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New Escapist Video! “Spider-Man: Across the Spider-Verse is Sweeping Web-Slinging Wonder”

I’m thrilled to be launching movie and television 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 Spider-Man: Across the Spider-Verse, which was released in cinemas this weekend.

New Escapist Column! On “Across the Spider-Verse” as a Superhero Empowerment Fantasy…

I published a new In the Frame piece at The Escapist this evening. With the release of Spider-Man: Across the Spider-Verse, it seemed like a good opportunity to delve into what the movie is about, particularly its relationship to other recent superhero movies.

After all, what is the point of superhero movies? What are they about? What purpose do they serve? In recent years, the superhero genre has come to be shaped by the language of militarism and law enforcement, treating superheroes as cops and soldiers who just happen to wear masks. Across the Spider-Verse is a film largely about grappling with the legacy of that trend, in which the central villains are “an elite strike team” of “all the best Spider-People” whose job it is to maintain the status quo, no matter how many innocent people suffer to maintain the established order.

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

New Escapist Column! On How “Arkham City” Uses the Language of Video Games to Make the Player Feel Like Batman…

I published a new piece at The Escapist earleir this week. As part of a Patreon goal, I will be playing through the video game of The Last of Us for the website, but to warm up, I decided to take up playing some video games that I remember from my own childhood: the Arkham games.

Replaying Batman: Arkham City, I was taken at how well the game uses the narrative structures unique to video games to immerse the player in the world and the psychology of the Caped Crusader, beyond what is possible in comics, film or television. The game places the player in an artifical countdown, and gives them sets of competing objectives, forcing them to decide what to prioritise and how best to respond to the immediate crisis as the situation keeps escalating around them. It’s an approach that manages to make Gotham feel like a real and living place, with the Dark Knight caught in the middle of it.

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

New Podcast! The Recap – “Succession and Barry Are Masterclasses in Series Finales…”

We’re thrilled to be launching a weekly multimedia podcast at The Escapist, called The Recap. I’m hoping to be a regular fixture of it, stremaing live every Tuesday evening. 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 ending of Succession, Barry and Ted Lasso, it seemed like a good opportunity to ruminate on what it means to actually end a long-running series. What is is that makes a finale compelling and effective?

New Escapist Column! On the “John Wick” Movies as a Love Letter to Stuntwork…

I published a new In the Frame piece at The Escapist this evening. With the upcoming release of John Wick: Chapter 4, it seemed like a good opportunity to take a look back at the action franchise.

In modern Hollywood, the John Wick movies stand out from a lot of their competitors by embracing a very practical and material philosophy, leaning heavily on in-camera effects for maximum impact. However, the films are more than just a showcase for stuntwork as one of the industry’s most undervalued artforms. They are also an argument for stunt work as an artform unto itself, particularly in the way that they emphasis the importance of action as a means of storytelling and the way in which they frequently place their stunts in the context of more broadly-accepted forms of artistic expression.

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

New Escapist Video! “Shazam! Fury of the Gods Proves that Lightning Doesn’t Always Strike Twice”

I’m thrilled to be launching movie and television 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 Shazam! Fury of the Gods, which was released in cinemas this weekend.

New Escapist Column! On the Use of Violence in “The Last of Us”…

I published a new In the Frame piece at The Escapist earlier this week. With The Last of Us wrapping up its first season, it seemed like a good opportunity to take a look back at the show, and in particular the way that the show tells its story.

The Last of Us is, in many ways, a study of violence. It’s a study of brutality and horror. What makes The Last of Us so interesting is the way that it chooses to portray such violence and brutality. Indeed, the show is remarkably restrained in its depiction of graphic on-screen violence. Instead, the show’s cinematic language focuses on the idea that violence ultimately wounds both perpetrator and victim. In many cases, it’s the people left behind who have to carry that with them.

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

New Escapist Column! On the Complicated Seventies Nostalgia of “Poker Face”…

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 end of the first season of Poker Face last week, it seemed like a good opportunity to take a look back at the show.

Poker Face is obviously designed as something of a seventies throwback. The show is very obviously a hybrid of classic seventies television like Columbo and Kung-Fu. However, there’s more than simple nostalgia at play within the series. Poker Face is a show about grappling with the memory and legacy of the seventies, of understanding why these stories resonate in the modern world. It has a nuanced and complicated relationship with the era from which it draws, which makes for compelling television.

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

New Escapist Column! On The Finale of “The Last of Us”…

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 finale.

The Last of Us wraps up a phenomenal season with a decidedly small-scale season finale. Look for the Light is one of the shortest episodes of the season, and is remarkable for its tight focus and narrative efficiency. The series remains tightly focused on Joel and Ellie, building to a climax that is at once tragic and inevitable. The result is a very satisfying wrap-up to a very impressive debut season.

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

New Escapist Column! On What Links “Andor” and “The Mandolorian”…

I published a new In the Frame piece at The Escapist yesterday evening. With the new season premiere of The Mandolorian, it seemed like a good opportunity to look at the thematic ties that bind the series to Andor.

Much of the discussion around Andor has focused on how the show is fundamentally different from so much modern Star Wars. However, it’s also worth acknowledging the overlap that exists between Andor and The Mandolorian. Both shows are built around similar thematic ideas, the exploration of what it means to resist the emergence of fascism. In particular, both shows explore the idea that the biggest challenge facing those who would challenge fascism is factionalism and internal division.

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