Pacific Northwest Stories, which has expanded to becomePublic Radio Alliance, the same group that creates shows like The Black Tapesand Tanis, has recently come out with a new podcast called Rabbits. The podcast is only four episodes in and it is definitely addictive and interesting, but it also already has several issues that really bug me.
One of the hottest comics when I got into the medium was Locke & Key, written by horror author Joe Hill and illustrated by Gabriel Rodriguez. At the time (about four years ago now), it was far enough along in its run that it would have been silly verging on impossible to attempt to find single issues, so when I came into a gift card, I bought the first trade. From the slew of awards it had won or at least been nominated for, and the strong recommendations from both friends and comics personalities whose opinions I trusted, I started to read it expecting to have my socks knocked clean off… and never finished it. This week, it caught my eye from between my Sandmans and my DC Bombshells on the shelf, and I figured, welp, might as well try again.
Time and distance, apparently, do not make the heart grow fonder. Maybe I have bad taste in comics, but I have no idea how this won an Eisner or anything else. Locke & Key Vol. 1: Welcome to Lovecraft did absolutely nothing for me.
The recent controversy over the bullshit Death Note whitewashing has caused me to crave the original version of Death Note, specifically the animated series. I will admit that while I am a fan of this anime, I have never actually finished it, thanks to L’s untimely death. To this day, I still don’t know much about how the show ends. Now, however, on top of my own desire to watch it again, my husband wants to watch it for the first time. So after many years I am set to finally finish this series, but it has been so long since I have watched this anime that upon beginning my re-watch, I immediately noticed things I missed the first time around. I still adore this anime and think it is extremely well done, but I couldn’t help but dislike the treatment of the character Naomi Misora.
This isn’t typically what I do for Trailer Tuesdays, or at least I usually don’t go out looking for a terrible trailer to trash. However, the moment I saw the trailer for Wish Upon playing silently on my Facebook wall, I knew the film would be bad. Out of some morbid curiosity, I decided to find out just how bad this film was willing to be in the name of hopping on the generic gritty fairy tale trend, and hoo boy, does this film look bad in the terrible, boring ways we’ve all become accustomed to.
The first episode of Alice Isn’t Dead Season 2 is here, and it’s just as interesting as I hoped it would be. It seems like some of my assumptions about who was playing Alice was wrong, but that just gives us more questions than answers. The episode also does an excellent job at exploring the psychological effect of police brutality on people of color.
Spoilers for Alice Isn’t Dead’s “The Last Free Place” below.
A while back, a friend and I attempted what we called a Maximum Chaos playthrough of the game Until Dawn. Until Dawn is basically an interactive horror movie, presented cinematically but offering its players the chance to steer the story in different directions based on character interactions, decisions, and quick time events in action scenes. The Maximum Chaos run involves picking the most risky choices, starting as many fights between characters as possible, and not hitting any of the QTEs, leading to the most exciting, dramatic, and gory story possible. Given Until Dawn’s “anyone can die” premise, this leads to some interesting and brutal action. But, as we learned along the way, it also reveals that certain characters are quite literally indestructible no matter what your button-pressing and narrative choices inflict on them, and some are far too easy to damage, which leaves the game with some unfortunate implications.
Spoilers for the game, character deaths and possible endings beyond this point!
I don’t have to tell you, dear readers, that Jordan Peele’s Get Out is good; all other film review outlets have done that for me. But allow me to say that if you haven’t seen this film yet, do so as soon as you can. If you’re worried that this film is a Boo! Haunted House sort of horror, then let me soothe your fears. Get Out is absolutely a horror film, but it’s horrific more in its realism than in any sense of gore or otherworldly fiends (though there is gore to be had). More than horror, though, the film is clever in its message. Like Zootopia, Get Out relays the message that racism continues to be damaging in its persistence in modern-day culture, but unlike the Disney flick, Get Out doesn’t lose its message due to a lack of direction. Instead, Get Out focuses on exposing the subconscious racism that lingers in a portion of its audience. Get Out sets itself apart by subtly—and then not-so-subtly—showing that white people who consider themselves progressive can be just as racist as the blatantly racist, and that this liberal-coded racism can perhaps be some of the most damaging racism of all.