An open plea for Lex Luthor, Dr. Doom, Apocalypse, anybody!, to destroy super-hero cinema.

Marvel Studios is the greatest ad agency in the world - but here’s the thing.

On Normal People, Exciting Times, HBO’s Industry, and ‘adulting’ in the 21st Century.

Rushmore has aged so damn well … that it’s hard to imagine a better Anderson movie.

A tribute, as best I could, to your favourite rapper’s favourite rapper.

Image courtesy of Eric Coleman.

I’m rewatching every Wes Anderson movie ever, even the not-so-Wes-Andersony ones, and delivering feels.

The tunes I played to death and back, in 2020. Tell me what YOU vibed to in the comments!

The most intriguing storylines in the NBA, I think, as at Opening Night.

A (non-fictional) tale of (corporate) Mortal Kombat.

In HBO’s We Are Who We Are, literally everyone and everything is complicated.

‘Daddy’, a collection about unresolved feelings, always seems to come full circle.

The Boys is a refreshing middle finger at super-heroes’ grip on pop culture - but little else.

‘On the Rocks’ is a wine-tasting, and there’s chocolate cake too.

Again.

It feels proper good to see Tottenham Hotspur playing with intent, hunger, and desire again - and (yes) for Jose Mourinho.

With some persuasion, Bazzi shares a poem. We analyse it like a coupla (ahem) pros.

I Know This Much is True isn’t so much ‘must-see TV’ as it is another vital statement from the director on the nature of trauma. 

Wayne is a gifted novelist, working scene and mood like components of a stringed instrument … but.

El Loco’s got Leeds United looking armed and dangerous - like they’re bloody well supposed to.

HBO’s Betty is the purest small- or big-screen experience you’re going to have this year.