The new Doctor Who series is going from strength to strength. This was such a quintessential DW episode. Proper balance of camp, cheese, humour, and drama. Jonathan Groff as Rogue is an instant new favourite. Their chemistry with Ncuti Gatwa is ridiculous. Ruby is also shaping to be one of my favourite companions. Reminding the Doctor that it's OK to acknowledge his emotions, to accept feeling sad and hurt and talk about it instead of bottling it up, felt very fitting with the new direction the character is taking and I'm here for it.
Also good luck to the "Doctor Who is woke now" crowd who are unable to process a Black Doctor being unapologetically queer on screen, not sure they're going to be able to handle this one without short-circuiting.
Both a love letter and a proper continuation of the 90s show, made by people who obviously love the original cartoon, but also the X-Men characters and storylines. The intro theme is back, the characters are back, most of the original cast is back, the campy dialogue and storytelling format are back too. At the same time both the animation and the way themes of prejudice are presented have been updated in a way that feels more relatable to modern audiences.
It's clear that a lot of effort and heart were put into this, and despite hitting some heavily nostalgic notes, it definitely doesn't piggyback on nostalgia alone. Bringing back old, beloved shows and franchises is always risky, and it's not going to meet everyone's expectations, but if it has to happen then the best way to go about it is with care for the original material and understanding of what made it special to those who love it.
Really interesting episode, not the "kids these days are on their phones all the time" kind one might have thought watching the trailer, but instead focuses on a much more serious issue surrounding the mentality of certain groups, and how those specific echo chambers function.
It's definitely an episode that is made by its ending. The hyperbole of the allegory might seem too exaggerated at first. But when things start falling into place it becomes clear that it serves a purpose and helps highlight the main message.
The final part is what makes the whole episode really work, for me the ending was quite fitting, given the point that the story was trying to get across, and Ncuti Gatwa was phenomenal in his performance, especially during the final scene.
X-Men '97 stuck the landing and then some, and that feels like an understatement. "Tolerance is Extinction Part 3" was unbelievably good. What a way to wrap up a season, and what a way to revive a show! Every character got their moment to shine, every detail and plot point served a purpose. The show managed to bring back a cartoon from 30 years ago, update it, modernise it, make it relevant to younger audiences and current social issues, while also maintaining its heart intact in a way that immediately feels familiar to everyone who's grown up with it.
In a way, it feels that the show has grown and matured along with its original audience. Now tackling more serious issues, not holding back on the commentary, exploring trauma, grief, the anger caused by injustice, and remaining true to the X-Men's history as an allegory for the prejudice experienced by marginalised groups, while also understanding how crucial the 'found family' theme that defines the bond that holds those characters together is.
Every nod and Easter egg comes from a place of loving and respecting those stories and the artists and creators who over the years shaped those characters. All episodes were filled with references that comic book fans would recognise, but not once did it feel gimmicky or cheap. The season finale perfectly wrapped the main storyline, but also opened the way for what comes next, and season 2 cannot possibly arrive fast enough.
'73 Yards' was a properly eerie and creepy episode, with some actual horror elements and gorgeous cinematography too. Really strong performance by Millie Gibson as well. Doctor Who inevitably faces some limits when tackling with horror themes, given the show's PG rating, but they definitely found the perfect balance here, delivering a legitimately haunting and at times quite unsettling story.
Went into the Fallout TV show trying not to expect much, but it was such a pleasant surprise. The attention to detail is impressive, the cast is amazing, Walton Goggins in particular manages to give a significantly emotional performance even under tons of prosthetics, and the way music is implemented as part of the storytelling works perfectly. Looking forward to season 2.
One of the most brilliantly-acted, brutal, raw, uncomfortably stressful and heartbreaking pieces of television I have ever watched. Touches upon themes of familial trauma in a very real, very unsettling way, without ever becoming exploitative for a second. Also giving a new perspective on all main characters, adding extra context that makes you look back at everything that has happened from the first season on from a different angle. Not an easy watch, but an exceptional episode.
'Boom' had a significant change of tone compared to the first two episodes. Tackling some pretty heavy, warfare-related themes, and making some definitely-not-subtle commentary on the illogicality and inhumanity of war. With some legitimately touching moments, but also some cleverly balanced humour too, that actually adds to the story.
Ncuti Gatwa gives an exceptionally emotional performance, and their chemistry with Millie Gibson continues being amazing. The dynamic between the Doctor and Ruby remains one of the highlights of the new series. The episode wraps up maybe a little bit too neatly, considering the storyline it deals with, but this is Doctor Who, after all, and it's in the heart of the show to give a little glimmer of optimism in the end. All in all, by a mile the strongest episode of the season so far.
‘Deadpool & Wolverine’ is everything you’d expect from a Deadpool film, plus one bit superhero satire and one bit genuine love letter to all the Marvel comic book films that preceded the MCU and helped pave the way, even those projects that never actually came to be. The movie is basically a salad of nods to the original comic book material, tongue-in-cheek jokes, 4th wall breaks, and character cameos, that somehow mixes surprisingly well and delivers a perfectly enjoyable result.
It’s clear that both thought and effort went into securing those character cameos, and it’s impressive how they managed to keep them secret before the film’s release. As expected, for its biggest part, the film doesn’t take itself too seriously, which allows the movie to get away with quite a few things. After all, you can’t complain that a plot device is a MacGuffin if the film calls it a MacGuffin first. All in all, the majority of the jokes land, the chemistry between Hugh Jackman and Ryan Reynolds undeniably works and carries the plot, and when things do get serious it still manages to deliver a solid story.
Despite the film never pulling any punches when it comes to calling out the shortcomings of some of the more recent MCU projects, it’s pretty clear that it holds only love for its source material, the characters, and the creators that brought them to life. Something that becomes evident by all the nods, references, and credits it features.
I don’t think that the question whether or not it will “save the MCU” is fair for any Marvel project, because no film or show can guarantee what comes next beyond telling its own story. And above all else, ‘Deadpool and Wolverine’ is a Deadpool film. It’s violent, it pokes fun at itself, it’s often nonsensical and irreverent. It also has its serious and genuinely touching moments, but it can’t, it won’t, and it never set out to deliver the epicness and emotionally impactful story of ‘Avengers: Endgame', and if you go into the film expecting that, then that’s on you (though I would suggest that you may want to give the recent X-Men ’97 cartoon a chance, in order to satisfy that itch).
It may or may not be Marvel Jesus, but it definitely delivers some solid fun.
That was a very Doctor Who season finale, with a very Doctor Who way of wrapping things up. Some deus ex machina moments, some answers finally revealed, some mysteries still remaining unanswered to build hype for the Holiday special, and lots of nods to classic Who in-between. Not a perfect episode, it does require some suspension of disbelief and to not analyse how things came to be too much, but overall solid. It did not pack the same punch as some of the strongest episodes of this season, and some of the build-up didn't lead to a satisfactory payoff, but the performances from both Ncuti Gatwa and Millie Gibson were once again brilliant and very emotional, making up for some of the weakest parts of the finale.
I reckon the way Ruby's mystery was resolved isn't going to be everyone's cup of tea, but it's one of the things about the episode that I rather liked. As a resolution it doesn't answer all the question surrounding Ruby, and even creates new ones given certain things that happened during this season, but considering how there were only a handful of routes that specific plot point could have taken, the reasoning behind what happened is at least convincing enough and fits well with the themes of the show.
'The Fall Guy' was a ton of fun. Great action with the right amount of comedy, the romantic plot feels believable and sweet, and Ryan Gosling and Emily Blunt sell it excellently. At points it gets a bit over the top but it's very self aware about it, and it never tries to be anything more than it is. Plus what it does, it does it really well, and it's got a blasting soundtrack too.
Actually quite enjoyed 'The Little Mermaid'. Some nitpicks aside, it's one of the better Disney remakes. Not all of the changes were necessary, but some really helped improve on the story. Giving Ariel more agency in certain scenes and making the romance more believable by having them bond and get excited and nerdy over their specific common interests definitely worked in giving a reason, beyond infatuation, why these two people like each other. Overall it was fun and boy Halle Bailey can SING.
Just as brilliant as 'Fishes', for totally different reasons. Focusing on hope, finding purpose from a low point, and the overall theme of "never too late to start over". Strangely, it really felt like a fitting followup to episode 6, both as a palate cleanser, and a shift towards a more optimistic tone. The writing of this show remains legitimately impressive. The way character development feels so organic and the people in it feel so flawed, and human, and real, is something very rarely seen in any form of media.
'My Adventures with Superman' is such a comfort watch. It's so sincere, funny, optimistic, and full of heart, and just peak Superman. With some more serious turns in the story as well, keeping things interesting.
One of the deviations from the classic comics that more modern stories have taken is having Lois actually be attracted to the kind, dorky, and awkward Clark right away when she first meets him, instead of her fascination being primarily focused on Superman. That's something I'm a big fan of and it's really well executed here. Their romance is really sweet and believable, and the whole dynamic and humour between Clark, Lois, and Jimmy as friends and young interns on the Daily Planet works excellently too.
Interesting show that went under the radar. The story of how Hero met Kyra is sweet and believable. The way he is allowed to tell the series of events in court, though, does require some suspension of disbelief, but taking liberties not based on real procedures is very common in films and shows involving trials and legal matters. Being just 4 episodes long, it doesn't drag more than it should and the story wraps up pretty nicely.
Amazing cast, great soundtrack choices, but boy does this show jump the shark on season 2.
The amount of effort that Halle Berry put into this role is definitely impressive, and getting Valentina Shevchenko to be part of the film was also pretty cool.
Nimona was such a delight! Beautiful animation and an endearing and deep story, that manages to blend lighthearted humour with positive and nuanced queer representation, and themes that include the harms of indoctrination and demonizing those who are different, along with the seclusion and the longing for acceptance and connection by those who feel like they don't belong.
Barbie is funny, campy, extravagant, sincere and emotional. Even in its comedic moments it doesn't hold back on the commentary. Sometimes subtle, sometimes in-your-face, pointing on how the world regards and frames femininity and masculinity, trying to put them in a box, but also on the urge to break out of those boxes and discover yourself beyond how you were told you should be. America Ferrera's monologue stands out among the many genuinely deep parts of the film.
