32 Years of ‘The Nightmare Before Christmas'

 

32 years ago, Henry Selick's The Nightmare Before Christmas had its wide theatrical release. What began as a short poem with a few early character sketches by Tim Burton, was shaped by the contributions of many incredible artists into the cult classic we know. From Michael McDowell's initial draft to the final screenplay of Caroline Thompson (who also had concerns about the racist stereotype undertones of Oogie Boogie) that greatly expanded upon the original ideas, turned Jack’s curiosity into an existential search for meaning, and added emotional depth and complexity to the characters.

Sally wasn't part of Burton's original poem, existing only as a vague idea in sketch form. It's Thompson who created her entire arc, from her initially unrequited love to her desire for freedom and finding herself beyond what she was told she should be, serving as the heart of the film. The film’s characteristic gothic and whimsical aesthetic also owes its final form to the combined genius of visual consultant Rick Heinrichs, cinematographer Pete Kozachik, and art director Deane Taylor.

It took 3 years, over 200 meticulously crafted puppets, and an entire team of animators, puppet builders, and lighting designers to make TNBC what it is. Beyond the characters, the story, and the music, the film is also a prime example of the artistry of movie making and practical effects, and the magic of stop-motion animation.

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Recent Watch - It's the Great Pumpkin, Charlie Brown (1966)

 

59 years today since "It's the Great Pumpkin, Charlie Brown" was released back in 1966. On the surface, it might appear like a whimsical cartoon about a young kid’s belief in the Halloween version of a Santa-like entity. However, the animated short isn’t a mockery of Linus but more of a sincere depiction of his innocence. At its core, it's a deeper exploration of disappointment, the several different forms that faith can take, perseverance, small acts of kindness, and holding on to hope despite failure. 

The scenes where Linus promises to put in a good word for his friends with the Great Pumpkin, even after they mock him, when Lucy thinks to ask for extra candy for him because he missed trick-or-treating, and later goes to find him, brings him home and tucks him into bed, highlight Schulz’s characteristic avoidance of cynicism in favour of a more tender approach, even when tackling darker, melancholic themes.

According to his longtime collaborator Lee Mendelson, Charles Schulz always felt badly about the reality that many children from disadvantaged families don’t always get what they wish for during the holidays. Something that partly shaped Linus’s unshakeable belief in the Great Pumpkin, his enduring hope, and the underlying message: “You keep going, and you don’t give up.”

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Recent Read - Something is Killing the Children Omnibus Vol. 1

I have been a fan of James Tynion IV's approach to mystery and supernatural horror ever since I got the first volume of 'The Woods' in my hands, so naturally I've been meaning to give 'Something is Killing the Children' a read for a while, especially with the hype surrounding it, and the first omnibus of the series was a really good place to start.

The book is a hefty 512 pages long and includes the first 20 issues, covering both 'The Archer's Peak Saga' and the 'Me and My Monster' storylines. Without revealing too much, the story begins with the strange disappearances and gruesome murders of several children in a small Wisconsin town, killed by horrific monsters that are somehow invisible to adults. Enter Erica Slaughter, a mysterious young woman who can somehow both see and harm the monsters arriving to help. 

This is most definitely a horror story, and it doesn't hold back with the gore and the violence, but at the same time it never feels exploitative or misanthropic. It depicts some pretty brutal and violent events, but it also acknowledges the tragedy and grief experienced by those left behind. The mystery surrounding the monsters attacking the children, and Erica herself, is the center of the plot, and it becomes very clear from the start that nobody is safe, but it's also pretty much a character-driven story as well.  

Beyond the intrigue of the main plot, what makes the book work even more is that Erica is also a really likeable protagonist, as she balances being a no-nonsense badass who has seen a lot with actually genuinely caring about the people she is trying to help. Even if her ways are often risky and unorthodox, her heart seems to be in the right place. She is flawed but sympathetic. In fact, most of the smaller characters are treated with nuance, and even if they don't stick around for long, it doesn't feel like they were there only to serve as expendable plot devices.

The art, illustrated by Werther Dell'Edera and coloured by Miquel Muerto works perfectly in amplifying the eerie vibe of the story, and the pacing of the plot keeps you reading to find out what happens next. It's hard to praise the book more without giving away spoilers, but what I can say is that 'Something Is Killing the Children' definitely lived up to the hype for me.

 A big thank you to BOOM! Studios for providing me with a review copy. 

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Recent Read - Manga Biographies: Charles M. Schulz - The Creator of Snoopy and Peanuts

I have a big soft spot in my heart for anything related to the 'Peanuts' comic strip, and for Charles M. Schulz as a creator, so I was happy I got a chance to read "Manga Biographies: Charles M. Schulz - The Creator of Snoopy and Peanuts" by Yuzuru Kuki, and ended up finishing it in a single afternoon. The book starts with a little introductory info on Schulz and the 'Peanuts' characters before beginning to tell his story as a shy, socially anxious kid who grew up loving reading and drawing comics, and who also had a special bond with his childhood dog Spike.

It pretty much covers Schulz's entire life, from his early childhood experiences and him serving in WWII, to achieving his dream of becoming a cartoonist, his work process, his inspirations, his divorce, how he found love again at 50, and his special connection with his fans. There's also lots of interesting, and often touching, trivia included, like Snoopy and Charlie Brown's historical ties to the Apollo 11 moon landing, and the fact that 'Snoopy' is the name that his mum suggested they give their next dog, before she died.

The Manga biography of Charles M. Schulz is more or less tailored for younger readers, but can honestly be enjoyed by anyone who loves Schulz and his work. Much like the 'Peanuts' comics, the book is endearing and charming, but not saccharine, it doesn't gloss over things like the loss of his mother, the way the Second World War affected him, the failures and rejections that came before 'Peanuts' was eventually picked up, or his struggle with anxiety and depression. I loved both the unique approach of telling Schulz’s story through the manga medium, and the way it serves as a sincere tribute to both the creator himself and his work.

It may not include every detail the way a full-on written biography would, but after finishing this manga one will certainly have a pretty good idea about who Charles Schulz was and how much of himself he poured into all of his characters, as well as how his life experiences, the people he cared about, his personal mental health struggles, his perspective on sadness, loneliness, hopefulness, and his intentional rejection of cynicism were reflected in his work.

 Big thank you to UDON Entertainment for giving me a review copy. 

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Recent Watch - Resident Alien (2021-2025)

 

I discovered 'Resident Alien' relatively recently and ended up watching all 4 seasons back-to-back as it became my most recent casual comfort watch. I came to this show not knowing much about it, drawn by the concept of a sci-fi comedy involving an alien crash landing on earth and posing as the local doctor of a small town, and by my particular soft spot for Alan Tudyk. 

It's not without its imperfections, it has the occasional sitcomy inconsistencies and character development that doesn't always stick around for the next episode, but all in all it's a funny and heartwarming watch. The plot is defined by its silliness, and even though some storylines get a little too ridiculous, it keeps you invested because of the endearing characters and the plot points that are glued together by wholesomeness, heart, and some very human moments. And despite being cancelled, the series gets a satisfying, if bittersweet conclusion that feels true to its spirit. 

I liked that beyond the alien shenanigans the show's main focus remained on the little things that brought the characters together and the importance of human connection in general. I liked that it features two married people who are actually in love after years of being together, genuinely care for each other, and resolve their problems with healthy communication instead of resorting to the usual comedic tropes of constant bickering and misunderstandings. I liked how sisterhood and female friendships were portrayed, and how it showed that messy, flawed people can form healthy bonds, grow, learn, and reinvent themselves. I also liked the fact that Linda Hamilton had a recurring guest role as a no-nonsense badass.

'Resident Alien' doesn't set to answer any big philosophical questions, and it doesn't take itself too seriously, but at the same time, in all its weirdness, it manages to provide some good laughs, make a little bit of a sociopolitical commentary, and tell a story on how even if there are many horrible things in the world, there is a lot of good in humanity too.

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75 Years of Peanuts

Today marks 75 years since the publication of the first 'Peanuts' comic strip back in October of 1950. And decades later, the stories of Charlie Brown, Snoopy, and the rest of the gang remain as relatable and as popular as ever, because beyond the surface, there is a characteristic sincerity in Charles M. Schulz's work that makes those comics way more than the cute little stories of a boy, his dog, and his friends. The Peanuts comic strips manage to combine humour and melancholy, often striking a balance between the whimsical and the philosophical, speaking about sadness and optimism, without ever getting overly heavy or preachy. 

It is very distinctive of Schulz's storytelling how Charlie Brown's wanting to buy the sad-looking tree in 'A Charlie Brown Christmas' isn't played for laughs. It reflects the tendency that a lot of people who feel like underdogs have to pick the lonely-looking toy on the shelf as kids, or to adopt the "difficult" pet who needs more patience and attention as adults. It's not a joke at the expense of the gentleness of Charlie brown, but a reminder of that innate ability to recognise our specific kind of loneliness in someone else, and the understanding that being sad and imperfect doesn't make someone less deserving of love, or less capable of offering it, either.

Not many works of pop culture can truly claim the characterisation of 'timeless', but nobody can deny that Charles M. Schulz's characters and stories definitely fit the bill. There's a distinctive innocence in those comics that never turns into sugar-coated naivety. They are funny and quirky, but never become mean-spirited. Sometimes they get dark, but never turn cynical. They show little funny snippets of the lives of their protagonists, but without ever punching down. They depict a world where themes of failure, loneliness, and depression can coexist with silliness, love, and hope. Pretty much like real life.

 

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30 Years of Xena: Warrior Princess

 

Today marks 30 years since the premiere of 'Xena: Warrior Princess' on September 4, 1995. Originally starting as a spin-off of 'Hercules: The Legendary Journeys', it eventually surpassed it in both ratings and popularity, with several characters that originated in Hercules, like Bruce Campbell's Autolycus, also eventually becoming primarily associated with Xena in the long run.

The show was shamelessly and unapologetically campy to its core, but beyond Xena's cheesiness and genuine heartfelt moments, it also managed to be groundbreaking on several levels. It was a primarily female-led action series, which, despite the existence of characters like Ellen Ripley, Princess Leia, and Sarah Connor, was an extreme rarity at the time. Beyond that, Xena started as a villain who changed her ways, she was physically strong and athletic, she was messy and flawed, and her primary motivation was redemption, not revenge.

Xena featured a noticeably diverse cast for its time and famously challenged gender norms and stereotypes, while also exploring LGBTQIA+ themes, often pushing beyond whatever limits the mainstream television rules of the ’90s imposed. It even touched upon themes of gender identity and nonconformity, with episodes like the standout “Here She Comes... Miss Amphipolis,” which featured the late Karen Dior as Miss Artiphys, a character who may not have been explicitly referred to as trans at the time, but who was also never ridiculed or made the butt of the joke after explaining to Xena the decision to take part in a beauty pageant presenting as a woman, with the quote:

“You really don’t get it, do you? I guess being born a woman you wouldn’t. This is a chance to use a part of me most people usually laugh at, or worse. A part I usually have to hide. Only here that part works for me, you see?”

The episode not only showed Xena, a woman who, overall, did not fit traditional feminine tropes, befriending and accepting someone different who was exploring a feminine identity, and celebrating her victory when Miss Artiphys is crowned winner of the pageant at the end, but it also made a clear statement against the stigma surrounding HIV/AIDS at the time by featuring an on-screen kiss between Lucy Lawless and Karen Dior, who was diagnosed with HIV and was a prominent AIDS activist.

The relationship between Xena and Gabrielle, even though it was never explicitly confirmed as an actual romance beyond the show's famous subtext, was a complex and evolving connection, with the bond and affection between the two characters being undeniable, pushing the boundaries in regards to queer representation. As their connection evolved, it became clear how the two balanced and inspired each other, with Gabrielle challenging Xena's darkness, acting as her moral compass.

Xena started as a heavily-guarded, hardened warrior who had no intention of letting anyone in, but Gabrielle's influence eventually broke through her walls and got to her. That fundamentally changed Xena as the series progressed, as we get to see her softer, more vulnerable side due to Gabrielle's influence. Despite whatever limitations the network restrictions in the ’90s inflicted on the writing of these characters, this was a story of two women who genuinely loved and significantly affected each other, and to the audience that was unmissable.

In a time of ancient gods, warlords, and kings... but also a time when homophobic jokes and sexist stereotypes and tropes were widespread and all over mainstream media, Xena came and changed the world of television forever, paving the way for future action heroines, providing inspiration for female characters decades later, and earning her status as a timeless cult icon, fair and square.

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ARC Read - Marvel Comics Classic Quotes

'Marvel Comics Classic Quotes' by Robb Pearlman is a fun coffee table-style book that can be casually read in a single sitting. For any Marvel fan, it delivers a selection of mostly well-known catchphrases that have become popular through internet memes and the MCU like "I am Groot" and "I don't want to cure cancer. I want to turn people into dinosaurs", but also a few that come directly from some of the best stories from the comics, like Ms. Marvel's "Good is not a thing you are. It's a thing you do."

Each quote is usually accompanied by a comic book panel, but oddly enough not always the panel it is referencing. It's clear that this is a book primarily targeted towards people that are familiar with both the quotes and the stories themselves, and that is a shame as I would have loved a little snippet of context to also be there to provide more information on what each quote means. Some quotes can perfectly stand on their own and hold meaning even if someone hasn't read that particular story, others though not so much. The words "No more mutants" for example, will mean very little to someone not familiar with the story arc behind them. Not every Marvel fan has read all the comics, and it would be a good way to get more people interested in discovering new books.

I'd say that my biggest nitpick about the book is the lack of credit given to artists and writers. For most quotes there is a comic title with the issue number and date, referencing their origin, but no information on the people who wrote and drew them. Despite the misconception that comic books are just shallow pop corn entertainment, there is lots of heart, depth, and insight to be found in many of these stories, and that's thanks to the artists and writers behind them.

It was nice seeing (part of) one of my favourite quotes from Loki: Agent of Asgard #13 (2015), by Al Ewing, Lee Garbett, and Antonio Fabela:

"What is a lie, when it's at home? Anyone? Is it the depressed little voice inside? Whispering in my ear? Telling me to give up? Well, I'm not giving up. Not for that part of me that hates myself. That wants me to wither and die. Not for you. Never for you. What's a lie, Verity? A lie is a story told. That's all. And we can rewrite our stories. All of us. Write our own happy endings. Our own redefinitions. We don't have to be what we're told to be. Even by ourselves."

 

Thank you to Cider Mill Press for the advance reader's copy, the book is coming out on October 07, 2025.

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Recent Watch - The Fantastic Four: First Steps (2025)

 

Overall, I really, really enjoyed 'The Fantastic 4: First Steps'. It was *very* refreshing to watch an MCU project that was primarily focused on doing its own thing, and telling its own, mostly self-contained story without being preoccupied with setting up a dozen other storylines for films that will come out in 3 years, or offering more fan service than plot. The Easter eggs, the little nods to well-known characters from the FF comics, and the dedication to Jack Kirby were all genuinely nice touches as well.

I'd say that after 4 not-so-fantastic attempts, they've managed to bring these characters to live action in a way that works. The retrofuturistic setting allows for them to stay true to many of the comic book themes without needing to strive too hard for realism. The chemistry between the cast works in making them feel both like a team and like a family. They all get their separate moments to shine and use their powers, but Vanessa Kirby's Sue Storm is the undeniable heart of the film and the glue that holds them together.

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25 Years of Live Action X-Men

 

25 years today since the first 'X-Men' film was released back in 2000. The fact that this movie happened back then, 8 years after the X-Men animated series that got so many of us into the comics, was a *huge* deal. Seeing the posters for the first time and seeing in live action the X-Mansion basketball court opening up and the Blackbird flying out caused some *serious* hype.

It marked a milestone for Marvel after their rocky history of low-budget, low-effort adaptations, especially with a cast like Patrick Stewart, Ian McKellen, Anna Paquin, and Ray Park, while also helping to propel Hugh Jackman's career. It was a fun action film that took itself, its cast, and its audience seriously and stayed true to the core theme of the X-Men being a team of outcasts who fight to protect a world who hates and fears them.

In retrospect is it a perfect X-Men adaptation? Nope. It never managed to shake off the shame it felt for certain aspects of its source material, and in the process of trying to make it digestible to a wider audience, it failed to fully capture the 'found family of weirdos with a hint of soap opera' spirit of the comics. It lacked the heart that acted as the glue keeping those characters together, sticking up for each other, despite their different backgrounds and personalities.

But the film undeniably marked a significant shift in the way Marvel comic book adaptations were approached, eventually leading to an era where these movies have found a better balance between serious themes, camp, and yellow spandex.

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James Gunn’s ‘Superman’ Brings Back the Trunks and the Heart

I've had a deep love for comic books for decades, and I've been a fan of Superman ever since little kid me came across a videotape of Christopher Reeve's portrayal of the character in the first Richard Donner film. Superman has existed since 1938, and naturally there have been dozens of different interpretations of him, but my favourite has always been the OG corny nice guy who uses his powers for good. There is a certain charm in the idealism of that concept. And this is exactly what the promos for the new 2025 'Superman' film seemed to promise. Having now watched 'Superman', I can say that it was everything I had hoped it would be.

There's a noticeable amount of inspiration drawn from both the Donner films, Golden/Silver Age material, and classic comics like Grant Morrison's All-Star Superman here. The story is not a direct adaptation, but watching David Corenswet's depiction of the character felt like watching the same Superman who talked a depressed teenage girl off the ledge, telling her that she is much stronger than she thinks she is in All-Star Superman #10. One of the most talked about scenes from the character's history, for good reason. Because Superman isn't just the guy who is capable of punching holes through walls, he doesn't act from a place of vengeance or anger, or needing to prove a point. He doesn't just use his fists, one of his greatest strengths is his ability to empathise, and he does what he does because he cares. He stops alien invasions, he saves kittens from trees, and all the things in-between.

It's a simple concept but it doesn't need anything more added to it in order to work. People may not be able to  fly or stop bullets with their hands, but people can just choose to be good just because it's the right thing to do. I'd argue that the only way to make a character like Superman sympathetic enough so that readers (or viewers) can connect with him on a substantial level is to make him as human as possible. There is no appeal in an omnipotent, flawless, macho, inapproachable person who is allergic to emotions, no matter what the folks who self-label as life coaches and think that there is an instruction manual to human connections try to tell you, and any story about such a character can only go so far. Clark is a guy with tremendous powers and capabilities, and out of all the things he could do with them, he chooses to help and protect those who need him.

The rest of the cast is also fantastic. Nicholas Hoult delivers a great performance as Luthor, making for a very convincing megalomaniac billionaire, driven by ego and capable of real cruelty. Edi Gathegi is brilliant as Mr. Terrific, and Rachel Brosnahan simply is Lois Lane. The chemistry between Lois and Clark was spot on, you can see why these two people fell in love with each other, and even how the different aspects of their personalities fit together.

It was a smart choice showing the characters already being a couple, with Lois also knowing Superman's identity. The movie would have gotten tedious really fast if it tried to be yet another origin story. The tale of them getting together has been told numerous times before, and as one of the most famously endgame couples in the history of comic books, their relationship is built on more than physical attraction and Lois's fascination with Superman.

Contrary to the Batman and Catwoman dynamic, the most interesting part of the relationship between Clark and Lois comes after the characters end up together. Clark cooking for Lois when she comes home, Lois being in Clark's childhood bedroom, meeting his parents, noticing him interact with his dog, noticing his posters on the wall and all the other items in the room that tell a little story of who this sweet, nerdy guy is as a person, is something that comes from a place of affection, and it's nice to see the characters established that way.

Krypto the dog was hands down another highlight of the film. I think this version, even if he is rather different to the one from the comics, works excellently. He is ridiculous and loveable, and steals every scene regardless, but I think those who have had the experience of owning a dog whose inability to read the room and follow the rules is only surpassed by his ability to love you enthusiastically will feel a little extra fondness for his sloppy excitement (and maybe a little appreciation for the fact that dogs aren't capable of flying in real life).

There are some parts of the plot that feel a little messy, but overall 'Superman' was an undeniably enjoyable watch, and most importantly, it was a film that truly understands the character. My only major gripe would be how much of the second part of the film was shown in the trailers. Some scenes I'd rather have experienced for the first time while watching the movie. At the same time, I loved how 'Superman' doesn't shy away from being colourful, it never tries to pretend that it's anything other than a comic book movie, it never attempts to hide its ridiculousness by trying to give a logical explanation as to why there's a cute dog wearing a tiny red cape flying around.

At the same time, it also remains relevantly political, in the way Superman has always been ever since his creation by Jerry Siegel and Joe Shuster 87 years ago. Despite how the word might have become taboo for certain parts of the internet, the story of Superman has always been interconnected with real-life issues, and beyond what label any of us uses to describe the basic concept of the character, Superman has always essentially existed as an answer to the question "what would someone who is fundamentally a good person do if they had the power to stop harm and injustice?"

The story and the themes are delivered through a modern lens, showing how smear campaigns, xenophobia, and disinformation can be weaponised, and how mob mentality works in the age of social media, but at the same time the movie stays true to the spirit of the character.

Superman is the most powerful man on earth, but what defines him is his vulnerability and his heart. He is nearly indestructible, but also a little dorky, compassionate, witty, he remembers the details from a first date, he is occasionally awkward, he loves his unruly dog, heck he loves all dogs. He stops mid-fight to save a squirrel, he cares about Malik the street vendor who once gave him free falafel, he acts from a place of wanting to protect the innocent, he cries, he inspires others to be better, and he believes kindness is the most punk rock thing there is. Because it is.

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25 Years of Final Fantasy IX

25 years ago today one of the best entries in the Final Fantasy series was released. At first glance, it's easy to consider Final Fantasy IX as a light and whimsical title, especially in the shadow of FFVII. But anyone who has played the game knows that beyond its colourful characters and gorgeous scenery, it explores themes of existentialism, identity, finding your chosen family, finding love and acceptance as you are, and also finding yourself and what it means to carve your own path and to make the choices that define you, despite your past or what inner or outer darkness you are fighting against.

It's a story that asks some very deep questions about dealing with depression, the meaning of life, and the fear of death and loss, that ultimately rejects nihilism by emphasising how even the realisation that existence is temporary and mortality is inevitable doesn't diminish the importance of connecting, loving, sharing, hoping, experiencing the little moments, and fighting for a better world. It's one the most beautiful and hopepunk games to have come out in the last few decades that remains more relevant than ever, and is well worth discovering even today.

Illustration by Yuya Ishihata/ Square Enix

Illustration by Toshiyuki Itahana / Square Enix

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Recent Watch - Ironheart

Having finished all 6 eps, I can say that I really enjoyed 'Ironheart'. I liked most things the show did, the changes from the comics made sense, and they made up for the absence of Tony Stark in Riri's story by giving her a more personal, and actually touching, connection to her suit and her motives.

The themes of a 19-year-old girl experiencing loss and trauma and acting from a place of grief and frustration while trying to regain some control over her life, learn to stop pushing people away, and use her gifts, without having the privilege of Stark's resources, were explored really well. It's very human for someone to act messily and abrasively, but not maliciously, when they are trying to protect themselves from experiencing more pain, and supernatural and comic book elements aside, for me, 'Ironheart' depicted that rather realistically too.

The show had its funny and heartwarming moments, and Dominique Thorne is great as Riri. The only gripe I have is with the ending, because it felt very MCU formulaic in how it tries to set up things coming next, instead of wrapping up the current story, and more specifically it felt out of character and out of place, considering Riri's whole arc. That said, if a second season happens I will surely be watching!

(Wide-eyed Tiffie in the pic to nod to *that* thing finally happening in the MCU.)

 

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ARC Read - It Rhymes With Takei

I was happy to get my hands on 'It Rhymes With Takei', George Takei's second graphic novel memoir after 'They Called Us Enemy', his excellent first graphic novel where he recounts his memories of the American concentration camps during World War II, which he had experienced first hand as a 4-year-old boy. This time around, the famous actor and passionate activist focuses on the more personal story of his identity as a gay man, his late coming out at the age of 68, back in October of 2005, and all the decades and experiences that formed his views of the world, fuelled his passion for social justice, and shaped him as a person.

The book is a heartfelt and vulnerable recounting of his most formative experiences as a young boy who grew up feeling different, not fitting in, but who also lived in a world that made it very clear that his difference wasn't going to be tolerated. From the several prejudices of the times, to the bullying and the prevalent homophobic slang, to later seeing people's careers being ruined after the revelation that they were gay, it is not hard to understand why a young Asian-American man would be fully convinced that the best thing to do is to live his life hiding who he truly is.

The way George Takei explains his everyday experiences paints a very clear picture of the American society of the 1950s and on. His thorough way of describing things makes you understand both the man and his way of thinking specifically, as well as the conditions and political climate that he grew up into. On a global scale, we still have a long way to go when it comes to LGBTQIA+ rights and social acceptance, but it is also undeniable that just a few decades ago homosexuality was condemned socially and politically to such a degree that it rendered people who were outed unemployable pariahs, ruining their careers, families, reputations, and everything else in their lives for daring to love who they loved.

In this book George Takei also takes us through the stages of his career, from the early days where he caught the acting bug and couldn't let go of his dream, to how he was propelled to fame, landing the role of Hikaru Sulu in 1966, despite the difficulties of the era and the setbacks they caused for an Asian-American actor in the industry.

It's a fascinating read, both for fans of the actor, but also for anyone interested about the history of LGBTQIA+ rights, and frankly anyone who has ever felt isolated, lonely, and like they didn't quite fit in. Seeing a young boy growing up to follow his dreams, finding a person to love, eventually getting married to his husband in 2008, and finding his place in the world, living his life on his own terms, is nothing short of inspiring, and also a little reminder that, despite dark times, change is always possible.

The art by the extremely talented Harmony Becker, who also worked on 'They Called Us Enemy' is gorgeous and fits the book well, and the storytelling is just beautiful and sincere, making it impossible to not get invested. From the very first pages it becomes very clear that this is a story of hope, being told by a man who is looking back at his life, and after decades of being told by society that it's best to keep one of the most important parts of himself hidden, he is sharing his truth with the world.

A huge thank you to IDW Publishing and Top Shelf Productions for offering me an advance review copy. The book is coming out on June 10, 2025.

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Recent Read - The Passion of Pedro Almodóvar: A Self-Portrait in Seven Films

I recently got my hands on 'The Passion of Pedro Almodóvar: A Self-Portrait in Seven Films' by James Miller, a book that, as the title suggests, explores the real life story of the Spanish director and the mark he has left on European and global cinema by drawing parallels with the themes he has chosen to explore in 7 of his most well-known films, or as Miller puts it, 7 of his most personal works. From 'Volver' to 'Pain And Glory' and 'Bad Education', the book is divided into sections dedicated to each film separately, both exploring Almodóvar's inspirations and arguing the autobiographical nature of these works, as discerned by the author.

Miller does a great job in structuring the book, and sharing enough information to create a big picture by exploring both Spanish and cinematic history in a way that allows the reader to have a clear understanding of Almodóvar's formative experiences, and thus his perspective as a creator. It is worth keeping in mind that although the book is undeniably a thorough and engaging exploration of the auteur's work through a deeply thoughtful and analytical lens, and does often back its points using Pedro Almodóvar's own public statements, it is in the end of the day solely based on the author's personal interpretation of Almodóvar's approach to film making.

Of course cinema, like any other art form, is experienced differently by different people, so naturally every time someone attempts to analyse a film, or in this case an entire filmography, they are unavoidably impacted by the ways it spoke to them personally. It becomes evident from the start that the author has both a vast knowledge of Almodóvar's work and a very deep appreciation of him as a film-maker. This is of course necessary, if one intends to write such a deep analysis of how a creator's life experiences are interwoven into their art, but at the same time the book at points puts Almodóvar on an impenetrable pedestal that leaves no room for critique.

And even though the book definitely addresses the several times the auteur has been challenged for certain artistic choices, specifically about the ways he used themes of trauma and sexual abuse in his works, I would have appreciated a more critical and rounded approach to the matter, especially given the sensitive subjects in question.

There is a balanced middle ground between unquestioning praise and absolute condemnation, that allows for art to be discussed both as a form of expression that is free to touch upon taboos and use uncomfortable subjects to provoke the status quo and invoke certain thoughts and feelings, and also as something deeply human, and thus imperfect, that isn't perceived and experienced the same way by everyone, and therefore cannot be exempt from scrutiny. Unfortunately, the book did not always succeed in finding that balance for me.

'The Passion of Pedro Almodóvar' is first and foremost aimed at someone who is already a fan, but can also be read by anyone curious to learn more about the film-maker and gain a deeper knowledge of his works. The author provides enough information for each film so it's not necessary for someone to have watched all 7 of them before reading, but this also means that spoilers about every important plot point cannot be avoided.

A sincere thank you to Columbia University Press for providing me with a review copy of the book.

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Full Throttle (1995) - 30 years of “Motorcycles. Mayhem. Murder.”

Today marks the 30th anniversary of Full Throttle, released on April 30, 1995. A cult classic little gem from the golden age of LucasArts point-and-click adventure games. Tim Schafer's first solo project, featuring biker gangs, storytelling and cutscenes that draw inspiration from the Mad Max films, a protagonist who gets wrongfully framed for murder, a distinct cinematic style, and a soundtrack by The Gone Jackals.

Ben, the main character, was voiced by Roy Conrad, while Mark Hamill voiced the game's villain. Despite its planned sequels never getting off the ground, and the title being relatively short, Full Throttle has more than managed to perfectly stand out on its own thanks to its humour, memorable story and characters, and its fresh new approach to the adventure game genre. Decades later, it still deserves all the love it's getting, and if you've never played it, the 2017 remaster is an excellent way to fix that.

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Daredevil: Born Again (Spoilery Thoughts)

Netflix's Daredevil is one of my all time favourite comic book live-action adaptations. I consider it to be one of the best projects to have come from Marvel, and one of the best pieces of mainstream television in general. It's a gritty story about found family, the willingness to do good, and flawed people fighting their personal demons while accepting and supporting each other, that also happens to involve masked vigilantes and undead ninjas. Ten years later, going back and rewatching all 3 seasons in a row before diving into 'Daredevil: Born Again', further solidified this opinion. Having now watched every single episode of 'Born Again' as well, I can say that although it's not perfect, it has, all in all, fulfilled most of my expectations and left me wanting to watch what comes next.

It has been a decade since the premiere of the OG Daredevil, which makes how easily both Charlie Cox and Vincent D'Onofrio stepped back into their respective characters even more impressive. The same goes for Deborah Ann Woll as Karen, Elden Henson as Foggy, and Jon Bernthal as Frank Castle, for the brief moments that we get to see them. Continuing from the finale of Daredevil's Season 3 directly into 'Born Again' really felt like going back to that universe. Not everything is the same, characters' lives have taken different turns, and there's also a difference in tone, cinematography, and pacing, so the show might not live up to everyone's nostalgia, but it's still a solid continuation from where Daredevil Season 3 Ep13 'A New Napkin' left off.

To have a plot for a new show, it's unavoidable that the somewhat hopeful and uplifting ending of 'A New Napkin' has to be undone, and the band-aid is ripped off very fast, with the assassination of Foggy Nelson and Karen and Matt being driven apart by grief. The show was off to a strong and shocking start, but to claim that it survived its rewrites and creative overhaul completely unscathed would be a lie. There are certain decisions some characters make that don't really make sense, some things happening too serendipitously or too abruptly, and there's a general unevenness that can be attributed to the changes in the creative team for each episode, but in the end it still manges to land on its feet, especially after the season finale.

The acting remains brilliant, and the rivalry between Matt Murdock and Wilson Fisk, which takes centre stage, continues and evolves in a way that feels true to the characters. At the same time though, it's impossible to ignore the fact that 'Born Again' seems to be missing a big chunk of its heart. 

There's a Foggy and Karen shaped void that remains both palpable and unfilled throughout the biggest part of the season. One of the most prevalent, ongoing themes of the Netflix show was Matt's relationship with other people. How he was taught early on that having others to care about is a risk and a liability, his inner struggle between needing human connection and fearing the consequences that would bring, and how he avoided letting people in because of the abandonment that he felt from a young age and the loss and isolation he had experienced due to his circumstances. Eventually revealing, both to the audience and the characters, the complex reasons why Matt tended to push people away, how his vulnerability intertwined with his fear of abandonment, and having him realise the importance of his bond with Foggy, Karen, and the other people in his life as part of his growth.

'Born Again' doesn't necessarily undo any of that, but 10 years later we find Matt Murdock following a different life path, estranged from Karen, in a fancier office that lacks the charm and heart of "Nelson and Murdock", having left Daredevil behind him. Although it is still abundantly clear that his primary goal is to use whatever means he has to help the underdog. What feels really disappointing though, is how almost every single connection in Matt Murdock's life seems to be just surface-level and lacking substance.

Margarita Levieva is amazing in her performance, but the way her character as his girlfriend Heather Glenn is written makes it clear that the relationship isn't meant to last. Matt and Heather seem to be in a "dating for the sake of dating" situation, as there's no initial spark on their first date, and no apparent affection or companionship shown between them later on. She doesn't appear to know about his history with Fisk, nor do they appear to be on the same page on a significant number of issues. And it shouldn't really take a therapist to know that someone who has difficulty with opening up and letting people in, who at the same time is also grieving the loss of one of the closest people in his life, needs to be supported and not antagonised.

All of this makes it really hard to be invested in their connection, or to care when it inevitably falls apart. During the latter parts of the season, the way the character of Heather is presented feels like it's almost spoon-feeding to the audience the fact that she is intended to be disliked. Speaking of deliberately unlikeable characters, Michael Gandolfini shines as Daniel Blake, Fisk's sleazy, power-hungry lackey. The writing in this instance works far better, with Gandolfini giving a standout performance as a very intentionally insufferable and unscrupulous character, who rises in the ranks not because of his capabilities but due to his obsessive loyalty and adoration of Fisk.

The relationship between Matt Murdock and Wilson Fisk continues to be one of the most stable aspects that carries on with the show's revival in the way the two men seem to know and interact with each other. Fisk as the main villain of the series remains one of its biggest highlights, with Vincent D'Onofrio's excellent performance and the way the character acts living up to the standards set by the 2015 show, making the kind of extreme cruelty that the Kingpin is capable of even more brutally clear, and proving once again that a character doesn't need superpowers to be a terrifying villain. Another plus of this season is how it showcases the way Vanessa Fisk isn't only an intelligent manipulator but also matches the viciousness of her husband and is as much of a ruthless villain as he is, not just someone who tolerates or pretends to not see his darker side. Something that was only briefly touched upon in Daredevil Season 3.

It was certainly also really good to see the return of the Punisher. Even if his appearance in this season was brief, the chemistry between Charlie Cox and Jon Bernthal was phenomenal and left me looking forward to the upcoming Punisher special. The series doesn't shy away from the violence and the gore, and it was good seeing Muse, one of the most chilling villains from the comics, also making an appearance. Sadly, the whole storyline felt a bit rushed, and didn't reach the level of creepiness and horror of the "Dark Art" comic book run. That's not to say the character was adapted badly, but the whole arc felt like it didn't reach its full potential and was too quickly wrapped up. It mostly felt that Muse was basically there as a device to finally push Matt to go back to being Daredevil again, and to further move forward Heather's plot, rather than to tell the story of that specific villain.

Overall, the show is an imperfect but certainly solid revival that brought back a lot of of the aspects that made Netflix's Daredevil great. It starts with a bang, then becomes a slow burn, but it eventually finds its pace. The way it ends leaves the door open for a ton of possibilities, both in regards to the plot and the characters that might be joining Daredevil and Karen next season. Opinions may vary, but I liked how we didn't see the Defenders, or any other familiar characters specifically show up in the end, as it would have been revealing too much, and it could potentially feel too gimmicky. That said, I really hope to see Jessica Jones, Luke Cage, Colleen Wing, and the rest make a return, one way or another.

Bringing back any beloved show after a decade isn't an easy task, doing so while going through a series of rewrites and other creative shortcomings doesn't help either, but despite its imperfections 'Born Again' has done right by the original show. The action scenes deliver, the social and political commentary is on-point, the old familiar characters make a strong return, and even though the finale did not conclude the story it managed to finish on a high note and set up the scene for a very promising Season 2.

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ARC Read - Nacelleverse Vol. 1: Biker Mice from Mars & RoboForce

If you are someone who has been of cartoon-watching age (or of cartoon-watching habit, for that matter) sometime in the mid 90s, then there is a good chance that you remember the 'Biker Mice from Mars' show, you might even remember the slightly older 'Robo Force' toyline. You definitely also know that toy and comic book tie-ins for animated shows has been a decades-old tradition when it comes to cartoon entertainment. This book collects two of the latest such entries, as parts of the NacelleVerse, with the storylines setting up their respective animated series.

This volume includes the two runs of RoboForce #1–3 and Biker Mice from Mars #1–3, as well as NacelleVerse #0, all written by Melissa Flores whose excellent 'Mighty Morphin Power Rangers' and 'The Dead Lucky' runs have already established her as an ideal creator to handle similar material. It also features art by Rahmat Handoko, Rhoald Marcellius, Francis Portela, Diogenes Neves, and other well-known names in comics. Beyond the undeniably talented team behind it, and beyond its status as a cartoon tie-in, this book is actually an also pretty fun read.

With similar tie-ins, it's not uncommon for the quality to be less than stellar, and for the books to only exist as promotional, nostalgia-bait material. So it was good to see that this is certainly not the case here. There are the familiar characters and lore, but there is also a well-crafted storyline that combines both feeling true to the original and also fitting modern standards. Overall an enjoyable, action-packed, and nostalgia-fuelled read, whether you're already a fan or you're curious to discover those franchises.

A big thank you to Oni Press for providing an advance review copy. The book is expected to come out on May 20, 2025.

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ARC Read - Murder on the Books

'Murder on the Books' follows Charlotte (Charley) James, a successful thriller writer who after experiencing a burnout decides to take a break and go back to her hometown, where not everyone knows about her author status as she has been writing her books under a pseudonym. Through an interesting turn of events, Charley finds herself in charge of a bookshop, as her best friend's business partner Sheila suddenly disappears, which in turn puts her in the middle of a murder mystery when she ends up discovering Sheila's dead body in the basement.

The book certainly lives up to the cosy mystery claim, it's a fun and fast read that keeps you invested. The plot isn't too complex, and it does require some suspension of disbelief in regards to the circumstances, but that is pretty much the norm of the genre, especially when it involves a civilian main character taking it on their own to investigate a murder. Charley felt real and relatable, her connection with her best friend felt refreshing, and the approach that the book takes to experiencing a burnout, needing a break, and to mental health in general, feels also quite realistic. With a plot that involves its main protagonist moving to a small town, taking over a bookstore, adopting a cat, and using their intellect to solve a crime, there's a lot to like here.

As this is the first of the 'Cozy Bookshop mystery' books, the characters are newly introduced and their circumstances are just being established, but the book soon finds its pace and becomes both a highly enjoyable read and a promising beginning to the series.

Big thank you to Severn House for providing an advance review copy. The book is coming out on the 1st of July, 2025.

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ARC Read - Teenage Mutant Ninja Turtles, Vol. 1: Return to New York

As a kid I discovered the Teenage Mutant Ninja Turtles cartoon sometime in the mid-90s, and much like every other show I used to watch growing up, any new version or modern adaptation of such material immediately strikes a nostalgic nerve in me. Add to that the fact that 'Teenage Mutant Ninja Turtles, Vol. 1: Return to New York' is written by Jason Aaron, whose Thor/Mighty Thor runs and work in the Star Wars comics I thoroughly enjoyed, and features art by Joëlle Jones, Rafael Albuquerque, Cliff Chiang, and Darick Robertson, and it's no surprise that I was really eager to read this book.

Having now finished the first volume, I can say that 'Return to New York' certainly didn't disappoint. Even though it's a continuation and not a reboot, it's a pretty good starting point for new readers. The story is noticeably grittier and more violent than the original series, but never gets exploitative or edgy for the sake of edginess.

The book starts with the turtles separated, each in a different place and situation, which works well in (re)introducing them, establishing their different personalities and perspectives, and setting up the story for when they eventually reunite. The plot worked well, making for a fast-paced read, the art, considering it involved such great talent, was everything I expected it to be, and the story is very much in the spirit of TMNT. I will absolutely be grabbing Vol. 2, no question.

A big thank you to IDW Publishing for offering me an Advance Readers Copy in exchange for an honest review. The book is coming out on June 24, 2025.

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Recent Watch - Flow (2024)

First time I watched 'Flow' was at the cinema, but upon second viewing I can now confirm that the internet was right about the effect that the film has on cats. Can also confirm that it remains a masterclass in visual storytelling, and a beautiful and tender tale about survival and found family that evokes thoughts and emotions without the use of any dialogue.

Such an incredible achievement by a small team, all done with open source software. People keep repeating how impressive it is that it was created in Blender for good reason, because it is legitimately one of the most stunning animated films that have been released in the recent years. 100% worth every bit of praise it has received.

 

 

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