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New Podcast! The Time is Now – “The Nature of Evil in Millennium”

The Time is Now has been on hiatus for a little while, after a frantic rush to get the Midnight of the Century episode released in time for Christmas. However, the show has returned with a very special treat, a deep dive into the idea of evil in the world of Millennium.

It’s a fascinating discussion, and it was an honour to be asked to join Russ Hugo and James McLean for a broad and varied discussion. It’s fascinating, because it’s the first time I’ve really got to talk on The Time is Now podcast about the unique structure of Millennium as a show that basically rebooted itself between seasons. This means that Millennium arguably has three very different ideas of what evil actually looks like across its runtime, which makes the discussion of the topic a fascinating and wide-ranging discussion.

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 “The Witcher” and True Monstrosity…

I published a new In the Frame piece at Escapist Magazine last week, looking at the Netflix streaming show The Witcher.

The Witcher is an interesting show, the story of a monster hunter who drifts through a magical world that seems caught on the cusp of war. The first season is very broad and largely episodic, but it does have a clear thematic through line. The series plays with the tropes and conventions of the fantasy genre, but most pointed with the idea of monstrosity. The Witcher is the story of a man who kills monsters, but also a story about how sometimes true monstrosity comes in human form.

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

New Podcast! The Time is Now – Season 1, Episode 18 (“Lamentation”)

As ever, a delight to stop by The Time is Now to talk about Millennium, this week as part of triptych with the great Kurt North and the wonderful Christopher Knowles.

An interesting installment this week. Kicking off a loose two-parter that effectively serves as Millennium‘s version of a mythology episode, Lamentation offers a clear escalation in the stakes of the first season. It’s a fascinating episode that seems to mark a clear transition in what Millennium is about, a strong signalling of creative intent from the production team. It’s a weird and eccentric episode of television, a real showcase of what Millennium could do when it set its mind to it.

I was pleasantly surprised at the variety of opinion on here, with each of the three of us having very different takes on the episode’s strengths and weaknesses. As ever, you can listen to the episode here, subscribe to the podcast here, or click the link below.

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144. La Vita è Bella (Life is Beautiful) – Summer of ’99 (#26)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Ethan Shattock and Gerard Rooney from Disconnected Talk, 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 Saturday at 6pm GMT.

This time, continuing our Summer of ’99 season, Roberto Benigni’s La Vita è Bella.

1999 was a great year for movies, with a host of massively successful (and cult) hits that would define cinema for a next generation: The Matrix, The Blair Witch Project, The Sixth Sense, 10 Things I Hate About You, Fight Club. The Summer of ’99 season offers a trip through the year in film on the IMDb‘s 250.

In mid-century Italy, lovable fool Guido embarks on a courtship of the beautiful Dora, a woman far outside of his station. As Italy descends into fascism, Guido hopes that his optimism will allow himself – and his family – to endure in the face of unimaginable evil.

At time of recording, it was ranked 26th on the Internet Movie Database‘s list of the best movies of all-time.

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Star Trek: Deep Space Nine – Waltz (Review)

One of the more common observations about Star Trek: Deep Space Nine is that it is the most “morally ambiguous” Star Trek series, with characters engaging in actions that Picard never would have considered on Star Trek: The Next Generation.

In some ways, this observation makes sense. After all, Deep Space Nine was the first Star Trek show to feature an extended interstellar conflict. Its primary cast is comprised of unapologetic terrorists and untrustworthy wheeler-dealers. The Federation were no longer the unambiguous good guys of the larger Star Trek universe, monolithic humanity giving way to factions like the Maquis or Section 31. Deep Space Nine never took Gene Roddenberry’s utopia for granted, daring to ask what it might look like when paradise found itself under threat.

Eat, pray, hate.

Eat, pray, hate.

However, Deep Space Nine also a very strong moral compass. While there are episodes that flirt with the idea of the end justifying the means, like In the Pale Moonlight or Inter Arma Enim Silent Leges, they are very much the exception rather than the rule. Section 31 are unequivocally monsters, and never proven to be a necessary evil. The Federation wins the Dominion War without the help of their attempted genocide in Extreme Measures. Even the Maquis are treated as ineffective in Defiant, and only romanticised through eulogy in Blaze of Glory.

More than that, Deep Space Nine clearly has a very strong social conscience. This is particularly true in episodes written by executive producer and showrunner Ira Steven Behr. Past Tense, Part I and Past Tense, Part II rage against the treatment of the homeless in contemporary society, sending three regular characters back in time to protest a nineties Los Angeles ordinance. Bar Association insists upon the right to collective bargaining. Far Beyond the Stars is a poignant ode to the power of science-fiction as a window to a better future.

Psycho Sisko!

Psycho Sisko!

Even in the context of the show’s more controversial elements, that moral compass shines through. While the Dominion War might lead to murky compromises, the show goes out of its way to cast the Founders as monstrous; the enslavement of the Jem’Hadar as explored in The Abandoned or of the Vorta as touched upon in Treachery, Faith and the Great River, the use of biological weapons in The Quickening, the disregard for soldiers’ lives in Rocks and Shoals. The Dominion is monstrous, as unequivocally evil as Nazi Germany.

As such, Waltz really serves to confirm something that has always been true of the series. Despite the familiar refrain that Deep Space Nine embraces “moral ambiguity”, the truth is that Deep Space Nine has always believed “that there is really such a thing as truly evil.”

Rocky road to recovery.

Rocky road to recovery.

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Night Stalker – Burning Man (Review)

This January, to prepare for the release of the new six-part season of The X-Files, we’re wrapping up our coverage of the show, particularly handling the various odds and ends between the show’s last episode and the launch of the revival.

As with Three, it feels like Burning Man has some clever ideas masked by an ineffectual execution.

With ABC’s increasingly frustrating “no monsters” edict, Night Stalker creeps closer and closer to a more generic procedural. In some respects, episodes like The Five People You Meet in Hell and Burning Man suggest that the show’s aesthetic leans closer to that of Millennium than The X-Files; this a show increasingly preoccupied with notions of human (rather than supernatural) evil. It is worth noting that Millennium struggled in its own first season with how best to tell these kinds of stories.

Waxing lyrical...

Waxing lyrical…

Burning Man pushes the show closer to Millennium than ever; the superimposed words that appear over Kolchak’s opening and closing narration always evoked the opening credits of Millennium, but Burning Man even features a few of the quick flashes that were so exciting and innovative in Millennium‘s portrayal of evil. Burning Man also trades on the same rich hellish imagery that ran through Millennium, from the threat of hellfire to the demonic shape of the eponymous killer’s figurines. Burning Man even focuses on a forensic profiler.

However, the actual plot of Burning Man is fairly generic. The classic “he who hunts monsters…” story has become something of a genre staple, to the point where it is almost expected in stories focusing on forensic profilers. The primary plot of Burning Man evokes both Lazarus and Grotesque, both X-Files episodes that somewhat prefigured Millennium. It is a stock plot, with little to elevate it. The most interesting elements of Burning Man unfold in the background, as the show engages with its newsroom setting for the first time.

Everything burns...

Everything burns…

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The X-Files – Hellbound (Review)

This December, we’re taking a trip back in time to review the ninth season of The X-Files.

Your hand travelled
the Aztec trail
down my breast.
The sun popped out like the egg
of a platypus
and aspens pattered
their leafy Ur-language.
All this has happened before.

The jellied landscape
was furrowed with happiness.
You worshipped me
like the goddess of warm rain.

But in each corner of our eyes
stood one of Maxwell’s demons
loosening the molecules
of rise and fall
back and forth.

And in and out, round and about,
in and out,
through the cracked lens of the eye
unendingly,
surface behind glass
entropy mounted
in the random and senseless universe.

All this has happened before.
All this will happen again.

– Miroslav Holub, Lovers in August

Uncomfortable in his skin...

Uncomfortable in his skin…

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