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New Escapist Column! On the Unknowable Monstrosity at the Heart of “Shin Godzilla”…

I published a new In the Frame piece at The Escapist this evening. With the release of Godzilla vs. Kong, it seemed like a good time to take a look back at Japan’s iconic reptilian monster. In particular, the way in which Godzilla evolved from an embodiment of monstrous uncertainty to protector of the planet. In this context, Shin Godzilla is a fascinating piece of work. Building on co-director Hideaki Anno’s work on earlier projects like Nausicaä of the Valley of the Wind and Neon Genesis Evangelion, the monster at the centre of Shin Godzilla is hauntingly unknowable, a grotesque intrusion of something almost beyond human comprehension into the material world. The film is all the more effective for that. You can read the piece here, or click the picture below.

New Escapist Column! Twenty Years Later, “Battle Royale” Still Stands Apart…

I published a new In the Frame piece at The Escapist this evening. Because Battle Royale is twenty years old this month, it seemed like a good opportunity to take a look back at the iconic Japanese film.

In the years since the release of Battle Royale, there has been an explosion of dystopian young adult fiction based around similar premises: the idea of children forced to kill other children to survive. There are plenty of examples of this subgenre, most notably The Hunger Games, Divergent and The Maze Runner. However, Battle Royale has aged better than these other films for two core reasons. First of all, it acknowledges the horror of its premise, rather than sanitising it. Second of all, it understands that this social decay is perhaps more mundane than sensationalist.

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

New Escapist Column! On the Contemporary Resonance of John Carpenter’s “Apocalypse” Trilogy…

I published a new In the Frame piece at The Escapist this evening. With Halloween approaching, the column is going to take a little bit of a detour into some spooky stuff, and I’m very excited.

John Carpenter remains one of my favourite horror movie directors. A large part of that is just down to simple craft. Carpenter can make a cheap movie look great. More than that, though, Carpenter’s unique brand of horror has aged very well. This is particularly true of Carpenter’s “Apocalypse” trilogy – The Thing, Prince of Darkness, In The Mouth of Madness. Carpenter imagines the end of the world not with a bang, with the slow and unsettling collapse of the invisible forces holding it together. The world unravels and unspools, and chaos breaks through

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

196. The Terminator (#245)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Joe Griffin and Emmet Kirwan, 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.

This time, James Cameron’s The Terminator.

In 2029, Los Angeles is a burning hellhole. In 1984, it is not much better. In the dead of night, two soldiers from an apocalyptic future escape into the urban landscape. These mysterious veterans of a coming war make their way across the City of Angels, with only one name on their minds: Sarah Connor.

At time of recording, it was ranked 245th on the list of the best movies of all time on the Internet Movie Database.

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New Escapist Column! On the Perpetual Apocalypse of “Atomic Blonde”…

I published a new In the Frame piece at Escapist Magazine this evening. Since it’s three years old, and there are rumours of a sequel coming, I thought it was worth taking a look at Atomic Blonde.

Released in July 2017 and set in November 1989, there’s a pervasive sense of apocalypse to Atomic Blonde. Set against the backdrop of the fall of the Berlin Wall and released in the early months of the Trump Presidency, Atomic Blonde captures the sense of a world collapsing into madness. The deliberately jumbled spy thriller unfolds as the ordering principles of the Cold War collapse around it. There’s a grim, suffocating, brutal nihilism to Atomic Blonde, one underscored in the film’s central fear: what if the apocalypse itself never actually ends? what if it’s eternal?

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

 

New Podcast! The Time is Now – Season 2, Episode 23 (“The Time is Now”)

And with that, The Time is Now finishes its coverage of the second season of Millennium, and I was flattered to be invited to discuss the second part of the two-part season finale The Time is Now with the fantastic Kurt North.

I’ve talked a great deal before about how the second season of Millennium is one of my favourite seasons of television ever made. And it has been an absolute joy revisiting it for these podcast discussions. It’s been amazing to see that the show still holds up more than twenty years after it was originally produced, and to see how it resonates in entirely new and surprising ways with the world as it exists today. Twenty years later, the second season is still a monumental and underrated piece of television.

It has been a huge honour to talk so much about the season. I think, outside of Kurt, I’ve been the contributor who has appeared most frequently on these episodes. I hope I’ve been able to make a coherent and convincing case for why I think so many of the individual episodes – and indeed the larger season as a whole – are masterpieces of storytelling and among the very best material that Ten Thirteen ever produced. Thanks to Kurt and Tony for having me, and thanks to the listeners for putting up with me.

As ever, you can listen directly to the episode here, subscribe to the podcast here, or click the link below.

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New Podcast! The Time is Now – Season 2, Episode 15 (“Roosters”)

I have had the immense good fortune to appear on The Time is Now quite a lot lately, but was particularly flattered to be invited on to talk about Owls and Roosters, the big “mythology” two-parter in the late second season of Millennium. It’s an honour to join Kurt North for the second part of this conversation.

Owls and Roosters are two of my favourite episodes of television, because they demonstrate everything that Millennium did so well. They’re incredibly densely packed with information, in a way that really captures the sense of modern living – a constant influx of often contradictory stimulae that the individual often struggles to parse or process. In many ways, the second season of Millennium has aged remarkably well, capturing a sense of information overload in a manner that resonates even more strongly today than it did on broadcast.

As ever, you can listen directly to the episode here, subscribe to the podcast here, or click the link below.

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New Podcast! The Time is Now – Season 2, Episode 15 (“Owls”)

I have had the immense good fortune to appear on The Time is Now quite a lot lately, but was particularly flattered to be invited on to talk about Owls and Roosters, the big “mythology” two-parter in the late second season of Millennium. It’s an honour to join Kurt North for the conversation.

Owls and Roosters rank among my favourite mythology episodes in the Ten Thirteen canon, largely because they serve as a conscious unravelling of conspiracy theory. It is very common to compare Millennium to The X-Files, and with good reason. There’s considerable thematic overlap between the two shows; in fact, Patient X and The Red and the Black work as interesting companion pieces to Owls and Roosters. Both are stories about the limits of conspiracy, and the idea that entropy must eventually kick in and erode these empires of sand.

However, while The X-Files maintained a consistent belief in a singular unifying mythology, a belief in a single account of history, however convoluted that arc might be, Millennium opted for a more adventurous and postmodern approach. Millennium suggested a world in which all conspiracies were true, in which there were multiple competing narratives of history struggling against one another, with no clear or correct answer. Owls and Roosters offer the culmination of this approach, a car crash of competing narratives trying to account for a period of great instability.

As ever, you can listen directly to the episode here, subscribe to the podcast here, or click the link below.

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New Escapist Column! On “Mad Max: Fury Road” and Finding Hope Amid the Apocalypse…

I published a new In the Frame piece at Escapist Magazine last week. There’s understandably been a lot of talk about the end of the world lately, understandably, but I thought it was worth unpacking Mad Max: Fury Road.

Fury Road is one of the best blockbusters of the past decade, appearing on countless lists of the best films of the 2010s. However, what distinguishes it from a lot of apocalyptic cinema is that it embraces hope in a very meaningful and practical way. Fury Road is largely about the impulse to retreat from horror and from untenable situations, to abandon a world that appears to be fallen. However, the film argues that such an impulse is ultimately self-destructive, as eventually such a retreat runs out of road. Instead, Fury Road contends that the proper response to a broken world is to turn around and face it head on, to fix it from the inside. It’s a brave and empowering message, and a large part of the film’s appeal.

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

Star Trek: Deep Space Nine – The Reckoning (Review)

The end is nigh.

As the sixth season of Star Trek: Deep Space Nine draws to a close, the production team are increasingly aware that things will be wrapping up shortly. Star Trek: The Next Generation ran for seven seasons, setting a nice target for the spin-offs. Indeed, most of the sixth season had been spent discussing contract extensions with the cast for a final season. The writers (and the cast) knew that the seventh season would be the last. As the sixth season wound down, that massive deadline loomed large.

That’s gonna leave a stain.

The long-term storytelling on Deep Space Nine was largely improvised on the fly, with the writers adding new and interesting twists to the mythology as they went; this led to strange-in-hindsight tangents like Dukat’s time as a space pirate between Return to Grace and By Inferno’s Light. There had never really been a long-term plan, explaining why seemingly important plot points like Bajor’s admittance to the Federation seemed to just drop off the table after Rapture.

At best, the writers on Deep Space Nine knew the direction in which they were moving, but had not charted the course that they would follow. Still, a looming deadline tends to focus the mind. In the final third of the sixth season, the production team begin aligning plot points and character arcs towards the end of the story. Ira Steven Behr wrote His Way in large part because he wanted to introduce Vic Fontaine and pair off Kira and Odo, realising that time was working against him.

Who Prophets?

The Reckoning is a story about the end of days, in more ways than one. Broadcast in April 1998, it perfectly taps into the millennial eschatology that had taken root in the popular consciousness in the lead up to the twenty-first century. The Reckoning posits an epic battle between good and evil that will mark the end of an epoch, tapping into an anxiety simmering through popular culture in television shows like Millennium and films like End of Days. As the nineties came to a close, there was a clear anxiety about what the future might hold, if it existed at all.

However, The Reckoning also feels like a conscious effort to align various characters and plot beats in service of the final season ahead. The Reckoning properly seeds an entire subplot that will play through the remainder for the show, from Tears of the Prophets through to What You Leave Behind. Character motivations are made clear, stakes are heightened, mythology is explained. All of this is very much in service of where the writers plan for Deep Space Nine to go.

The wormhole in things…

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