What makes GAME NIGHT a Perfectly Structured Romp?
Following is essentially Game Night in prose form, with my own commentary on what makes it efficient and story-wise. I’m using it as a sort of back-engineered guide to use alongside the film or script to learn how beats land and information is delivered. You can do whatever you want with it, I’m not yer mm. But if you use in any professional / study / public capacity please cite and let me know.
Dickinson, Empathy, and Anachronistic Adaptations
The show is Coen-esque in its metatextual acknowledgement: Dickinson is a bare semblance of a true story, and in lieu of details which have been lost to time, anyways, it serves us a fantastical recounting of oral traditions, staticked with age of generations, coloured with time and our own biases.
A BRIEF HISTORY OF QUEER CODING IN FILM: PART 3
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A Brief History of Queer Coding in Film: Part 2
Weirdly, post-Hays films were sometimes worse than Hays-era films, both creatively and in how they deal with LGBTQIA+ topics and characters! Let’s look at some of these films, from The Exorcist to First Cow.
A Brief History of Queer Coding in Film: Part 1
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A Tale of Two Macbeths
Justin Kurzel’s gritty, saturated, PTSD-riddled character study keeps a few stage conventions but mostly leans into its more filmic aspects, where Joel Coen’s hazy, black-and-white, machination-laden adaptation neatly splits the difference between stage and screen.
On Midnight Mass and Genre Expectations
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The MCU’s Most Dangerous Villain
In a different corner of the multiverse, Tony Stark could be one of the MCU’s most delicious villains; Iron Man 3 gives us his means, motive, and opportunity.
Episode Study – Person of Interest “If-Then-Else” – Using Set Design, Blocking, and Cinematography to Underscore Themes
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Divide and Conquer
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Mel Killingsworth - Film and TV blog 