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335. Guardians of the Galaxy, Vol. 3 (#135)

Hosted by Andrew Quinn and Darren Mooney, this week joined by special guests Graham Day and Luke Dunne, 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 week, James Gunn’s Guardians of the Galaxy, Vol. 3.

A shocking and unprovoked attack on the community of Knowhere leaves Rocket fighting for his life. His old friends, the Guardians of the Galaxy, embark on a mission to save his life. In doing so, they find themselves journeying back into a past that he has never discussed and heading into conflict with a mysterious figure known as the High Evolutionary.

At time of recording, it was ranked 135th on the list of the best movies of all time on the Internet Movie Database.

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New Escapist Video! On Phase 4 as Marvel’s Midlife Crisis…

We’re thrilled to be launching a fortnightly video 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. And the video will typically be separate from the written content. 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.

This week, with the recent launch of Ant-Man and the Wasp: Quantumania, we took a look back at Marvel’s Phase 4, trying to make sense of one of the shared universe’s most disjointed and uneven phases.

New Escapist Column! On Hitting “Peak Marvel”…

I published a new In the Frame piece at The Escapist this evening. With the reports that Disney+ will only be streaming two Marvel shows this year and the decision to move The Marvels out of summer and into November, it’s interesting to contemplate whether we’re already past “Peak Marvel.”

“Peak Marvel” is a reference to “peak oil”, referring to the point at which production reaches its apotheosis, where there is so much content being produced that it is unsustainable for any number of reasons. The Marvel Cinematic Universe remains one of the most successful multimedia franchises ever, but it has been flooding the market for the better part of two years. There are signs, both in the wider industry and within the brand itself, that this model is not sustainable. The question is what comes next.

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

New Escapist Column! On What Kevin Feige Doesn’t Get About “Superhero Fatigue”…

I published a new In the Frame piece at The Escapist this evening. Last week, Marvel Studios President Kevin Feige made an argument that he could never understand the idea of “superhero fatigue”, referencing the diversity of genres and stories in superhero comics.

Feige’s response was interesting for a number of reasons. Most obviously, it was technically correct. Comic books are incredibly flexible in the kind of stories they tell and the way that they tell them. However, Feige’s answer sidestepped the obvious problem. In recent years, the superhero movie has grown more conservative and more conventional, becoming less likely to embrace different tones and styles, or to tell different kinds of stories. In the past fifteen years, the entire comic book adaptation genre has been flattened down to “Marvel movies”, and that is a very real problem.

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

New Escapist Column! On “Eternals” as an Anti-Superhero Epic…

I published a new piece at The Escapist this week. Because it’s that gap between Christmas and New Year, there’s been a bit of editorial leeway. And so, I got to write a little bit about Eternals, one of the more interesting and complicated recent Marvel Studios blockbusters.

Eternals doesn’t quite work. It’s important to acknowledge that upfront. However, the movie is interesting because of how it engages with superheroes. Eternals is not so much a superhero movie as it is a movie about superheroes. It’s about these stories that dominate the popular consciousness, this web of corporate-controlled mythology in which so much modern culture is tangled. It asks what the function of these characters and these stories should be.

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

New Escapist Video! On “Black Adam” and the Debate Over Superheroes Killing…

We’re thrilled to be launching a fortnightly video 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. And the video will typically be separate from the written content. 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.

This week, we took a look at the debate over superheroes killing, which is a major thematic point in the recent blockbuster Black Adam. It’s an interesting point of discussion, but one that often overlooks and misses the larger trend within the superhero genre. That sort of debate doesn’t happen over other pulp heroes, like cowboys or gangsters or pirates, so what is it that makes superheroes a special case?

New Escapist Column! On How “She-Hulk” Relates To Its Audience…

I published a new In the Frame piece at The Escapist yesterday. With the show wrapping up its first season this week, it seemed like a good opportunity to talk about She-Hulk, and the show’s interesting and provocative relationship with its audience.

Setting aside the fact that big villains of She-Hulk are arguably a bunch of internet trolls, She-Hulk is engaged in a literal and constant ongoing conversation with its audience. However, what’s fascinating about that dynamic is the tone of it. Jen often seems to feel trapped by the expectations of the audience for fan service and continuity references, and the need to shape her show in such a way as to hit all of the beats expected of a Marvel Studios project.

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

New Escapist Video! “Werewolf by Night isn’t a Total Transformation for Marvel, But a Fun One”

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 five-minute film review of Werewolf by Night, which is on Disney+ from tomorrow.

New Escapist Video! On How the Streaming Era Has a Writers’ Problem…

We’re thrilled to be launching a fortnightly video 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. And the video will typically be separate from the written content. 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.

This week, we took a look at one of the more under-explored and unspoken issues facing the so-called “streaming age.” In an era where there is so much content, and so much content derived from intellectual property that major corporations protect so severely, where are these studios going to find the writers and storytellers to guide these series? One of the more interesting shifts in television over the past decade has been a slow creep away from the idea of it as a writers’ medium, but that shift comes with a surprisingly high cost.

New Escapist Column! On “She-Hulk” and Unnecessary Origins…

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

Like a lot of these streaming shows, She-Hulk suffers from an identity crisis. It is caught between the show that it clearly wants to be and its obligations to the familiar formula of the Marvel Cinematic Universe. In particular, She-Hulk begins with an extended and unnecessary origin story, which the show itself doesn’t seem particularly enthused about. It’s strictly formula. Giving the first thirty-odd minutes of the show over to this generic and paint-by-numbers exercise undermines a lot of the show’s potential appeal.

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