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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ARC Read: The Age of Video Games: A Graphic History of Gaming from Pong to VR and Beyond

I got my hands on an advance copy of 'The Age of Video Games: A Graphic History of Gaming from Pong to VR and Beyond', written by journalist Jean Zeid and illustrated by Émilie Rouge, a graphic novel that sets out to cover the long history of video games as a medium. As someone who has been fascinated by games since the age of 5, I found the concept extremely interesting, and having read the entire thing I can say that the book certainly did not disappoint.

'The Age of Video Games' has its two protagonists, Jean and Émilie themselves, travel through time, and sometimes into the worlds of each specific game they are referencing, telling the story of how video games started as a concept, how they interconnect with the history of programming and the personal computer, and how they evolved into the global industry that is now an inseparable part of modern pop culture. There are also many mentions of the people who helped shape the gaming medium, from the early days of the Atari and on. It was good seeing some lesser known names appear, and also seeing the many, many women who have been a part of gaming history since the beginning, being mentioned and credited for their contributions too.

The book wins major points for using comic book format to tell its story. Having the reader being flooded with facts could have become boring very soon, but the beautiful, colourful illustrations accompanying the banter really kept things interesting. I loved the art, and I loved all the video game references and how it changed and adapted accordingly when it depicted different worlds and characters. It kept a solid balance between remaining consistent and making each homage immediately recognisable.

Of course it was impossible to reference every single game, but the book really does an impressive job in covering a lot of ground in that regard. Apart from the big players that one cannot omit when talking about the history of gaming, it was nice seeing indie titles also referenced. On a personal level, it was also good seeing games like 'Full Throttle', 'Maniac Mansion, and 'Grim Fandango' pop up as well. If I had a nitpick, it was that the modern slang sometimes felt a bit inorganic, but admittedly the jokes between the two characters did land for me.

It's a read I'd recommend to anyone with an interest in the history of gaming, as it's a love letter to the medium written with a lot of knowledge and a lot of love for the subject matter.

A big thank you to Andrews McMeel Publishing for providing me with a copy.

The book is expected to be published on July 22, 2025.

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Artificially Generated Colourful Empty Husk

(Stock photo by Aleksandar Pasaric)

 

This is hardly an unpopular opinion, nor an attempt to make any groundbreaking statement beyond putting some personal thoughts out there, but I honestly never got the appeal of AI generated so-called "art". 

With the most recent online trend of having AI generated images sort of resembling the art style of Studio Ghibli, beyond the words of Hayao Miyazaki himself, who had previously called similar technology "disgusting" in the past, with "I can't watch this stuff and find [it] interesting. Whoever creates this stuff has no idea what pain is whatsoever. I am utterly disgusted. If you really want to make creepy stuff, you can go ahead and do it. I would never wish to incorporate this technology into my work at all" being his exact quote, and the disrespect towards him this practice implies, I was also reminded of this quote by Guillermo del Toro, said during a conversation with the British Film Institute (during which he also interestingly enough mentions the work and influence of Miyazaki as well, full video here):

“I saw a demo of AI and I thought oh that's what people think animation is, giving prompts and the computer does it. You know, but AI has demonstrated that it can do semi-compelling screensavers. That's essentially that. The value of art is not how much it costs and how little effort it requires, it’s how much would you risk to be in its presence. How much would people pay for those screensavers? Are they going to make them cry because they lost a son? A mother? Because they misspent their youth? Fuck no!”

And OK, on a very shallow level, I maybe understand the idea of it. It's pretty (to the beholder), and the text is usually coherent, and the pictures show what you asked for on demand, and heck, sometimes they even have the right amount of fingers. But on the other hand, creating art takes some real work, and this is how people pay their bills, and even if you manage to totally ignore that, or the legal and ethical issues that arise, or the mere fact that this is not some revolutionary digital parthenogenesis that magically creates things out of thin air, but relies on taking thousands of hours of hard work, skill, pain, emotion, inspiration, practice and personal experiences, in the vast majority of cases without the creator's consent, putting them in a blender, and spitting out something that somewhat resembles the original, or the fact that it has contributed so heavily to the spread of disinformation, the way it has been used as a tool for online abuse and harassment in the form of revenge pornography, and the negative impact that it has been proven to have on the environment, my sentimental little brain still cannot fully get why would anyone be fascinated by something that nobody made.

During such discussions, though not specifically about AI, I'm also reminded of this quote by Ethan Hawke on TED, highlighting the importance of human creativity:

“Do you think human creativity matters? Well, most people don’t spend a lot of time thinking about poetry, right? They have a life to live and they’re really not that concerned with Allen Ginsberg’s poems or anyone’s poems—until, their father dies; they go to a funeral; you lose a child; someone breaks your heart. And all of a sudden you’re desperate for making sense out of this life. ‘Has anybody felt this bad before? How did they come out of this cloud?’ Or the inverse—something great. You meet somebody and your heart explodes—you love them so much you can’t even see straight. You’re dizzy. ‘Did anybody feel like this before? What is happening to me?’ And that’s when art’s not a luxury—it’s actually sustenance. We need it.”

 I don't think it's a coincidence that both del Toro and Hawke talk about sadness, loss, and grief in connection to how important art is. I think the question "Did anybody feel like this before?" pretty much sums up my entire point. Because one of the biggest ways in which we find value in art, whether it's a song, a paragraph of text, a quote even, a photograph or a painting, it's in how it communicates that someone, somewhere, at some point in their life felt a certain way and sat down and expressed it in a manner that speaks to you, lets you process your own feelings, inspires you, and tells you that you are not alone in your joy or your sadness. That some stranger out there has felt that distinct kind of loneliness or thrill, and oddly understands that specific part of you, even if nobody else does.

Sure art comes in many forms, not all of them so serious. It's silly and funny, and sometimes flawed and nonsensical, but essentially it's a very human way to connect with another person who had something inside them to say, and to receive something out of it. And that's not something that can be replicated or mass produced. Whatever it is that AI creates, if you take the human factor out of the equation, it simply ceases to be art.

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Recent Read: Severance - The Lexington Letter

 

 

After the finale of Season 2, I decided to give 'Severance - The Lexington Letter' another read to fill this Friday's Severance void, and it's really a great companion to the show, with an interesting twist/reveal in the end.

It obviously doesn't provide any huge answers that the show hasn't offered yet, but it offers several little titbits and information on how Lumon operates from the perspective of a newly-introduced severed character who grows more and more suspicious of the company, and has discovered a way to cheat the system and communicate with her outie self, in a way that fits with the "some things transcend severance" themes of the series.

I wouldn't read it before watching the show, because it still contains plenty of spoilers for the earlier episodes, but it's a good tie-in to dig into after the first half of Season 1 and onward. It's not a long read, but the attention to detail, and the dystopically hilarious 'Macrodata Refiner's Orientation Booklet' that is included, are very much in the spirit of the show and make this a must-read, especially since it's available for free. Going back to it after 'Cold Harbor' really makes some things connect more.

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Recent Read: Elektra by Greg Rucka Ultimate Collection

 

I have really enjoyed a lot of Greg Rucka's work, and I find Elektra very interesting as a flawed character, but I couldn't really get into this book. There's an extreme tonal whiplash between the attempt to tackle serious issues like sexual assault, trauma, severe depression, and dealing with consequences, and the oversexualization of the main character in every other page.

Nothing wrong with characters like Emma Frost, for example, expressing their sexuality on their own terms, and nothing wrong with skimpy outfits or ridiculous costumes and unrealistic situations, but this works better in books that don't take themselves so seriously. There is something really off, seeing a woman who is clearly depicted to be suffering, mentally straggling, and going through a breakdown, also having her costume constantly and conveniently torn to reveal even more skin, and posed and exposed in a way that is clearly meant to titillate the reader. It's not the first comic to have women drawn as if someone forgot how gravity, human breasts, and fabric work, but it just feels extra out of place here, considering the mature themes of the plot.

The story also doesn't seem to go anywhere, or know what it's trying to say. Reading this in 2025, it definitely feels like a product of a different era of comic books.

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20 Years Since the 2005 Doctor Who Revival

 

Today marks 20 years since 'Rose', the first episode of the 2005 'Doctor Who' revival aired, featuring Christopher Eccleston as the leather-jacket-wearing, witty and dorky 9th Doctor and Billie Piper as Rose Tyler, ending a 16 year hiatus.

Hard to believe that it's already been 2 decades. Ever since I stumbled upon reruns of Tom Baker’s Doctor, I've had a special place in my heart for this show. I'd say despite its weirdness, but it's more likely because of it. It had a limited budget, plenty of campiness, extra cheese, and lots of heart (two hearts, to be precise), and it made this combo work.

It's not for everyone, and that's OK, and it had its hits and misses since it first aired back in 1963, but at a time where so much of the current entertainment confuses cynicism and bleakness with realism, and edgy and misanthropic is presented as cool, I'm glad that shows that remain unapologetically silly, and hopeful, and sometimes sentimental, and at the same time always relevant and political still have their place. So I'm happy this peculiar little show is still around doing its thing.

"You lot, you spend all your time thinking about dying. Like you're gonna get killed by eggs or beef, or global warming or asteroids. But you never take time to imagine the impossible - that maybe you survive." - S1E02 The End of the World

 

 

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Recent Watch: Snow White: A Tale of Terror (1997)

 

Last night's "it's 2:00 am and I can't sleep" watch was 'Snow White: A Tale of Terror' from 1997, starring Sigourney Weaver as the evil Queen (not really a Queen), Sam Neill in a very Sam Neill performance, and Monica Keena. It's a film I knew the existence of for quite some time, but I had never watched and didn't expect much of. But you know what? It was, all things considered, perfectly all right.

Was it a masterpiece? Not really. Did it have certain elements that make it an unmistakable product of the 90s? For sure. But it was also a solid attempt at creating a gritty, horror-themed twist to the Snow White tale that gave the Evil Queen (again, not really a Queen) more depth, multiple layers, and a (still condemnable) motive that went beyond merely being jealous of her stepdaughter's youth and beauty.

Having the mirror supernaturally possess and manipulate her, using a personal tragedy of hers to push her over the edge and drive her actions, was certainly an interesting choice that adds more substance to the character and the story, and Sigourney Weaver really sells it with her intense performance, that even earned her an Emmy nomination.

Making Snow White start as a less-than-perfect, slightly spoiled character, that experiences some growth as the movie progresses, admittedly also added more complexity to the plot. The main romance is also both fleshed-out and handle refreshingly well with the turn it takes.

Overall, it was a fun 90s attempt at retelling a classic fairy tale through a grown up, horror lens. The Poohniverse should be taking notes. Extra points because despite the film's multiple casualties, the dog does *not* die.

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‘Babygirl’ Makes Some Baby Steps Before It Stumbles

 

I stayed up until way past 2am trying to finish 'Babygirl', waiting for it to become the film I had hoped it'd be. Because it's not a secret that films, and stories in general, that don't abide by the myth that humans have an expiration date when it comes to romance, and specifically explore the lives, perspectives, dating habits, and sexual agency of women over the age of 40 are an extreme rarity. The same goes for stories that explore niche relationship dynamics without a deliberately edgy or sensationalistic aspect to them. Sadly, the film didn't live up to the expectations I had of it in that regard, at least on the first part.

As someone whose ideal relationship would be something resembling the one she already had with Antonio Banderas' character, and who would be so appalled by Harris Dickinson's Samuel that I'd be determined to avoid meeting the guy again for the rest of my life by the second time he would obnoxiously and overconfidently cross the line, I can't claim any expertise in regards to the themes that the movie tried to explore, but still I found the premise extremely interesting.

Nevertheless, sadly, all I can say is that the entire affair felt sterile, odd, with the lines between consent and coercion getting a bit too blurry for my taste. At the same time, it felt like the film was too scared to do anything too daring or groundbreaking, and chose to remain frustratingly tame and surface-level in the way it touched upon the two protagonists' psyches, desires, and actions.

On the plus side, the erotic scenes felt authentic, realistically awkward, and existed as part of the story with their main focus not being to titillate the audience but to serve the narrative. Romy's story is not an uncommon one. It's a frequent occurrence for women, of all ages, to go through entire relationships suppressing their desires and needs, sexual or otherwise, or to at least avoid discussing them, with frustrations and feelings piling up over the years. I just felt that the message would have been communicated way better if Romy wasn't also shown to have a loving, affectionate husband, who appeared perfectly willing to listen and communicate. Or if whatever barrier was keeping her stuck was made clearer.

To the film's credit, it's also a plus that it does hint that both Romy and Samuel are inexperienced, confused, and not exactly sure of what it is that they are doing. Their situationship is not presented as entirely healthy, or ideal, they both act sloppily and irresponsibly. That said, there's also a lack of accountability or consequence, for everyone involved, that leaves the story lacking.

Frankly, I really appreciate what the film tried to do, and the story it tried to tell. I hope we keep seeing more films exploring the perspectives of women in that light. I'd love to see more movies revolve around women in their 40s, 50s, or 60s, being flawed, being messy, falling in love, falling apart, and being imperfect. I just wish that 'Babygirl' had done it in a better way.

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Recent Watch: Captain America: Brave New World (2025)

 

That's 'Captain America: Brave New World' watched. I really, really wanted to like this film more than I did. Wouldn't call it bad, despite the overall lack of character development and humour, certain plot holes, and a geopolitics-heavy storyline that went out of its way to not go anywhere, not say anything, and to remain ironically apolitical, the movie had its moments. So, all in all, it was...um, fine? Okay? Adequate?

Really wish they didn't use the Red Hulk so much into the marketing. With the character being practically in every piece of promo for the film, it's rather surprising how little, and how late, he comes into the plot. Given how clear it is that the movie itself intends him as its main big reveal, I think it would have worked much better if they kept the whole thing as a surprise. Same goes for a certain character appearance or two. There's a reason *those* scenes in 'Deadpool & Wolverine' worked so well and had the impact they did.

For better or worse, in true MCU tradition, 'Brave New World' offers several nods to things that happened before, which after 17 years of films and TV shows can give someone a lowkey "have you studied for this test?" feeling while trying to keep up, that unavoidably takes away some of the enjoyment. It also offers several promises of what is possibly coming next, some interesting, some too vague to decipher. I just wish more focus was also put into what story the film was trying to tell before the credits rolled.

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ARC Read: Leeta Simtar: A Life on Two Planets

 

[Edited to include thoughts on the audiobook] I was happy to receive an advanced reading copy of 'Leeta Simtar: A Life on Two Planets', a novel by Annie Fox. The book at its core is primarily a Sci-Fi coming of age story about the life of Leeta, a young girl born as an an interspecies hybrid, who for multiple reasons has always felt like an outsider among the people of her home planet, whose norms and ideals are not too dissimilar to Star Trek's Vulcans. As Leeta's spontaneous personality and heart-driven decisions often clash with the expectations and actions of those around her, she stands out among them, and inevitably is made to feel like the inability to fit in is a fault of her own, but at the same time it also gives her the desire to discover more of her past.

Beyond the main Sci-Fi elements, the story's main themes revolve around the notion of not belonging, how it very often shapes people into thinking that there is something wrong with them, and how eventually breaking out of that mentality, finding and accepting yourself, and finding people who love and accept you as you are, is vastly more important than trying to fit into a box that you don't belong in.

It's always refreshing to see stories that act as reminders that, even if blood-related family or people you grew up with aren't always ideal, supportive, or even present in your life, there is love and approval to be discovered among people who see you, care about you, and understand you and embrace you for who you are as a whole, even the parts of yourself that you may consider flawed, and who you can fully feel at home with. The message that found family bonds are equally as strong, and also a crucial aspect for self-acceptance, is always an important one, especially for younger people who are in the process of discovering themselves and their place in the world.

I have recently also had the chance to listen to the 'Leeta Simtar' audiobook, before its release, and it certainly didn't disappoint. When it comes to audiobooks, narration is key, and theatre and voiceover actor Maria Marquis did a brilliant job bringing the world and characters to life. From the way she conveyed emotions to the tone of each individual person, she really helped elevate the story with her performance. For anyone who prefers audiobooks to reading, I can't recommend this edition enough.

The book is coming out March 11, 2025.

 

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Recent Watch: The Legend of Billie Jean (1985)

 Today's whim rewatch was cult classic 'The Legend of Billie Jean', which remains pure, over-the-top fun. As a film it doesn't take itself too seriously, and this really works in the plot's favour. It's campy, exaggerated, and hell, empowering even. The soundtrack is solid 80s goodness, featuring the likes of Pat Benatar, Wendy O. Williams, the Divinyls, and  Billy Idol.

Plus, Helen Slater is a total badass in this, really wish she'd had taken more similar roles, because she absolutely kills it as the no-nonsense, no-bs, assertive protagonist. 40 years later it definitely still holds, enough that I'm sure that someone, somewhere would probably be commenting on how woke it is, had it come out today.

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Recent Watch: A Different Man (2024)

 

Finally got around to watching 'A Different Man'. Such an interesting film, the kind that you keep processing and analysing way after the end credits roll. At its core, it covers a very similar ground with 'The Substance', only to explore those themes from a totally different, almost opposite angle. Given how a big part of the plot has to do with the way society treats disability and disfigurement, it could have very easily failed or crossed a line for a hundred different reasons, and yet the film manages to maintain a balance and tell its story with empathy and heart, but also with a heavy dosage of surrealism and dark humour.

Adam Pearson hands down steals the show as Oswald, he is eloquent, funny, charismatic, and acts as a great contrast to Edward's character. But it's also good to see Sebastian Stan get the chance to flex his acting muscles outside of the MCU, and prove once again how skilled he is when it comes to transforming into the characters he plays. From the visible changes in body language highlighting his emotional state to his facial expressions, he gave a brilliant performance as Edward.

For nearly half of the film, we get to see several glimpses of his life as a socially awkward man with neurofibromatosis, how he is perceived by others, the shallowness, hypocrisy, and cruelty that society directs at him in the form of different interactions, small glances, and ignorant comments. We also get to know that he is an aspiring actor, and that he longs for companionship and finding a partner. After he undergoes his transformation, we see him pulling a complete 180, with a rising career in real estate, superficial relationships and sexual encounters, rejecting and leaving behind every aspect of his former self that he can, from his apartment to his own name, which only leads to a new, different form of emptiness for him.

 It is indicative how when, as his new persona, he meets his former neighbour Ingrid again, perhaps the only substantial connection he had formed as Edward when we first met him, he immediately goes back to his old, maybe in a sense his "real" self, shedding the performative salesperson act, and returning to his more genuine awkwardness, mannerisms, and expressions.

The movie tackles many themes, from the shallowness of society to the stigma that is put on certain groups of people, the superficial standards and the importance that we put on looks, and how we treat each other (and our own selves) based on them. It also highlights how the way we perceive others can many times be misguided and can often lead to assumptions that are also false, as we never really know what goes on in someone's life. The biggest theme of 'A Different Man' is clearly the many forms of loneliness and isolation that exist, and how different people experience them, what external and internal factors affect them, and also how self-acceptance and self-love can serve as acts of defiance against societal expectations.

 The film dares to ask many different questions, and though it doesn't really attempt to offer you all the answers, it definitely succeeds in making you think on a deeper level about things.

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‘Squid Game’ S2 Is a Worthy Continuation, Even If It’s Only Half a Season

 

Finished watching Squid Game season 2, and considering that the first season exists perfectly fine as a self-contained story, I wasn't keeping expectations too high, but overall, I really, really liked it. Season 1 was brilliant, and impossible to top, and Season 2 doesn't do that, especially since it's only half of a season, but it's still a worthy continuation for sure.

S2 mainly suffers from the two unavoidable curses of the middle part of a trilogy: it doesn't pack the same punch as the first part, as the shock factor is not the same as when we were first discovering the games and what was actually going on there, and it doesn't offer any satisfying resolution, at least not until Season 3 comes out at some point soon-ish in 2025.

That said, it certainly takes the story to some interesting places, brings back some old characters and introduces several new ones that you can't help but be invested in and hope that, against the odds, they will get some sort of happy ending. And S2 also has its fair share of shocking, heartbreaking, but also really human moments too.

 Above all, despite how commercialised the 'Squid Game' brand has become after the justified success of S1, it's good to see that the show remains focused on getting across its core message, with the symbolism and real-life parallels of the effects of insurmountable debt, greed, despair, gambling addiction, trauma, and social imbalances and division being very clear. If anything, it tones down the subtlety quite a bit, and focuses even more on the players, their incentives and the dynamic between them, and the themes of dehumanisation of those who are deemed as lesser or different.

Some scenes may have dragged a bit more than what felt necessary, and not all questions were answered, but that was to be expected since seasons 2 and 3 are basically one season split in two. But all in all, both the story and the characters remain compelling, so it is still a worthy watch with a promising setup for Season 3, and hopefully the show will stick the landing and offer a satisfying conclusion with how things eventually wrap up.

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