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The Bride! turns Frankenstein into critics-only theatre
The Bride! dresses Frankenstein in art-house noise, sexualised gloom and IMAX expense, then wonders why cinema audiences drift back to streaming again.
AI won’t control the world. We’ll automate the surrender
A sense check on AI panic: code is being autocompleted, music is flooding platforms, and publishing is bracing. The real risk is lazy surrender,…
Scream 7: IMAX screams, sofa boredom, and AI ghost calls
Scream 7 arrives in IMAX with franchise polish, sequel fatigue, and AI deepfake winks. A slasher that talks like a podcast and forgets to…
Good Luck, Have Fun, Don’t Die: AI panic, dated already
Gore Verbinski returns with a time-travel AI caper. Big ideas, louder jokes, 134 minutes of tech panic that feels like yesterday’s tomorrow – in…
Britain’s Factory Floor Still Thinks Respect Is Optional
Britain’s factory floor still runs on shouting, fear and silence while the law promises rights, safety and respect that too many workers never see…
Britain Punishes Power, Rejects Extremism, and Flirts with Hope
Britain sacks failing governments, resists rage politics, and cautiously eyes the Greens as an alternative. A fact-led sense check of 2024 to 2026.
Pavane on Netflix: Ravel rescues romance from sludge again
Netflix’s Korean film ‘Pavane’ (released 20 Feb 2026) turns Ravel into a life raft for romance, and reminds cinema releases what a soul sounds…
Cold Storage (2026): fungus, flashbacks, and cinema shrinkage!
Cold Storage has timelines, fungus and Neeson quips, but the flashback faces never change. Also, cinemas look suspiciously like your sofa now minus the…
Authors vs social media: build first, post later, win now
Advice for authors: stop renting reach, build an owned site, be transparent about AI tools, add a raw voice section, and let the right…
One roast at a time
No spam. No motivational soup. Just the latest receipt when it is ready.