I belong to the generation of kids who, at some point growing up, caught the first series of 'Mighty Morphin Power Rangers' on TV in all its campy glory. Back when it started as an adaptation of the Japanese 'Super Sentai' show, that also utilised a significant amount of footage from the original. Because of that, I will always have a soft spot in my heart for any material involving the OG team, and Kimberly and Trini in particular, them being the original two female rangers to appear on the show.
Reading "Mighty Morphin Power Rangers: The Pink Ranger", which follows a grownup Kimberly, I can say that it certainly lived up to my nostalgic expectations. The book collects Mighty Morphin Power Rangers: The Return #1-4, Mighty Morphin Power Rangers: Pink #1-6, "Re-Imagine" from the Mighty Morphin Power Rangers 30th Anniversary Special, and a new short story.
I like this version of Kimberly we see in the stories here. She feels like a slightly older, maturer, more experienced and no-nonsense evolution of the same character we watched back in the day. Where the book starts, we find her in her post-Rangers days, still a skilled fighter, and still eager to pop in and help where she's needed. Soon facing a situation that calls for her reaching out to Zordon and Alpha, which of course leads to her, once again, becoming the Pink Ranger. Revealing more than that would delve into spoiler territory, so I will just say that the way everything unravels feels organic, the story is gripping, with fast-paced action and stakes that are pretty high. Many old, familiar characters also make an appearance too, in a way that serves the plot nicely and works in bringing everything together.
The art is simply beautiful. From Jenny Frison's gorgeous cover to the amazing illustrations of Nico Leon, the way fighting scenes are depicted and the unique use of pink undertones in the first story, highlighting Kimberly's signature colour in a very clever way, subtly hinting that we are reading a Power Rangers story, but this is still her book. Each story involves different artists, and naturally has a different stylistic approach, with each creator bringing something new to the table, but they all fit really nicely as a collection.
There's something a little bittersweet, but also rather cool, in meeting these characters again as a grownup reader, seeing how they have also grown up as well. The book is the collective work of some extremely talented artists and writers, and the stories included are done with lots of love and clear understanding of the humour, the campiness, the action, the friendships, and the heart that made the show work, channeling all those elements in a way that I believe will appeal to any fan.
A big thank you to BOOM! Studios for providing me with an advance review copy. The book is coming out January 13, 2026.
At its core, it's a classic story about a girl discovering she has mysterious powers she cannot understand, who is taken to a special school so she can learn to control them. But even though this is hardly a new concept, the story takes a unique, interesting approach that breaks free of any tropes and creates a world and a mythology around how magic works in it that becomes very much its own thing.
The book starts by introducing Aida, finding herself amidst the aftermath of a massive explosion which she has seemingly somehow caused, shocked and confused, looking for her lost mother, as she is approached by two strangers with magical powers telling her they are here to help her. There's enough setup to get the reader invested without bombarding you with exposition. As the story unfolds, we get to discover things along with Aida, and start seeing the big picture through her eyes.
Aida as a protagonist is both likeable and believable. She justifiably doesn't know who to trust. She is assertive and determined, and despite being overwhelmed by everything that has happened to her, her heart is in the right place. She is written in a very human and realistic way, especially with how she reacts to the new supernatural things she is discovering, but also in the way she wants to find answers. She is not too eager to fully trust certain characters and she questions their motives as they hide information from her while she tries to make sense of it all. In many stories involving young characters there is an issue of making things too obvious, or too black and white, but this is certainly not the case here. We don't get too much background on the other characters, so we slowly get to know them, discovering their true aims and whether or not they are trustworthy, along with Aida.
The art is simply stunning, striking an organic balance between superhero comic aesthetics and modern-day fantasy elements. The action scenes are gorgeous and immersive, and the way magical powers are visualised is beautiful, and also very clever, especially in how certain spoken words are shown to hold power. Overall, 'The UnChosen' makes for a short but definitely fun read. It's a fresh take on the teen with special powers plot that can be enjoyed by young adult readers, but I'd honestly recommend it to any fan of the genre, regardless of age.
A big thank you to Image Comics for the advance review copy. The book is coming out on February 3, 2026.
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.
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.”
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.
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.
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.
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.
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.
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.
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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