In the wake of IT Chapter Two, amongst the maelstrom of Reddie fanfiction that I was certainly not churning out at the rate of six per hour and Bill Hader actually becoming a sex symbol, Out.com released an article that swiftly shot to the top of the Discourse surrounding the movie: Pennywise is Surprisingly Anti-Queer in IT Chapter 2.
I want to make it very clear, right at the top of this review, that I am not the kind of person who believes that subtlety is necessary for good storytelling. My favourite genre of anything is the musical, a world often delightfully devoid of nuance; one of my favourite movies is Streets of Fire, a film which can’t even spell subtlety. I reviewed Riverdale for two entire seasons, not entirely unfavourably. I’m not asking for Barry Jenkins-levels of deep emotional wit here, is what I’m saying.
Eternally dunking on Rogue One
Laurie Blake is finally in on the joke. But the joke is still on her.
With only one half-season of Bojack Horseman remaining, I fully intend to spend as much time as humanly (and horsenly) possibly talking about it. Bojack Horseman is one of the best shows of the decade, one of the most consistently brilliant, insightful deep-dives into trauma, abuse, addiction, and mental illness, not to mention a magnificent vehicle for Noted Character Actress Margot Martindale to spin her winsome charms over the nation at large. The last half of this season drops at the end of January next year, and I’m already a little sad to think that it’s going to be over all too soon.
Happy Halloween, one and all! I hope you’re all having a suitably spooky and safe season of scares, and thank you for joining me for another one of these reviews which I still, unaccountably, continue to write out of actual choice despite the seething mess of this season so far.
Let’s take this all the way back to 1826.
Loss comes with a responsibility – and a legacy.
For Halloween, we’re deep-diving into the horror franchise that has defined a decade – for better and for worse.
The Cutprice Guignol 