidered with an eagle and the inscription "One Country, One Destiny". (In fact, Brooks Brothers has outfitted thirty-nine of our forty-four U.S. presidents. George W. Bush might be one of the hold-outs, opting for J. Press as his outfitter, another Old School, upscale, but Yale-founded, New England-based clothier.) Eerily, Lincoln was shot at Ford's Theater wearing that same coat two tragic weeks later. Still, life goes on and along the way, Brooks Brothers quietly held history's hand.

Charles Lindbergh, unable to carry much luggage on his transatlantic flight, borrowed a coat upon his Paris landing, a Brooks Brothers belonging to the American ambassador. Clark Gable wed an aristocrat in B.B., his custom suit of choice, as no one else could fit his impressive physique of a 44" chest/32" waist. Legend has it pop artist Andy Warhol spent his first paycheck on a B.B. No. 10, white button-down. Perhaps, most impressive of all, Kermit the Frog owns at least one tiny, bespoke, amphibious tuxedo.

If you think Brooks Brothers is a bit blue-blood and starched-collar for this tacky and gauche film business, you are correct. Still, Brooks Brothers' vice-president of global relations, Arthur Wayne told Adweek, "We’re not a highly promotional brand. But, we do it when it feels right.” Considering Brooks Brothers was at the original party with Fitzgerald himself, one imagines it does feel right. Though they are also not usually known for film tie-ins, they are sporting a raw-ther nifty collection of summer togs for the lean of frame, beautiful of face and hearty of cabbage: Bright Young Things.

Where posh is concerned, Prada wrote the travel guide. Founded in 1913, Prada began its couture trek as a leather goods purveyor: steamer trunks, luggage, beauty cases, porte-monnaies, portmanteaux, handbags and a variety of luxury accessories. By 1919, just about the time Gatsby's sycophantic circle of friends were swinging from his chandeliers, Prada was appointed an official supplier to the Italian Royal Family.

As Egyptian travel became all the rage, thanks to Howard Carter, Lord Carnarvon and their 1922 discovery of Tutankhamun's tomb, Prada jewelry cases and resort bags saw action sailing up and down the Nile on Agatha Christie-style excursions. Queen Mary's polished decks were littered with Prada steamer trunks in the 1930s, many of those marked "P.O.S.H.": the abbreviation stamped on luggage belonging to passengers with top-flight rooms. What defines the best room on a cruise ship? The view, of course, sailing HMS Queen Mary in and out of Southampton and Dover: Port Outbound, Starboard Homebound, or P.O.S.H.

By 2012, four very posh gentleman donned their Jules Verneesque best as Prada reached back to Victoriana and embraced fashion's current obsession of steampunk. View Gary Oldman, Garrett Hedlund, Jamie Bell and Willem Dafoe in some very fetching, very attractive glad rags.

Before Brooks Brothers and Prada, the most recent posh designer to tackle the mighty task of Fitzgerald frippery was the legendary Ralph Lauren, dressing the ever-dapper, butter-and-egg man, Robert Redford in The Great Gatsby of 1974. Well done, Ralph. This time, Leonardo DiCaprio gets the swanky, onyx cufflink treatment, along with Tobey Maguire in shawl neck sweaters and deck shoes, looking a bit like he borrowed Father's cruise wear and unsure how to wear it. That could be the problem. One does not wear Brooks Brothers; one sports it. If one cannot, one should not.

According to more than a few critics, come awards-season, the special effects, acting and directing may just have to sit in the rumble seat of this Duesy. Brooks Brothers is driving Miss Daisy and Miuccia Prada is riding shotgun, with costume designer Catherine Martin sitting on her lap. This trifecta of fashion may be what pitches this pony over the finish line. To boot, whilst Jay-Z's hip-hop-infused Jazz Age soundtrack may be off-putting to purists, it seems a welcome addition to this dame. After all, modern-day hip-hop finds its roots in Twenties jazz and, considering the fashion may be the star of the show, one must have some high-kicking, free-swinging, jazz-hands tuneage to accompany those svelte Flappers and slick-haired Big Spenders, all togged to the bricks. As with many things in life, it really don't mean a thing if it ain't got that swing.

Yep, you shred it, Wheat. Looks like I just might have to hand over my cabbage to Mr. Luhrmann after all.

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Cheers, babies! It's me, Miss Hannah Hart, ghostdame of the Hotel del Coronado and it's June! You know what that means? Summer is mere days away and San Diego Comic-Con 2012 is a mere month away!

No one is more excited than Yours Truly ... well, okay. I imagine there are some nibbling their fingernails a tad more than I. After all, part of the appeal of our Comic-Con is that it's in glorious San Diego. I get to live here year round, kids, haunting my dilly of a Hotel Del. If you're zinging your way here for the Con and it's your first time in San Diego, we welcome you, one and all! Need some priceless, insider tips on all the SDCC how-tos? Check the SDCC Expert for Baby's First Comic-Con.

Ciao, kittens! Hannah Hart, ghostdame here. Spring's in full swing and all's swell here at the Hotel Del. Dr. Lucy and I are in the early stages of prepping for San Diego Comic-Con 2012. Costumes are the projet du jour and Lucy's going steampunk with a mad vengeance. It's all Airship Pirates and Parasol Protectorate around here. Apropos to Comic-Con, my dear pally, Miss Jenny, is wringing her hands awaiting word on her article submitted to the fine editors at the official Comic-Con Souvenir Book: That Other Jane: 100 Years of Tarzan, Lord of the Jungle, Heartbreaker.

An accomplished author in her own right, Miss Jenny's got some opinions about the publishing world and I got to thinking about her and all the other poor mooks out there writing, publishing and turning bloody blue as they scratch and claw, day-in and day-out, for someone, anyone to notice them. Natch, I pondered further, might the keen writers of eras gone by, say, Laura Ingalls Wilder or Beatrix Potter, thrill in the elixir of today’s social networking opportunities? Or, might they flounder and panic futilely to extricate themselves from the inescapable tar pits of literary masturbation and personal promotion.

In an episode of Little House on the Prairie the television series, Laura Ingalls, as a burgeoning writer, contributes to and wins an amateur writing contest. The prize? She gets her stories published by a big city publisher: St. Louis or New York, I don't recall. The twist? She turns down the offer when she realizes the publishing pills want to jazz up her innocuous Ma and Pa tales. (Seems execs haven't changed much over the years.) Walking away, her moxie and integrity in tact, our pretty, perky and plain prairie protagonist eventually does earn a book deal and, thankfully for us, we have the Little House series of books today. Whilst her publisher and agent would sell her charm and tout her words around the country, Half-pint had to do her share, too. She wrote the books. That used to be the hard part. Were she writing today, her bloomers and corset would need a good starching to keep her steady on the course and stop her from doing a swan dive under Ma's quilt, grabbing her fave stuffed bunny, Mr. Sniffles, and giving up altogether, 'cause today's book business is brutal, babies.

Knowing a thing or two, about a thing or two where indie publishers and authors are concerned, not to mention those backed by traditional, big publishing houses, it's clear to this ghostdame that your worldwide, 24/7, omnipresent, vlogging, blogging, iReporting, YouTubing kind of social media and promo possibilities are the bane of the solitary writer. Around every proverbial corner there's some slimy crumb bumping his gums about how the worthless and pathetic can be better writers. Nasty and hateful industry insiders, bored readers and armchair critics tell the aspiring schlubs regularly how much they suck eggs. The need and ability to incessantly and shamelessly plug, ply, hawk, rationalize and apologize for one’s precious wares morphs the once-quiet and pensive writer into a mealy-mouthed carnival barker.

Now it seems to me most writers crave attention: needy little bastards. Whether or not they inherently have the ability to market their work to elicit that attention is another story. Miss Jenny did a number of book signings back East at good ol’ fashioned Barnes & Noble brick-and-mortar stores, not to mention Borders and Waldenbooks shops. Remember those, kids? She was also a fixture in Colonial Williamsburg, schlepping her Savannah of Williamsburg books alongside more than few notable authors and historians. Jim Lehrer, Edward Cline, Dr. Phyllis Haislip and a gentleman whom is considered to be the worldwide authority on Thomas Jefferson, Dr. Alf Mapp, just to name a few.

With the exception of Jim Lehrer, being a tough bird to get close to, she spoke often with these folks and found many of them, even those traditionally published by the big houses, spent as much time as she did booking appearances, wrangling events, scheduling book signings and even printing their own event signage. Want a real-life sob story? Here ya go.

One of these prolific authors waited nearly a year for royalty checks, was eventually sent a pittance check and then the publisher filed for reorganization, a.k.a. bankruptcy. Amazingly, the bankruptcy court forced him to return the wee check, dismissed the royalties owed altogether and allowed the publisher to keep the titles. Zowie! Talk about getting whacked with a bag of nickels by a bunch of goons. To wit, some, but not the rightfully pissed off author in question, have dutifully joined the dance of the social networks to aid in their publishers' quest for the almighty review, movie option and American dollar.

For those whom deign to seek it, there exists more online advice and how-tos for the tentative scrivener than Spongebob had excuses to put off writing his driving essay for Mrs. Puff. Countless editing fora, manuscript submission no-nos, insider agent tips, the psychology of cover art, character development webinars and marketing strategies up the wazoo flood not just the search engines, but the writer’s tenuous and wobbly noggin. From what I know about the delicate genius, writing-by-committee is painful. Seek ye just a single, golden thread to pull one over the wall and kapow! the poor, unsuspecting wordsmith is floored and buried with a dump truck of frayed, worthless bits of twine too short and thin to use anywhere.

Even Anne Rice –a moment of silent respect, please- comprehends the importance of Tweeting and Facebooking as she socializes and shares personal musings, liberal politics, current affairs, photos of her kitty, Little Prince Oberon, and, of course, updates of book signings and reviews. People of the Page, she dubs her fans and followers. Miss Jenny is an Anne devotee and thus, a Person of the Page.

Not only are Twitter, Facebook, Tumblr, Smashwords, SmartGirl, Blogger and the like literary campgrounds for amateur and professional writers alike, but the Wellborn of Wordsmithing have pitched their tents in cyberspace as well. Besides Anne, J.K. Rowling, Steve Martin, Peter Mayle, Bill Bryson, Brian Jacques, Sophie Kinsella, Gail Carriger and even Half-pint have succumbed.

I like to think Laura Ingalls Wilder, Beatrix Potter, Hunter S. Thompson, Charles Dickens, Bram Stoker, Edgar Allen Poe, Oscar Wilde, Edgar Rice Burroughs, Geoffrey Chaucer, Mark Twain, F. Scott Fitzgerald, Ernest Hemingway and Wm. Shakespeare -or Henry Wriothesley, 3^rd Earl of Southampton or Sir Robert Cecil or whomever it is we’re learning might have "been Shakespeare”- would have not shoved their work in our faces at every turn. I also like to think that some of them would have loved the idea of social media. You just know Mark Twain, HST and Ernest Hemingway would have delighted in followers, fans and friends, from afar, and would have certainly used the proverbial 140 to its pithiest and volatile best.

It’s a double-edged sword indeed, kittens. In my day, if you could write like F. Scott Fitzgerald and you were fortunate enough to get noticed or have the right connections, you could be a superstar. Just sit back, drink your scotch, holiday in Paris and let the industry professionals take on the lion’s share of the legwork. Being an author had cache because it was a rarity. It was a nearly impossible title to attain because one had to stand out in the crowd. Today, anyone may write, whether or not they can write. Of course, there lies an upside to the barrage of opportunity available online.

No need for Algonquin Roundtable connections anymore. Can't get into the New Yorker cafe? No worries, dollface. You write it, you publish it, you sell it, you market it. Of course, there’s a lot of cut-rate writing out there; but there are a lot of great oeuvres, too, that we might have never seen without the Internet. The keys to the kingdom are no longer necessary and some of the unknown and worthy are busting through the front gates, pens blazing. The Internet, Amazon in particular, is like the Ellis Island of Bookland. Enter its turnstiles and leave the starched Old World with its stern Old Ways behind you. Opportunity beckons on every street corner, but, writer, beware ... so do the scams, cheats, sure-things and a nasty, blistering rash if you’re not careful.

Lucy's finding all kinds of goodies to buy at Clockwork and that got me thinking about another commercial marriage that might have flourished, but we'll never know. See, if Laura Ingalls could be prone to Tweeting, Mrs. Harriet Olseon could certainly embrace the new culture easily, culling “friends” and patrons from the world over and redirecting them to her Joomla website: populated with goods from Olseon's Mercantile as well as drop-ship, throw-away, plastic crap from Singapore and China. Nels, I’m pretty sure, would not have been allowed admin permissions.

By the way, Laura Ingalls Wilder’s current tweet @HalfPintIngalls: I know Almanzo is really into Morgan horses but... uh, should I be concerned that I found THIS in his stocking drawer?

Abyssinia, cats!

Hannah's fave place to haunt online? www.jennypop.com @JennyPopCom Facebook/Savannah of Williamsburg & Facebook/The Darlings of Orange County ... 'cause she kinda has to.