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by Jessy Krupa

23 Oct 2015


Amara (Gracyn Shinyei) is resetting the bar for creepy little girls on Supernatural.

Because of its two-part premiere, Supernatural‘s third episode could be considered its first “normal” episode of the season. With most of the busywork of tying up last season’s loose ends behind them, this episode gave the show the chance to explore more of its characters’ personalities and the season’s arc.

The episode opens with heartless, evil, and eerily delightful witch Rowena (Ruth Connell) attempting to recruit other witches to her “Mega Coven”; her plans fall on disinterested ears. After furiously turning the other witches into dust, she moves on to two younger witches, who had to be reminded that she holds the mysterious power of “The Book of the Damned” before they showed any interest. However, just as it seems she might have new recruits, one of her son Crowley’s (Mark A. Sheppard) goons barge in and attack them, leaving her alone again. One could come to the conclusion that all the outcast witch really wants is to be included, as she seems happy to be captured by Sam (Jared Padalecki) and Dean (Jensen Ackles) later in the episode. Lest one thinks she’s gone soft, she eventually escapes from them, too.

by Jessy Krupa

16 Oct 2015


Has streaming/DVD viewing changed the way television tells its stories? You could make that argument for Supernatural‘s 11th season, as its first two episodes are directly connected. “Form and Void” begins exactly where the season premiere left off, with Sam (Jared Padalecki) dealing with the effects of the mysterious black vein virus, Castiel (Misha Collins) being tortured at the hands of two snotty angels with obscure Biblical names, and Dean (Jensen Ackles) discovering what makes Amaura so special.

Was anyone surprised that baby Amara is a vessel for the Darkness? No. We’re also not surprised that she can “eat” souls, age rapidly, or that she apparently ends up hanging out with King of Hell Crowley (Mark A. Sheppard). But one of the things that makes Supernatural so interesting is that even though viewers often have a general idea of what is going to happen next, the show still finds ways to surprise us.

by Anthony Merino

12 Oct 2015


In the first few minutes of “Eight Slim Grins”, a bearded man grabs Jane Doe (Jaimie Alexander) from behind. This character has shown up in several flashback scenes, as well as appearing to track Jane in the first two episodes. In short order, she elbows him and flips him onto a chair; he picks up a chair leg and knocks her tooth out. Spoiler alert: they fight some more. When he’s finally shot by a sniper, he falls to the floor, tells her not to trust anyone, and dies. In retrospect, his advice seems a little redundant for someone who’s had her memory wiped, received a full body tattoo, and been dropped in Times Square wrapped in a duffle bag.

by Genna Rivieccio

1 Oct 2015


It tends to be the norm that, when recreating the life of a legend in biopic form, the rendering comes out all wrong. This is not exactly the case with 1994’s Madonna: Innocence Lost, a TV movie that aired on Fox and emphasized the early beginnings of the singer’s (portrayed by Terumi Matthews) career. Its largely accurate, if not highly stylized, interpretation of Madonna’s hand-to-mouth existence as a ragamuffin of the downtown New York scene from 1980 to 1983 possesses the sort of terribleness you would expect of a TV movie—but it’s the kind of trash diet that leaves you feeling fulfilled, somehow.

by Daniel Rasmus

29 Sep 2015


Change is inevitable. It is everywhere and in everything. But some change is more foreboding, more catastrophic: the loss of a loved one, a divorce, and major injury.

To the characters in Marvel’s Agents of S.H.I.E.L.D, those very human changes mean perhaps just as much as they do to any fictional character, but as Marvel’s Inhumans expose their powers and their capabilities, change will be much more challenging, at the personal level, for those evolving into some other form of human; it will also mean enormous change for those still constrained by their traditional humanity.

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The Bric-a-Brac of Games

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"In gaming generally, relevant and irrelevant objects are forever separated because mixing them up might be too confusing for the player.

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