Andor: A Strong New Era For Star Wars
Mar 20, 2023
Friday Fiction: The Humming At Midnight (Part 2)
Mar 17, 2023
It Came From The Archives! “The Mandalorian: Proper Star Wars Returns”
Mar 15, 2023
Tantalus Depths: Solid Sci-Fi Horror
Mar 13, 2023
Friday Fiction: The Humming at Midnight (Part 1)
Mar 10, 2023
Lockwood & Co. Is One Of The Best Of Its Genre
Mar 8, 2023
Ant-Man and the Wasp: Quantumania: Marvel Gets Weird
Mar 6, 2023
Friday Fiction: Me On Another Planet
Mar 3, 2023
Thor: Love and Thunder: Not Funny
Mar 1, 2023
It Came From The Archives! “Solitary: Big Story On A Small Budget”
Feb 27, 2023
Friday Fiction: The Land of Fantasy Calls (Part 2 of 2)
Feb 24, 2023
The Girls Are Never Gone: Fast-Paced Scares
Feb 22, 2023
The AI Revolution: How Chat GPT, Jasper, and Dall-e Are Taking Over the World (But in a Cute and Non-Threatening Way)
Feb 20, 2023
Friday Fiction: The Land of Fantasy Calls (Part 1 of 2)
Feb 17, 2023
An Ode To Tropes
Feb 15, 2023
Perhaps the most notable thing about Andor is how immediately it establishes itself as different from the usual Star Wars fare. What little I’ve seen of more recent Mandalorian projects suggests this isn’t an isolated affair, but it is to me.
In every tale of rules that must never be broken, someone breaks them. Humans, it seems, are sometimes too curious. And now our protagonist, Jeremy, has stayed up too long. And can hear the humming.
It’s been a long time since the first season of The Mandalorian came out. And, while I finish tackling reviewing some of the newer Disney+ Star Wars entries, let’s look back at what worked in the first three episodes and how much the series has (or hasn’t) changed.
Tantalus Depths is the kind of book that the right audience will love. It’s a solid combination of cosmic horror, somewhat-hard science fiction, and has sprinkles of space epic. And perhaps its biggest triumph is how it balances those three things in an organic, unfolding way that never feels like a hard genre shift.
Today, we have a type of story that’s been with humanity forever. There have always been stories of things children must not do or risk terrible danger.
I dismissed Lockwood & Co. during my first exposure to it. A random segment of the show I walked past didn’t impress me. But now, having seen the first three episodes, I must admit how wrong I was. This is not only one of the best recent paranormal thrillers/horror urban fantasies, but it’s a good show in any context.
I try my best to avoid spoilers or discourse about a piece of media before I review it. But I already know that I’m the odd one out. Because I have no particularly strong issues with Ant-Man and the Wasp: Quantumania—and the internet seems to have quite a simmering hatred.
Traveling across space is always dangerous. Space is an extremely hostile environment, and that’s before you account for how technology can fail in it.
I’m late to the party to review Thor: Love and Thunder. So late that I’ve been spoiled somewhat by consensus. Going in, I knew people didn’t like the goats and that the comedy was apparently overbearing.
The most impressive thing about Solitary is how few resources were used to make it. It’s microbudget, finished remotely due to the pandemic, and still a good film.
It’s a new week, and the conclusion is here.
Finally, we get a clue about the fantasy world you don’t want to visit.
The Girls Are Never Gone is an interesting blend of concepts attached to a traditional ghost story. From The Twisted Ones to Horrid to even aspects of Harrow Lake, I already knew this story’s bones.
