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New Podcast! The TARDIS Crew – “Torchwood – Children of Earth (Part 2)”

I was thrilled to be invited to join the great Ben and Baz Greenland for an episode of their podcast, The TARDIS Crew.

This is the second half of the episode covering Torchwood: Children of Earth, and it’s fun to get to discuss the five-episode miniseries as the culmination of Russell T. Davies’ work on both Torchwood and Doctor Who. We discuss the metaphor at the heart of the show, the queer-coding of the central narrative, and the way in which it effectively completes Jack’s arc of transforming the character into an even more dysfunctional version of the Doctor.

You can listen directly to the episode below or by clicking here.

New Escapist Column! On the Trump Era Paranoia of “Star Trek: Picard”…

I am doing weekly reviews of Star Trek: Picard at The Escapist. They’ll be dropping every Thursday morning while the show is on, looking at the third season as the show progresses. This week, the season’s fifth episode.

The third season of Picard is fascinating, in large part because it’s so narratively and thematically empty. So much of the show is given over to empty nostalgia, that there’s little sense of what this story is supposed to be about, beyond a loose assemblage of familiar clichés into a recognisable pattern. There’s none of the urgency of the immigration and xenophobia metaphors that informed the first two seasons, as clumsy as those were. Instead, Picard falls back on a set of unfortunate science-fiction clichés that speak to the worst impulses of the current moment, a paranoia that feels tied to the worst of the American zeitgeist.

You can read the piece here, or click the picture below.

New Podcast! The TARDIS Crew – “Torchwood – Children of Earth (Part 1)”

I was thrilled to be invited to join the great Ben and Baz Greenland for an episode of their podcast, The TARDIS Crew.

The guys are doing a retrospective deep dive on Russell T. Davies’ last tenure overseeing the Doctor Who franchise, and asked if I’d like to talk about any of his specific work on the show. I was delighted to get the chance to talk about Torchwood: Children of Earth, which stands out as not only the best that Torchwood has ever been, but belongs in the conversation as one of the best pieces of Doctor Who ever made. It’s a fun and freeform discussion, that we split into two parts for ease of listening.

You can listen directly to the episode below or by clicking here.

New Escapist Column! On the “John Wick” Movies as a Love Letter to Stuntwork…

I published a new In the Frame piece at The Escapist this evening. With the upcoming release of John Wick: Chapter 4, it seemed like a good opportunity to take a look back at the action franchise.

In modern Hollywood, the John Wick movies stand out from a lot of their competitors by embracing a very practical and material philosophy, leaning heavily on in-camera effects for maximum impact. However, the films are more than just a showcase for stuntwork as one of the industry’s most undervalued artforms. They are also an argument for stunt work as an artform unto itself, particularly in the way that they emphasis the importance of action as a means of storytelling and the way in which they frequently place their stunts in the context of more broadly-accepted forms of artistic expression.

You can read the piece here, or click the picture below.

New Escapist Video! “Shazam! Fury of the Gods Proves that Lightning Doesn’t Always Strike Twice”

I’m thrilled to be launching movie and television reviews on The Escapist. Over the coming weeks and months, I will be joining a set of contributors in adding these reviews to the channel. For the moment, I’m honoured to contribute a five-minute film review of Shazam! Fury of the Gods, which was released in cinemas this weekend.

280. Apocalypse Now (#53)

Hosted by Andrew Quinn and Darren Mooney, this week with special guests Alex Towers and Brian Lloyd, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every second Saturday at 6pm GMT, with the occasional bonus episode between them.

This time, Francis Ford Coppola’s Apocalypse Now.

In the midst of the Vietnam War, Benjamin Willard is given a special assignment. He is tasked with taking a patrol boat up the Nung River in pursuit of Colonel Walter Kurtz. Kurtz has apparently gone completely rogue, no longer responding to directives from command. Willard is instructed to terminate Kurtz’s command, by any means necessary. However, as Willard journeys deeper into the country, he finds himself drifting further and further from reality, embracing some sort of primal insanity.

At time of recording, it was ranked 53rd on the list of the best movies of all time on the Internet Movie Database.

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New Escapist Column! On the Colonial Fears of “Shazam!”

I published a new In the Frame piece at The Escapist this evening. With the release of Shazam! Fury of the Gods this weekend, it seemed as good a time as any to take a look at the superhero sequel.

One of the interesting things about Fury of the Gods is the way in which it seems like it is in conversation with the earlier films in the DCEU, lifting several cues directly from films like Man of Steel, Wonder Woman, Batman v. Superman and Zack Snyder’s Justice League. In particular, it’s a film in which the existential threat is inherently nostalgic, the fear of an imagined past intruding into the modern world and overwriting it.

You can read the piece here, or click the picture below.

New Escapist Column! On the Use of Violence in “The Last of Us”…

I published a new In the Frame piece at The Escapist earlier this week. With The Last of Us wrapping up its first season, it seemed like a good opportunity to take a look back at the show, and in particular the way that the show tells its story.

The Last of Us is, in many ways, a study of violence. It’s a study of brutality and horror. What makes The Last of Us so interesting is the way that it chooses to portray such violence and brutality. Indeed, the show is remarkably restrained in its depiction of graphic on-screen violence. Instead, the show’s cinematic language focuses on the idea that violence ultimately wounds both perpetrator and victim. In many cases, it’s the people left behind who have to carry that with them.

You can read the piece here, or click the picture below.

New Escapist Column! On the Complicated Seventies Nostalgia of “Poker Face”…

We’re launching a new column at The Escapist, called Out of Focus. It will publish every Wednesday, and the plan is to use it to look at some film and television that would maybe fall outside the remit of In the Frame, more marginal titles or objects of cult interest. With the end of the first season of Poker Face last week, it seemed like a good opportunity to take a look back at the show.

Poker Face is obviously designed as something of a seventies throwback. The show is very obviously a hybrid of classic seventies television like Columbo and Kung-Fu. However, there’s more than simple nostalgia at play within the series. Poker Face is a show about grappling with the memory and legacy of the seventies, of understanding why these stories resonate in the modern world. It has a nuanced and complicated relationship with the era from which it draws, which makes for compelling television.

You can read the piece here, or click the picture below.

New Escapist Video! On Phase 4 as Marvel’s Midlife Crisis…

We’re thrilled to be launching a fortnightly video companion piece to In the Frame at The Escapist. The video will typically launch every second Monday, and be released on the magazine’s YouTube channel. And the video will typically be separate from the written content. This is kinda cool, because we’re helping relaunch the magazine’s film content – so if you can throw a subscription our way, it would mean a lot.

This week, with the recent launch of Ant-Man and the Wasp: Quantumania, we took a look back at Marvel’s Phase 4, trying to make sense of one of the shared universe’s most disjointed and uneven phases.