As evidenced by my weekly coverage of the American Gods TV series when it airs, I adore the book, originally written by Neil Gaiman. It’s one of those books that’s super weird and truly hard to explain and honestly just needs to be experienced. But, sometimes it can be hard to find a swatch of time with reach to read a 600+ page novel. Which is where visual adaptations come in. Obviously, they can, and should, never be replacements for reading the original text, but they can often be a great way of experiencing a story you might otherwise not have the time to experience. Unfortunately, Starz’s television adaptation continues to both stray from the source material and be plagued by behind-the-scenes troubles. Luckily, Dark Horse Comics’ has an adaptation of their own. Helmed by P. Craig Russell, these three volumes have been a very faithful adaptation of the novel and an utter joy to read as they’ve released. Now, with the publication of the third and final volume of the adaptation, it’s nice to have a fully-completed, semi-visual adaptation of the novel – if you consider a graphic novel to be a visual adaptation; I do. (Mild spoilers for both the original novel and the graphic novel.)
American Gods Volume 3: “The Moment of the Storm” (by Neil Gaiman, adapted by P. Craig Russell, illustrated by Scott Hampton)
The new and old gods agree to meet in the center of America to exchange the body of the old gods’ fallen leader–heading towards to the inevitable god war in this final arc to the bestselling comic series! (Collects American Gods Volume 3: The Moment of the Storm #1-#9.)
This episode was a weird one for me because, unlike last week’s, I had exactly no excitement for it. I knew there was no way the episode would actually be continuing any of the overarching plot threads introduced in Fugitive of the Judoon, and after an episode as explosive as that one, it was really hard to be excited for an episode that would just be bog-standard Doctor Who. Now, to be fair, there’s nothing wrong with regular, old stand-alone episodes of the show, but after something as exciting and groundbreaking as last week’s episode, it’s difficult to really get excited for “another random adventure!”. With that said, though, Praxeus is an excellent example of how great a stand-alone episode of Doctor Who can be. (Spoilers follow!)
Season 12, Episode 6 – Praxeus (written by Pete McTighe and Chris Chibnall, directed by Jamie Magnus Stone)
What connects a missing astronaut in the Indian Ocean, birds behaving strangely in Peru and a US naval officer who washes up on a Madagascan beach? The Doctor (Jodie Whittaker), Yaz (Mandip Gill), Ryan (Tosin Cole), and Graham (Bradley Walsh) investigate.
It’s been a good run, right guys? It’s not every day you get a comedy as consistently well-written as The Good Place – and it’s even less common for such a great comedy to find such a big audience that’s filled with love for the show. But that’s exactly what happened with this weird little show. And tonight, it’s come to an end after four short years and 53 episodes. While this moment is bittersweet, it is still something to celebrate. It’s always a good thing when a show gets to end on its own terms, without being canceled or having its premise drawn out too long and watered down into something utterly disappointing. So, I’m happy The Good Place chose now to bow out – it feels like the right time, more or less. And, on the whole, this finale is a good capper to a very solid season of television – though, one that felt a bit rushed at times. (This review will primarily focus on the fourth, and final, season as a whole, but will touch on how the final episode wraps everything up. So, be aware of spoilers!)
Season 4, Episodes 13 and 14 – Whenever You’re Ready (written and directed by Michael Schur)
Various conversations occur, between various groups of people.
Lucifer is such an interesting character, not just in The Sandman Universe, but in general, and I’m quite a fan of stories that portray the character as something more than just an ultimate prince of darkness, but one with true nuance who might actually have a point in his ongoing feud with God. This has always been what DC has done with this version of the character, originally developed by Neil Gaiman, then further developed by Mike Carey, and now written by Dan Watters. As evidenced by the previous volume, Watters has an excellent grasp on what makes Lucifer a compelling character – imbuing this version with lots of vulnerabilities to go along with his massive amounts of power. In this volume, we get a direct continuation of the previous volume, furthering the story of the Morningstar and his newly-discovered family. It’s a great continuation of that storyline and a really great comic in its own right. (Mild spoilers for Lucifer: The Divine Tragedy follow!)
Lucifer, Vol.2: The Divine Tragedy (written by Dan Watters; illustrated by Max and Sebastian Fiumara and Kelley Jones) God is angry. Lucifer has committed an unthinkable act of sacrilege, and now the forces of Heaven have left him with nowhere to turn but the lands of the dead. Much has changed since Lucifer’s last visit to his former kingdom. Meanwhile: a cherub appears in a motel room, a witch queen walks the Earth for the first time in millennia, and Mazikeen gets to break a finger or two. Plus, things in Hell are heating up with too many potential leaders as Mazikeen prepares to fend off a usurper with assistance from an unexpected ally. But with Heaven and Hell so engrossed in their own affairs, who’s keeping track of what’s happening on Earth? Collects Lucifer #7-13.
The Judoon are an interesting species but I, personally, have never understood the love for them. They’re rarely the actual antagonist of an episode, acting merely as a force for both the Doctor and the antagonist to face off against. So, while it’s cool they’re coming back in an episode more focused on them than those they’ve most recently appeared in, I can’t say that they were the big draw for me going into this episode. In fact, perhaps the most exciting thing about this episode, going into it, was the publicity hype it got beforehand. Throughout the last week, various official social media accounts tied to the BBC and Doctor Who have been teasing something that would be more shocking than the surprise reveal of the Master in the season premiere. Now that’s an exciting thing to tease before an episode airs. But, surely, they can’t actually deliver on that kind of monumental hype, can they? Short answer: YES. (This review features spoilers for Fugitive of the Judoon.)
Season 12, Episode 5: Fugitive of the Judoon (written by Vinay Patel and Chris Chibnall, directed by Nida Manzoor)
Ko Sho Blo! Trigger-happy space police the Judoon are targeting 21st-century Gloucester. The Doctor, Yaz, Ryan and Graham race back to Earth in order to prevent them doing too much damage to the cathedral city. But who are they looking for, and what did they do to incur the wrath of the Judoon?
I’ve been a fan of Rhett and Link’s for a while now. Their content is so wholesome and enjoyable – and they grew up fairly close to where I live – so it’s hard for me not to enjoy their stuff. My love of Rhett and Link is what led me to their first novel, The Lost Causes of Bleak Creek. Were it not to have been written by them, it likely would have never made its way onto my radar. But, with its connection to these YouTubers, I eagerly awaited the publication of the book, unsure of exactly what to expect. Well, having read The Lost Causes of Bleak Creek definitely feels like a first novel. And I don’t really mean that as an insult, but an author’s first novel is often very imperfect and that’s exactly what The Lost Causes of Bleak Creek is – imperfect. There are a lot of really good ideas and characters scattered throughout the book, but it’s all a bit hampered by too-few pages and uneven pacing. (Mild Spoilers for The Lost Causes of Bleak Creek follow.)
The Lost Causes of Bleak Creek by Rhett McLaughlin and Link Neal
It’s 1992 in Bleak Creek, North Carolina—a sleepy little place with all the trappings of an ordinary Southern town: two Baptist churches, friendly smiles coupled with silent judgments, and an unquenchable appetite for pork products. Beneath the town’s cheerful façade, however, Bleak Creek teens live in constant fear of being sent to the Whitewood School, a local reformatory with a history of putting unruly youths back on the straight and narrow—a record so impeccable that almost everyone is willing to ignore the suspicious deaths that have occurred there over the past decade.
At first, high school freshmen Rex McClendon and Leif Nelson believe what they’ve been told: that the students’ strange demises were all just tragic accidents, the unfortunate consequence of succumbing to vices like Marlboro Lights and Nirvana. But when the shoot for their low-budget horror masterpiece, PolterDog, goes horribly awry—and their best friend, Alicia Boykins, is sent to Whitewood as punishment—Rex and Leif are forced to question everything they know about their unassuming hometown and its cherished school for delinquents.
Eager to rescue their friend, Rex and Leif pair up with recent NYU film school graduate Janine Blitstein to begin piecing together the unsettling truth of the school and its mysterious founder, Wayne Whitewood. What they find will leave them battling an evil beyond their wildest imaginations—one that will shake Bleak Creek to its core.
You never know what you’re gonna get with an indie/low-budget horror movie. You could get a movie that’s super charming and works really well within the constraints forced upon it (by budget/time/available talent/etc) or you could get something that’s truly appalling and devoid of any entertainment value whatsoever. Or you could get something somewhere in between, where it’s clear that a lot of love went into the creation of the film but some element of its making went catastrophically wrong. That’s the joy of looking into a low-budget horror movie. For every gem (like Rubber), there’s an enjoyable-yet-bad film (like Attack of the Killer Tomatoes), and at least three films that are too awful to watch (like Thankskilling, half the Troma catalog, or Birdemic). So, where does Headshots fall in this breakdown? Well, much to my surprise and enjoyment, it falls within the first camp. Headshots is a charming film that makes the most of its constraints and brings an interesting twist to its premise. (Mild spoilers follow!)
Headshots (written and directed by Chris O’Neill)
HEADSHOTS follows a young British actress who goes to LA to be a movie star- only to cross paths with a serial killer in her acting class.
I love a good celebrity historical episode of Doctor Who. There’s just something that’s inherently fun about seeing the Doctor meet some famous person from history and have an adventure with them. Some of the best celebrity historicals are when Doctor Who answers some previously-unanswered question about that historical figure’s life – in The Unicorn and the Wasp, the show posits an answer to the question of why Agatha Christie went missing for a week, only to reappear with no memory of those days. So, when it was revealed that we’d be getting an episode about Nikola Tesla – who infamously claimed to have seen UFOs at one point in his life – it seemed like the show was setting us up for a really fun romp between the Doctor and Tesla that might answer the question of what, exactly, Tesla saw – which sounds really interesting. And with a title as bonkers as Nikola Tesla’s Night of Terror, it seemed as though we’d be getting an episode every bit as fun as its premise would suggest. So, was the episode interesting and fun? Was it good? Answer: yes. It is an immensely fun episode. (This review contains spoilers for Nikola Tesla’s Night of Terror.)
Season 12, Episode 4: Nikola Tesla’s Night of Terror (written by Nina Metivier, directed by Nida Manzoor)
It is 1903 and on the edge of Niagara Falls, something is wrong at Nikola Tesla’s (Goran Višnjić) generator plant, where someone – or something – is sabotaging the maverick inventor’s work. Has Tesla really received a message from Mars? And where does his great rival Thomas Edison (Robert Glenister) fit into these events? The Doctor (Jodie Whittaker) and her companions Yaz (Mandip Gill), Ryan (Tosin Cole) and Graham (Bradley Walsh) must join forces with one of history’s greatest minds to save both him and planet Earth.
Last year, the Target line of Doctor Who novelizations burst back to life with the first adaptations of episodes from the revived TV series – Rose, The Christmas Invasion, Day of the Doctor, and Twice Upon a Time. The novels were really solid works in their own right, managing to take all the best elements of their respective TV episodes and weave them into something that worked as a novel. They also had the added bonus of reinvigorating the entire Target line – another batch of new adaptations has been announced for July 2020. And then there’s this collection of short stories that was published in October 2018. Normally, the Target range adapts preexisting Doctor Who TV stories, but this collection of short stories decided to go a different route – bringing readers a collection of stories set before/during/after iconic stories from all through Doctor Who‘s 50+ year history. And, I gotta say, a lot of these stories are really, really good.
Doctor Who: The Target Storybook (featuring stories from various authors)
In this exciting collection you’ll find all-new stories spinning off from some of your favourite Doctor Who moments across the history of the series. Learn what happened next, what went on before, and what occurred off-screen in an inventive selection of sequels, side-trips, foreshadowings and first-hand accounts – and look forward too, with a brand new adventure for the Thirteenth Doctor.
Each story expands in thrilling ways upon aspects of Doctor Who’s enduring legend. With contributions from show luminaries past and present – including Colin Baker, Matthew Waterhouse, Vinay Patel, Joy Wilkinson and Terrance Dicks – The Target Storybook is a once-in-a-lifetime tour around the wonders of the Whoniverse
I’m always willing to give a movie with an interesting premise a shot – especially if that film has a solid trailer. This was the case with My Hindu Friend, a film that sounded like I might enjoy it. While I don’t often watch films that fall into a strictly realistic genre, I can enjoy a good one. But the trailer for My Hindu Friend made it look like something more unique than any of the other films that have tackled this kind of subject. And, to be totally fair to the movie, it probably is unique from most other films of its ilk – but I wouldn’t say that’s really a compliment in this case. Let’s be clear – there are moments of brilliance in My Hindu Friend, but it takes the better part of an hour to find any of them and much of the rest of the film just feels like a jumbled mess of scenes, ideas, and characters that never fully coalesces into a coherent story. But, hey, at least those few moments of brilliance are fun to watch.
My Hindu Friend (written by Hector Babenco and Guilherme Moraes Quintella, directed by Hector Babenco)
Diego (Willem Dafoe) is a film director very close to death, surrounded by people who are having trouble dealing with his current tempestuous mood. Chances are he won’t survive, but if he does, that means he needs to relearn how to live.