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New Escapist Column! On “Moon Knight” and the Archeology of the Self…

I published a new piece at The Escapist this evening. We’re doing a series of recaps and reviews of Moon Knight, which is streaming weekly on Disney+. The fourth episode of the show released this week, and it seemed like a good opportunity to take a look at the series.

Last week, I discussed how the show’s homage to Raiders of the Lost Ark fell flat because it was too sterile and sexless, unwilling to let Oscar Isaac be Oscar Isaac. In contrast, this week there’s a sense in which the show’s archeology metaphor makes a great deal of sense. It’s a metaphor for Steven and Marc’s journey, constantly unearthing details of their selves and their identities, digging into mysteries and trying to reverse engineer logic or reason from the afterimage to which they wake. It’s a clever piece of thematic storytelling, getting into how characters are defined by their past, whether they know it or not.

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

New Podcast! The X-Cast – Season 8, Episode 2 (“Without”)

The X-Cast is covering the eighth season of The X-Files. This is one of my favourite seasons of television ever, in large part because it’s a season that manages to build a convincing narrative and character arc around a very challenging production reality, and in doing so forced the show itself to evolve and change. I’m thrilled to join Sarah L. Blair for a discussion of the second half of the season premiere.

Without is a very meditative piece of television, which is a bold and interesting choice for the second half of a season premiere. It is essentially an episode about absences, about the lack of resolution or even meaningful linear progress. It’s an episode that is about confronting the reality that The X-Files no longer has one of its two leading characters available to it. What does that version of The X-Files look like? Without is essentially a story about wandering through the desert.

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

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New Escapist Column! On “The Northman”, and the Desire to Make Movies Weird Again…

I published a new In the Frame piece at The Escapist this evening. With the release of The Northman in the United Kingdom this week and in the United States next week, it seemed like an opportunity to take a look at the welcome return of weird to the blockbuster arena.

Modern blockbusters are frustratingly generic. As budgets have ballooned and intellectual property has trumped high concepts, studios have grown increasingly conservative with their larger projects. This is part of what makes The Northman so interesting. It’s great to see a director like Robert Eggers receive a reasonable budget and a sizable platform in order to make a movie that speaks very specifically to his own aesthetic. It’s refreshing to see a movie this expensive that is this committed to its aesthetic.

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

Doctor Who: Legend of the Sea Devils (Review)

“Sea Devil!”

“Land Parasite!”

Well, to be fair, Legend of the Sea Devils is at least a worthy sequel to Warriors of the Deep.

The Sea Devil you know.

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New Escapist Video! “The Northman is a Breathtaking Blockbuster”

I’m thrilled to be launching movie 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 three-minute film review of The Northman, which is in theatres in the U.K. and Ireland now and in the United States next week.

282. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (#67)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Jason Coyle and Aoife Martin, The 250 is a weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT.

So this week, Stanley Kubrick’s Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.

The unthinkable has happened. At the height of the Cold War, American bombers have been ordered to enter Russian airspace and deploy their ordinance at the order of General Jack D. Ripper. The President of the United States scrambles to stop the crisis from escalating further, but the situation becomes even bleaker when it is revealed that the Russians have just deployed a failsafe that could wipe out all life on Earth in case of a potential American attack. Powers on both sides of the Iron Curtain find themselves racing against time, with the fate of the world in their hands.

At time of recording, it was ranked 67th on the list of the best movies of all time on the Internet Movie Database.

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New Escapist Column! On “Severance” and the Work/Life Imbalance…

I published a new In the Frame piece at The Escapist this evening. With the season finale of Severance last week, it seemed like an opportunity to take a look at one of the most interesting new shows on television.

Severance is a science-fiction show build around the fictional concept of “severance”, a medical procedure that allows a person to completely separate their professional and personal selves. However, beneath this high concept, Severance plays as a metaphor for a lot of the current anxieties about the work/life balance, and the intrusion of private enterprise into personal lifestyles.

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

New Escapist Column! On the Uncanny Valley that “Star Trek: Picard” Occupies Between “Star Trek” and Prestige Television…

I published a new piece at The Escapist this evening. We’re doing a series of recaps and reviews of Star Trek: Picard, which is streaming weekly on Paramount+. The seventh episode of the second season released this week, and it seemed like a good opportunity to take a look at the series.

One of the big problems with modern Star Trek has been the extent to which the franchise finds itself caught between the past and the future, between a nostalgic impluse that pulls it back to the plotting that defined the franchise’s long history and something more ambitious that pushes it towards prestige television. The recent shows have never quite managed to square that particular circle, and this problem comes to the fore as Picard tries to delve inside the head of its protagonist.

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

New Escapist Column! On How “Moon Knight” Suffers From the Sexlessness of the MCU…

I published a new piece at The Escapist this evening. We’re doing a series of recaps and reviews of Moon Knight, which is streaming weekly on Disney+. The third episode of the show released this week, and it seemed like a good opportunity to take a look at the series.

Moon Knight very obviously wants to evoke a particular sort of old-fashioned romantic globe-trotting adventure, like Raiders of the Lost Ark, Romancing the Stone or even The Mummy. It is arguably part of a recent attempted revival of the subgenre, including Jungle Cruise and Lost City of D. However, the show’s attempts to tap into this sort of classic odd couple romance demonstrates the limits of the weird insistent sexlessness that define so many modern blockbuster stories. Moon Knight manages the seemingly impossible, in that it makes Oscar Isaac seem sexless.

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

New Escapist Video! On How “Moon Knight” Approaches Marvel’s “Villain Problem”…

We’re thrilled to be launching a fortnightly 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. 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.

With the release Moon Knight, it seemed like a good opportunity to talk about the show. In particular, how Moon Knight offers an interesting approach to the long-standing “villain problem” facing Marvel Studios.