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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 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.

New Escapist Column! On The Finale of “The Last of Us”…

I am doing weekly reviews of The Last of Us at The Escapist. They’ll be dropping every Sunday evening while the show is on, looking at the video game adaptation as the show progresses. This week, the show’s finale.

The Last of Us wraps up a phenomenal season with a decidedly small-scale season finale. Look for the Light is one of the shortest episodes of the season, and is remarkable for its tight focus and narrative efficiency. The series remains tightly focused on Joel and Ellie, building to a climax that is at once tragic and inevitable. The result is a very satisfying wrap-up to a very impressive debut season.

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

New Escapist Column! On the Baseline Competence 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 fourth episode.

No Win Scenario is basically competent, which makes it the best episode of the third season by default. In many ways, No Win Scenario demonstrates the ceiling that this approach places on quality, assembling a variety of familiar elements in such a way that manages to successfully remind the audience of much better films and television shows. It’s disheartening that this is the third season’s best self, that it’s greatest accomplishment is a reminder of things the franchise did better elsewhere.

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

New Escapist Column! On What Links “Andor” and “The Mandolorian”…

I published a new In the Frame piece at The Escapist yesterday evening. With the new season premiere of The Mandolorian, it seemed like a good opportunity to look at the thematic ties that bind the series to Andor.

Much of the discussion around Andor has focused on how the show is fundamentally different from so much modern Star Wars. However, it’s also worth acknowledging the overlap that exists between Andor and The Mandolorian. Both shows are built around similar thematic ideas, the exploration of what it means to resist the emergence of fascism. In particular, both shows explore the idea that the biggest challenge facing those who would challenge fascism is factionalism and internal division.

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

New Escapist Column! On How “The Last of Us” Finds a Fresh Angle on Familiar Clichés…

I am doing weekly reviews of The Last of Us at The Escapist. They’ll be dropping every Sunday evening while the show is on, looking at the video game adaptation as the show progresses. This week, the show’s penultimate episode.

The Last of Us belongs to a genre that has been well-explored over the past few years, the post-apocalyptic horror. It’s a narrative template that has been thorough excavated and interrogated across a wealth of media. Audiences are familiar with the language and the logic of these kinds of stories, and there are perhaps only so many variations upon the archetypal theme. This what makes the season’s penultimate episode so compelling. The Last of Us wades into a familiar post-apocalyptic set-up, but finds a way to explore it that plays uniquely to the show’s strengths.

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