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. Continue reading →
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. Continue reading →
With room for improvement, Powerless could be the superhero show to make living with superheroes fun again. Continue reading →
As we’re hurtling towards the inevitably tense and mind-boggling (in either the positive or the negative sense of the word) conclusion of the series (and possibly the show), here’s a few things that I wanted to write about that I haven’t really touched on in my reviews so far. Continue reading →
Oh, I have missed this. So, so much. I found some of Moffat’s Christmas Specials a little bumpy, but I really had fun watching this. The story was well-paced enough, the nefarious plan was engaging rather than entirely foreseeable, and the script combined fun and suspense as well as a few wistful moments following on the heels of the previous episode, The Husbands of River Song. Continue reading →
This is the grand finale — except there’s nothing grand about it, because it’s been weeks, and I’m still sitting here, gaping at the sheer amount of fuckery that’s going on. Continue reading →
Rory is… back in Stars Hollow, in spite of her fervent denials. Feeling like a failure and unable to think her way out of that corner under her own steam, she moves back in with her mother and Luke.
Summer is easily the weakest out of the four episodes, so this review will be relatively brief, at least compared to the one about the somewhat meatier Spring.
It’s spring in Stars Hollow, London, and New York, and everyone’s gone just a little bit nutty. You know, the way Sookie used to get before figuring out she was pregnant, except no-one’s pregnant yet and Sookie’s still not back from… wherever she is up North. Continue reading →
Ten years after the Season 7 finale, we are back in Stars Hollow, our little New England town that seemed to get nuttier and yet more endearing with every festival and tradition-fuelled shenanigans. Hell, I’ve even missed Taylor — but only a little bit. The Netflix revival was a highly anticipated event, with the enduring fanbase to boost it to the top of the ratings stats for a single-day release. All four episodes went live on Nov 25, worldwide, and so the Internet has been a-buzz with what it all means and what’s going to happen next (if indeed anything is going to happen). Continue reading →