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New Escapist Column! On How “Creed III” Brings Anime to Hollywood…

I published a new In the Frame piece at The Escapist this evening. With the release and success of Creed III, it seemed like a good opportunity to look at what makes the film stand apart from what came before.

Actor and director Michael B. Jordan has been quite frank about the influence of anime on his approach to Creed III, and that influence shines through. However, it’s also part of a larger trend in modern Hollywood. The industry spent decades trying to directly adapt anime properties for American audiences, with minimal success. However, recent years have seen the emergence of a generation of artists who grew up with the form as a standard part of their media diet, and it’s bleeding through into works like NOPE, The Bad Guys and Puss in Boots: The Last Wish. It’s a fascinating trend.

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

New Escapist Column! On The Sincere Nerdery of James Gunn and Peter Safran’s DC Slate…

I published a new piece at The Escapist last month. With new creative heads James Gunn and Peter Safran announcing their slate of upcoming DC films, it seemed worth taking account of a production schedule that includes oddities like The Creature Commandos, The Authority and Swamp Thing.

In modern pop culture, “fannishness” is worn as a badge of honour. Producers and writers will often give interviews stressing their sincere affection for the source material with which they are working. However, these adaptations are often superficial or shallow, drawing on surface level details from the rich tapestry of these very old properties. What makes Gunn and Safran’s slate so appealing, even if it may never actually materialise, is that it genuinely feels like the work of enthusiastic and hardcore fans with a deepset and long-standing appreciation for the source material, complete with deep cuts.

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

324. Star Trek III: The Search for Spock (#—)

Hosted by Andrew Quinn and Darren Mooney, 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, Leonard Nimoy’s Star Trek III: The Search for Spock.

The Enterprise returns from its disastrous confrontation with Khan Noonien Singh, a battle that ended with the death of Spock and the creation of Genesis. However, Kirk is haunted. McCoy appears to be having a psychological breakdown, while Spock’s father chastises him for leaving Spock’s body on the Genesis Planet. Determined to return his friend’s body and soul to Vulcan, Kirk embarks on a dangerous mission to Genesis. However, he’s operating in contravention of Federation orders and quickly discovers that other parties have an interest in the secrets of Genesis.

At time of recording, it was not ranked on the list of the best movies of all time on the Internet Movie Database.

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New Escapist Column! On the Third Season of “The Mandalorian”…

I published a new In the Frame piece at The Escapist this evening. With the premiere of the third season of The Mandalorian this week, it seemed as good a time as any to consider the long-delayed return of Disney+’s flagship streaming show.

After nearly three years off the screen, The Mandalorian returns with three very different objectives: to reassure viewers that it is still the same show, to fill in viewers on how much has changed since The Book of Boba Fett and to set up a new status quo and a new over-arching plot. It’s a fairly ambitious piece of television, just in terms of logistics, both rebooting the show and also attempting to maintain a strong sense of internal continuity. It doesn’t entirely work, but it also works better than it should.

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

New Escapist Column! On The Meaningless Conflict of the Third Season 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 third episode.

There is a longstanding tradition within the Star Trek franchise of avoiding conflict between the primary characters, one rooted in Gene Roddenberry’s conception of Star Trek: The Next Generation. However, many of the franchise’s best stories have come from disregarding that basic rule, most notably a lot of Star Trek: Deep Space Nine. Seventeen Seconds is a frustrating piece of television because it demonstrates the appeal of Roddenberry’s rule, by generating sets of meaningless conflict between lead characters that have no depth and will inevitably be quickly erased and forgotten.

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

New Escapist Column! On the Pre-Packaged Cult Appeal of “Cocaine Bear”…

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. This week, we took a look at the release of Cocaine Bear, which is an obvious attempt to manufacture a cult hit.

On one level, it seems like a fool’s errand to try to build a movie with the express purpose of making a cult hit. After all, cult hits only grow organically, often over years and through home media or television. However, changes to the industry – including the collapse of home media and the decline of linear television – make it very difficult for movies to find that sort of niche. Cocaine Bear feels like a movie designed with that understanding in mind, a film very consciously pitched towards streaming virality as much as theatrical box office.

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

New Escapist Column! On How “The Last of Us” Shifts from Joel to Ellie…

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 seventh episode.

It’s an interesting proposition, adapting a serialised narrative after it has already been completed. In some ways, any serialised narrative is a first draft, a creative team making it up – to one degree or another – as they go along. As such, there is something very interesting in any subsequent adaptation of the work, as the adaptation has the luxury of a vantage point that can take in the completed work as a holistic entity. Left Behind was an add-on to the original video game version of The Last of Us, but the television series has the luxury of folding it into its ongoing narrative in real-time, as it were.

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

New Escapist Column! On How “The Fallen Sun” Puts “Luther” in “Skyfall”…

I published a new In the Frame piece at The Escapist this evening. With the release of Luther: The Fallen Sun in theatres this weekend, it seemed like a good opportunity to discuss the feature film adaptation of Britain’s favourite trenchcoated detective.

For over a decade, there have been rumours that Idris Elba was a prime candidate to take over the role of James Bond from Daniel Craig, to the point that the actor has spent years talking about his shifting attitude towards the possibility in the press. Part of what’s so interesting about The Fallen Sun is that the movie feels like Neil Cross’ attempt to construct a James Bond movie around his leading man. More than that, to build a very specific James Bond movie: Skyfall, starring John Luther.

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

New Escapist Video! On Why Faithfulness is Not a Measure of Quality in Adaptation…

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 ongoing debates about the fidelity of shows like The Rings of Power, The Witcher: Blood Origin and The Last of Us, it seemed like a good opportunity to discuss the art of adaption. In particular, the question of whether faithfulness and quality are in any way related to one another.

New Podcast! The X-Cast – Season 9, Episode 2 (“Nothing Important Happened Today II”)

The X-Cast is covering the ninth season of The X-Files, which is – to put it generously – an interesting and uneven season of television in which the show seems uncertain of its own identity and purpose. The second half of the season premiere, Nothing Important Happened Today II, is an exemplar of that, and I was delighted to joing Carl Sweeney to talk about it on the podcast.

By all accounts, The X-Files probably should have ended with Existence, if not Requiem. However, the logic of television production made it very difficult for a network show at that time to gracefully bow out. The eight season had been a success, even though it felt like an ending. So a ninth season was commissioned, arriving into a world that had radically changed before the premiere was broadcast and without any clear sense of purpose or meaning. The results are uninspiring, but often fun to unpack.

You can listen to the episode here, or click the link below.

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