How the French crime/horror drama series gleefully subverts key moments & concepts from the 90s cult show as it flirts with the genre and parallels. Warning: contains major spoilers for Season 1, minor spoilers for […]
Arkane Studios and Bethesda released Dishonored: Death of the Outsider yesterday. I’ve played it to the end, and I have a lot of thoughts and feelings. Thought I’d share them. Warning: spoilers.
I could write you a five-page essay on why I loved Wonder Woman, dir. Patty Jenkins. Well, I have a week off soon, so I actually might, but tonight I am tired and in desperate need of a nap, so I’ll keep it brief.
So, what happened was that Series 10 so far has been really solid mystery storytelling, and I’ve been enjoying it a lot. And then, apparently, Steven Moffat had an idea for a blockbuster.
Doctor Who Series 10 is shaping up to be a true mystery series — rather than the only challenge being to outsmart an obvious villain, a lot of work is being done by Bill and the Doctor to figure out what they’re even fighting and/or running away from. In these two episodes from early May, that set of challenges comes in the shape of a haunted house and murderous capitalist spacesuits, respectively.
In another exceedingly solid mystery episode, the Doctor and Bill save the London Frost Fair of 1814 from turning into a watery grave.
In this episode, the Doctor breaks his vow: he goes off-world, taking Bill into the future — into a brave new world in which everyone must be happy. Or else.
So here we are, back for some proper Sci-Fi after a long, long time of living the slow path. I was skeptical after Series 9, but: I really liked it? I think it’s gonna be a good final series for Peter Capaldi? And Bill — oh, Bill. She’s the best.
On April 26th, Hulu is premiering the first episode of its TV adaptation of Margaret Atwood’s prize-winning novel, The Handmaid’s Tale. Frankly, an extensive adaptation of that work couldn’t have come at a better time, and while it’s horrifying that it’s necessary, I’m nonetheless looking forward to it. The Handmaid’s Tale is an excellent novel telling a compelling story; and there’s a reason why now’s the time to tell it.
I’ve recently finished the first season of Emerald City, the NBC TV adaptation of Frank L. Baum’s children’s novel The Wizard of Oz. The show takes many artistic liberties with the text, transforming it into something new, but this meta won’t be a comparison piece between the novel and the show (not least because it’s been ages since I read it). What the many transformations amount to, however, is the fundamental narrative of a man finding fault with his lot in life and taking the opportunity in a new world to reinvent himself — by subjugating others.
With room for improvement, Powerless could be the superhero show to make living with superheroes fun again.
Hidden Figures deserves to win all the Academy Awards.