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Doctor Who: Wish World (Review)

“We’re going to bring down God. Are you with us?”

In many ways, Wish World feels like a thesis statement for Davies’ return to Doctor Who.

It is a story that is, very overtly, about the power of stories and narratives to warp reality. It is a story about the violence that comes from attempts to impose restrictive and suffocating conformist narratives upon people, and how media can bend reality to a point that doubt can cause the world itself to literally crack open. Davies’ return to Doctor Who has been fascinated by the porous nature of reality and the power of television as a medium, and all of that comes crashing to a head with Wish World.

A delightful John-ty adventure.

Wish World is very obviously setting up The Reality War, the big blockbuster-sized finale that will be the first episode of Doctor Who to premiere on BBC One since The Giggle, allowing for the Christmas Specials The Church on Ruby Road and Joy to the World. A significant portion of the episode amounts to pieces being moved around the board so that they can deliver in the season finale, to the point that the Rani herself has to acknowledge that the final act of the episode is largely “exposition.” It is always difficult to discuss the first part of a two-part episode in isolation, and that is especially true of a the first part of a season finale.

However, Wish World works largely on its own terms, crystalising the ideas that have been simmering across these twenty episodes since The Star Beast, articulating themes that are clearly weighing on Davies’ mind.

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Doctor Who: The Interstellar Song Contest (Review)

“Did I just fly through space on a confetti cannon?”

“Yeah.”

“Camp.”

The Interstellar Song Contest is a very strange episode of Doctor Who, both inside and outside the narrative.

Internally, there is a surprising tension within the episode, which is transparently Die Hard at Eurovision.” This is an inherently camp premise. It is, in classic Doctor Who tradition, a “frock” premise. It is goofy, silly, and inherent queer-coded. However, once the episode gets moving, it shifts gears into something much darker and more intense; this is an episode which opens with the audience blown into space, weaves through genocide and builds to a sequence of the Doctor sadistically torturing the villain. The episode balances on a tonal knife-edge.

Spaced out.

However, there is also an uncomfortable tension in the air around The Interstellar Song Contest, a story that was conceived and written two years ago, intended to air on the night of Eurovision, and which was obviously intended as a criticism of consumptive capitalism, but which takes on a lot more weight by simple virtue of the events that have unfolded in the time between when the episode was commissioned and when it was broadcast. The Interstellar Song Contest is an episode is watched in a different context than it was made, despite being ostensibly tailored for this moment.

The result is a deeply fascinating and unsettling episode of television, one that demonstrates both the urgency and the immediacy of television as a medium, but which also illustrates the risks that come with that.

Tune in.

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Kneel Before Pod – “Andor, Season 1”

I was thrilled to stop by the great Kneel Before Pod for a (long) conversation looking back at the first season of Andor, with the wonderful Craig McKenzie and the delightful Aaron Billingham. It’s a fun, involved conversation about the show, its influences, its context and what separates it from (and ties it to) the larger Star Wars canon.

390. Chucky: Season 3 (#—)

Hosted by Andrew Quinn, Darren Mooney, Charlene Lydon and Bren Murphy, 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.

This week, the third season of Don Mancini’s Chucky.

A year after disappearing, the killer doll Chucky reappears in the most unexpected of places: the White House. However, Chucky is not his usual self. His hair is greying. His plastic skin is wrinkling. After four decades as an unstoppable – and unkillable – murdering maniac, Chucky faces his own mortality. Meanwhile, actress, poker champion and mass murderer Jennifer Tilly finds herself on trial for her life.

At time of recording, it was not ranked on the list of the best television shows of all time on the Internet Movie Database.

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387. Chucky: Season 1 (#—)

Hosted by Andrew Quinn, Darren Mooney, Charlene Lydon and Bren Murphy, 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.

This week, the first season of Don Mancini’s Chucky.

Jake Wheeler finds a retro doll at a lawn sale. Looking for materials for his art project, Jake takes it home. Little does Jake realise that he has invited true evil into his home. The demonic doll Chucky has a whole new generation to terrorise as he returns home to Hackensack, the home of notorious serial killer Charles Lee Ray.

At time of recording, it was not ranked on the list of the best television shows of all time on the Internet Movie Database.

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367. Star Trek: Generations (#—)

Hosted by Andrew Quinn and Darren Mooney, 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.

This week, David Carson’s Star Trek: Generations.

Disaster strikes during the maiden cruise of the USS Enterprise-B: James T. Kirk is killed in a freak accident, an encounter with a cosmic force beyond all reckoning. Nearly a century later, Jean-Luc Picard commands another Enterprise. Grappling with horrific news from home, Picard finds himself drawn into the sinister machinations of the mysterious Tolias Soran. A survivor of that fateful tragedy that killed Kirk, Soran is pursuing something beyond even Picard’s deepest imaginings.

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 Superhero Genre’s Existential Crisis…

I published a new In the Frame piece at The Escapist this evening. With no major new releases this week, and with the recent release of both Secret Invasion and The Flash, it seemed like a good opportunity to take a look at the state of the modern superhero genre.

While there are ongoing debates about whether “superhero fatigue” has set in, these are largely besides the point. Watching contemporary superhero films, there is a palpable anxiety underpinning these blockbusters. Increasingly, these superhero films are about superhero films. In particular, they are movies and television shows that make an existential argument for their continued importance and necessity.

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

New Escapist Column! On What Makes a Great Series Finale…

We’re launching a new column at The Escapist, called Out of Focus. It will publish every Wednesday, and the plan is to use it to look at some film and television that would maybe fall outside the remit of In the Frame, more marginal titles or objects of cult interest. With the recent wrap-up of shows like Barry and Succession, it seemed like a good opportunity to take a look at what makes a great television finale.

Interestingly, from The Sopranos to The Leftovers, one of the hallmarks of a truly impressive television finale is the way that it leaves room for the audiece. After all, television shows involve considerable investment from viewers, and offer a chance for the audience to really get to know and understand the characters and the themes of this world. The best of these finales are clear endings to the story being told, but which leave room for the viewer to reach their own conclusion about these characters and their journey.

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

New Escapist Column! On the Question of What Even is a Movie Anymore…

I published a new In the Frame piece at The Escapist this evening. Given the summer blockbuster season will see the release of Fast X, Spider-Man: Across the Spider-Verse and Mission: Impossible – Dead Reckoning, Part One, it seemed as good a point as any to ask a seemingly simple question with a surprisingly complex answer: what even is a movie these days?

In theory, it has always been relatively easy to define a film. Not only is that the name of the medium itself, it has always historically been a self-contained unit of narrative. There is a palpable difference between a film and a television show, or a film and a stage play. However, in recent years, those boundaries have become a bit more porous, and it’s come to feel just a little bit like blockbusters are just very long and very expensive instalments in long-runing television shows.

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

New Escapist Column! On How “The Last of Us” Finds a Fresh Angle on Familiar Clichés…

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 penultimate episode.

The Last of Us belongs to a genre that has been well-explored over the past few years, the post-apocalyptic horror. It’s a narrative template that has been thorough excavated and interrogated across a wealth of media. Audiences are familiar with the language and the logic of these kinds of stories, and there are perhaps only so many variations upon the archetypal theme. This what makes the season’s penultimate episode so compelling. The Last of Us wades into a familiar post-apocalyptic set-up, but finds a way to explore it that plays uniquely to the show’s strengths.

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