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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.

172. Left Behind (-#33)

Hosted by Andrew Quinn and Darren Mooney, and this week with guest Andy Melhuish, 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, Vic Armstrong’s Left Behind.

Captain Ray Steele has it all: a beautiful wife, a loving family, a successful job as a high-flying pilot. Still, he finds his eye wandering and temptation calling. Everything changes when disaster strikes during a long-haul flight, when Ray’s co-pilot and several passengers mysterious disappear without any reason whatsoever. What could possibly abduct passengers from an airplane mid-flight? And what happens to those who are left behind?

At time of recording, it was ranked 33rd on the list of the worst movies of all time on the Internet Movie Database.

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Doctor Who: Arachnids in the U.K. (Review)

I’ve heard you’re only running because you’ve hated Trump for decades.

Please don’t mention that name.

Arachnids in the U.K. is perhaps the best episode of the eleventh season of Doctor Who to date.

Arachnids in the U.K. feels like a nostalgic throwback to the Russell T. Davies era, which makes it feel of a piece with the first three episodes of the season. Executive producer Chris Chibnall has executed his spin on the traditional “present-past-future” triptych that was a hallmark of the early seasons of the revival, and so it is time to return to the contemporary United Kingdom in order to better develop the supporting cast and make some very broad political commentary about the modern world.

Finding its (eight) legs.

It is interesting to reflect on how far Doctor Who has come since its resurrection that this idea seems almost quaint, a nostalgic “back-to-basics” approach that seems lifted from thirteen years earlier. It is a valid and worthy approach to Doctor Who, and reflects Chibnall’s desire to make the show more populist and mainstream than it was during the more esoteric tenure of Steven Moffat. There is a reason that Davies was able to transform Doctor Who from a failed cult curiosity into one of the biggest things on British television using this template, after all.

At the same time, there’s something just a little worrying when the stand-out episode of the eleventh season feels like a perfectly serviceable mid-tier episode from the first four.

“Who is this Harriet Jones? I feel like we could make a deal with her. A tremendous deal.”

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