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New Escapist Column! On How “Willow” Found Itself Adrift “Beyond the Shattered Sea”…

I am doing weekly reviews of Willow at The Escapist. They’ll be dropping every Wednesday evening while the show is on, looking at the legacy sequel as it progresses from one episode to the next.

One of the both interestign and frustrating aspects of Willow is the way in which the show feels very much like an archetypal streaming show. It hits all of the marks and rhythms of the emerging medium, particularly in how it structures its story. There are several points in the season where the larger mechanics of the season arc become transparent. Wildwood was one such example, and Beyond the Shattered Sea is another. The second-to-last episode of the season very quickly entangles itself if doing all the necessary set-up for the looming season finale.

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

New Escapist Column! On How “Willow” Gently Plays with Fantasy Tropes…

I am doing weekly reviews of Willow at The Escapist. They’ll be dropping every Wednesday evening while the show is on, looking at the legacy sequel as it progresses from one episode to the next.

It is too much to call Willow a deconstruction or a subversion of classic fantasy tropes. Certainly, the show is often a celebration of the trappings of high fantasy, and a much more old-fashioned take on the genre than contemporary shows like The Lord of the Rings: The Rings of Power or House of the Dragon. At the same time, the series is written with an understanding of the tropes and conventions of the genre, and a willingness to play with those ideas in a way that deepens and explores its own themes. Given that this is a show about divorce, Willow eagerly dives into familiar fantasy tropes about blood and lineage.

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

New Irish Independent Column! On “Willow” and Disney’s Fantasy Pitch…

I published a new piece at The Irish Independent this evening. With the release of Willow on Disney+ this week, it seemed like a good opportunity to take a look at what the show means for the Disney brand, and why it is so important to the company going forward.

The past couple of decades have seen an explosion in fantasy film and television: Harry Potter, Lord of the Rings, Game of Thrones. However, studios have quickly discovered that audiences aren’t necessarily enthusiastically engaged with fantasy, struggling to connect with the genres. Studios like Disney have invested millions trying to tap into that audience, with numerous high-profile failures. Willow represents the latest attempt by Disney to craft a live action fantasy universe with a built-in fanbase, and the company is using the same playbook that it did with Star Wars.

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

New Escapist Column! On How “The Rogue Prince” Lets “House of the Dragon” Reflect the Modern World…

I am doing weekly reviews of House of the Dragon at The Escapist. They’ll be dropping every Sunday evening while the show is on, looking at the Game of Thrones prequel as it progresses from one episode to the next.

One of the more interesting aspects of Game of Thrones was the way in which it was a high fantasy series that used the language and conventions of the genre as what felt like a compelling commentary on American identity, filtering the anxieties of the War on Terror through the prism of dragons and free cities. House of the Dragon continues that trend, offering a show that seems to reflect a particularly anxious and unstable moment in American history.

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

New Escapist Column! On How “The Rings of Power” Balances Itself Between “The Lord of the Rings” and “Game of Thrones”…

I am doing weekly reviews of The Rings of Power at The Escapist. They’ll be dropping every Friday morning while the show is on, looking at the Lord of the Rings prequel as it progresses from one episode to the next.

The Rings of Power is very obviously a prequel to the events of The Lord of the Rings, and so exists in the shadow of Peter Jackson’s earlier cinematic adaptation. However, it emerges into a very different landscape, twenty years later. Audience expectations have shifted, along with their relationship to the larger fantasy genre. The Rings of Power asks what it means to be a Lord of the Rings prequel in a post-Game of Thrones world, and finds itself navigating the boundaries that have been reset.

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

New Escapist Video! “The Sandman is a Reminder of What Made the Comic So Beloved”

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 television review of The Sandman, which is streaming on Netflix now.

289. The Princess Bride (#—)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Aoife Barry, 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, Rob Reiner’s The Princess Bride.

As a young kid lies sick in bed, wasting time on video games, his grandfather decides to pay a visit. Taking the opportunity to indulge in a timeworn family tradition, the grandfather decides to share a timeless tale of romance and adventure that has been passed down from one generation to another: S.W. Morganstern’s The Princess Bride.

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 “Doctor Strange in the Multiverse of Madness” as a Parable About the Dangers of Rejecting Reality…

I published a new In the Frame piece at The Escapist this evening. With the release of Doctor Strange in the Multiverse of Madness, it seemed like a good opportunity to talk about the film.

Despite its title, Doctor Strange in the Multiverse of Madness seems refreshingly wary of the multiverse as a concept, understanding that the collapse of reality is not necessarily a good thing. Indeed, despite the title, the film is largely about the importance of embracing and accepting one’s original reality, and a cautionary tale about the dangers of retreating into fantasy. In particular, Doctor Strange in the Multiverse of Madness is a horror story about the lengths that people will go to preserve their fantasies – and the consequences of those actions.

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

265. The Lord of the Rings: The Fellowship of the Ring (#10)

Hosted by Andrew Quinn and Darren Mooney, this week joined by special guests Andy Melhuish, Deirdre Molumby and Grace Duffy, 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, to mark the 20th anniversary of its release, Peter Jackson’s The Lord of the Rings: The Fellowship of the Ring.

“The world is changed. I feel it in the water. I feel it in the earth. I smell it in the air. Much that once was is lost, for none now live who remember it. It began with the forging of the Great Rings.”

At time of recording, it was ranked 10th on the list of the best movies of all time on the Internet Movie Database.

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New Escapist Column! On How Only Peter Jackson Could Have Made the “Lord of the Rings” Trilogy…

I published a new column at The Escapist yesterday. This week, to mark the twentieth anniversary of the release of The Lord of the Rings: The Fellowship of the Rings, we’re taking a look back at the trilogy as a whole. We’ll be publishing three articles looking at the films, one each day. This is the first.

Most films are minor miracles. It is remarkable that films get made at all, let alone that many of them turn out to be good. This is particularly true of the Lord of the Rings trilogy, which seemed like an impossible assignment. At the time, Peter Jackson seemed like the most unlikely of directors to successfully adapt J.R.R. Tolkien’s unfilmable epic. However, in hindsight, it seems impossible to imagine that anybody except Jackson could have brought the film to life.

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