3,210 words
No Time to Die is a magnificent film. This review will contain major spoilers after the fifth paragraph, as they are necessary to meaningfully analyze the film, though only those relevant to the points made. For a spoiler-free review, listen to Counter-Currents Radio Podcast No. 380, where Greg Johnson bravely attempts to discuss the film without giving away plot details, and where Endeavour somewhat brazenly attempts to discuss it without having seen it at all. (more…)
1,203 words
Twitter is done. After the suspension of then-sitting President Trump and successive ban waves, it’s obvious that Right-wingers have no future on the platform. What began as Left and Right competing for audiences on Twitter has ended with Twitter itself flexing its soy-infused muscles to purge all but a small and carefully curated number of high-profile (more…)
3,706 words
Fantastic Mr. Fox (2009) is a wonderful film designed and directed by Wes Anderson. It was his first stop-motion animation, and its success led to its even wilder spiritual successor Isle of Dogs, an important landmark in Japanophile cinema. Around the time of its release, Fantastic Mr. Fox stood alongside other unusual works like Rango (2011), Chicken Run (2000), Up (2009), and Where the Wild Things Are (2009), all released in a period of scintillating creativity in the animated film industry.
This period began in 1996 with the release of Toy Story and ended in 2012 with the release of the first Avengers film, (more…)
2,727 words
Children of Earth, or more accurately “Children of Britain,” was the Doctor Who spin-off Torchwood’s third outing. Torchwood dropped the Doctor and asked what happens when he’s not around to save the day, a not-unreasonable question given the astonishing frequency the Earth is attacked by aliens. Being a BBC show, it’s always Britain that gets attacked first and hardest, and a “Time Rift” in Cardiff keeps vomiting out beasties for the Torchwood team to tackle. (more…)
2,021 words
Hokusai: Beyond the Great Wave was an exhibition of Hokusai’s works mounted by the British Museum in the summer of 2017. This ambitious event sought to contextualize Hokusai’s famous In the Hollow of The Wave, better known as “The Great Wave,” (more…)
4,208 words
Yomawari: Night Alone is a survival horror videogame from Nippon Ichi Software, released in fall 2015 in Japan before being rapidly localized into English in 2016. It has enjoyed commercial success across multiple platforms (PC, Nintendo Switch, and PS Vita) and spawned a sequel, Midnight Shadows. The player character is a little girl with a red bow drawn in simple anime style; a sort of Minnie Mouse from a more mature world. (more…)
Banana Yoshimoto and Yukio Mishima.
2,725 words
Banana Yoshimoto
Kitchen
Translated by Megan Backus
London: Faber and Faber, 1993
Yukio Mishima
Thirst for Love
Translated by Alfred H. Marks
New York: Random House, 1999 (more…)
4,306 words
Porco Rosso is one of the more famous Studio Ghibli films, released in 1992. It is the midpoint of an unofficial Miyazaki trilogy examining flight as a method of personal and national liberation, beginning with 1989’s Kiki’s Delivery Service, and concluding with 2013’s The Wind Rises. Porco Rosso is the strongest of the three, being bright, bold, and easy to follow whilst touching on more serious themes than its premise might suggest. (more…)
2,663 words
“In the Grim Darkness of the Far Future, there is only WAR . . .” tells us the strap line of the world’s most popular miniature wargame. In the 41st Millennium, mankind has collapsed after a Dark Age of Technology and an Age of Strife, and is set upon by nefarious, merciless alien races. Humanity is struggling against a primordial force of the universe — Chaos — that corrupts and deforms men into inhuman monsters.
2,058 words
Tito Perdue
The Node
Charleston, W.V.: Nine-Banded Books, 2011
The Node is Tito Perdue’s debut in speculative science fiction. It is a tour de force of postmodern storytelling, examining the extremes of white fragility and resilience, apathy and defiance through the travels of an unnamed narrator: “Our boy.” (more…)
3,496 words
Blade Runner 2049 is a deep and interesting film fueled by visual spectacle and cleverly-handled ambiguity. The film’s dialogue is sparse and carefully weighted, and the intricate plot resolves itself fairly satisfactorily (even though the film takes its sweet time getting there). Nonetheless, it fails to live up to its predecessor. It struggles to make headway with the theological commentary of the original – lines about Replicants being “angels” are unjustified, and are thankfully marginal. (more…)
2,858 words
Aquaman was perhaps the closest thing to a fulfillment of Kantbot’s promise that Trump would raise Thule, and Atlantis. In order to give Aquaman a saleable “mythic resonance,” it unavoidably has to draw on Greco-Roman mythology and showcase what is bemoaningly called White Male Power. Whilst a 2018 film, Aquaman seems to belong to the late ‘90s in its casting and racial attitudes, and the screenplay has all sorts of lines that describe an interplay of Aryan and Judaic values.
