Murphy's Multiverse

Author: Hunter Radesi

  • Charlie Cox Endorses Jessica Henwick as MCU’s Iron Fist

    Charlie Cox Endorses Jessica Henwick as MCU’s Iron Fist

    By now, it’s no secret that the Marvel Cinematic Universe is bringing back it’s Netflix characters. Charlie Cox, who headlined the corner of Marvel Television that came to be known as the ‘Defenderverse,’ has slowly returned to his role as Matt Murdock, a.k.a. Daredevil, in projects over the last two years, while Vincent D’Onofrio made a surprise comeback as his archnemesis Wilson Fisk in last year’s Disney+ series Hawkeye. There are even rumors swirling that the likes of Jon Bernthal and Krysten Ritter may soon reappear as their respective characters, Frank Castle and Jessica Jones. However, nowhere to be found are claims of Iron Fist‘s cast joining their fellow street-level heroes in the MCU sandbox.

    Fortunately for them, Cox stated in a recent interview with The Hollywood Reporter that he would ‘put in a good word‘ for some of his former Defenders castmates. Specifically, the actor mentioned Jessica Henwick as someone he thinks should get a second chance with Marvel Studios. The actress portrayed Colleen Wing, a New York City-based martial artist who begins as an ally of Finn Jones‘ Danny Rand before becoming the Iron Fist herself. When asked about the potential of her reprising the role, Cox stated:

    Yeah, she’s amazing. She’s amazing. Look, I agree with you, wholeheartedly. I could also say that about a number of people that I worked with not only on Daredevil, but also on the other shows we did there. So I don’t know what they’re thinking, but I will absolutely put in a good word. And you’re 100 percent right about that. [Jessica] is awesome. And I did get a lovely text from her the other day saying that she read the news and was thrilled for me.

    Charlie Cox

    Iron Fist was not loved by many, but Henwick was almost universally praised for her performance. With the way her story was left off, it seems plausible that she could end up taking over as the MCU’s main Iron Fist should she be contacted by Marvel boss Kevin Feige. At the very least, Cox seems to think she deserves the chance.

    Source: THR

  • ‘Watchmen’ Creator Alan Moore Disowns HBO Series

    ‘Watchmen’ Creator Alan Moore Disowns HBO Series

    It’s been nearly three years since Watchmen, HBO’s acclaimed sequel to the original graphic novel, finished its run. Created by Lost veteran Damon Lindelof, the live-action series took place 34 years after the events Alan Moore’s seminal masterpiece, and served to explore similar themes as the 1986 classic in the modern world. Since its release, Moore has remained mostly quiet about the continuation of his world. The creative has a long history of disliking adaptations of his work, and in a recent interview with GQ, he revealed that HBO’s Watchmen did nothing to change this.

    As a disclaimer, Moore confirmed that he has not actually seen the series, which starred Regina King in the lead role. He explained:

    I would be the last person to want to sit through any adaptations of my work. From what I’ve heard of them, it would be enormously punishing. It would be torturous, and for no very good reason.

    Alan Moore

    According to Moore, showrunner Lindelof sent him a letter during the show’s production in which he stated – “Dear Mr. Moore, I am one of the bastards currently destroying ‘Watchmen.’” The comment was possibly in reference to the aforementioned idea that Moore does not like seeing his writing adapted, but even if it was made in jest, it didn’t sit well with the V For Vendetta creator. He claimed that the letter resulted in him telling Lindelof and the folks at Warner Bros. not to contact him again:

    That wasn’t the best opener. It went on through a lot of, what seemed to me to be, neurotic rambling. ‘Can you at least tell us how to pronounce “Ozymandias”? I got back with a very abrupt and probably hostile reply telling him that I’d thought that Warner Bros. were aware that they, nor any of their employees, shouldn’t contact me again for any reason.

    Alan Moore

    Moore elaborated to GQ that he was upset by Watchmen using his characters and concepts to tell its own story, and that he wanted to disown the series so it wouldn’t be associated with him in the minds of viewers:

    I explained that I had disowned the work in question, and partly that was because the film industry and the comics industry seemed to have created things that had nothing to do with my work, but which would be associated with it in the public mind. I said, ‘Look, this is embarrassing to me. I don’t want anything to do with you or your show. Please don’t bother me again.’

    Alan Moore

    HBO’s Watchmen had a heavy focus on white supremacy in the United States, something that wasn’t present in Moore’s comics. The writer continued to explain that he was mortified by the show’s success, worried that it may come to replace his work as the definitive version of Watchmen going forward, despite – in his words – not fully representing the message of the franchise:

    When I saw the television industry awards that the ‘Watchmen’ television show had apparently won, I thought, ‘Oh, god, perhaps a large part of the public, this is what they think “Watchmen” was?’ They think that it was a dark, gritty, dystopian superhero franchise that was something to do with white supremacism,” Moore said. “Did they not understand ‘Watchmen’? ‘Watchmen’ was nearly 40 years ago and was relatively simple in comparison with a lot of my later work. What are the chances that they broadly understood anything since? This tends to make me feel less than fond of those works. They mean a bit less in my heart.

    Alan Moore

    HBO’s Watchmen is currently available in full on HBO Max, while Moore’s graphic novel can be found online or in comic stores around the globe.

    Source: Variety

  • Charlie Cox Wants More CGI In ‘Daredevil: Born Again’`

    Charlie Cox Wants More CGI In ‘Daredevil: Born Again’`

    Charlie Cox is back as Daredevil and he’s ready to make a few improvements. The actor made his big return to the role of lawyer Matt Murdock in last year’s Spider-Man: No Way Home, before putting on the vigilante suit and seeing a little more screen time in Disney+’s latest series, She-Hulk: Attorney at Law. When fans finally saw the Marvel Cinematic Universe’s Murdock take action, however, it looked a little different than the last time he appeared on Netflix. In She-Hulk, Daredevil was made to be a bit more acrobatic than he was in his own show, with additional CGI being used to more accurately reflect his comic book abilities. In a new interview with GQ, Cox revealed his hopes that this use of CGI continues in his next solo outing, Daredevil: Born Again.

    When asked about what he hoped to accomplish on Disney+ that he wasn’t able to do on Netflix, the former Stardust star gave the following answer:

    I guess what I would say is: hopefully, on the Disney+ show, Born Again, we will be able to use—and I hope that we do it sparingly, I believe it should be used sparingly—but we’ll hopefully be able to use a tiny bit more CGI in the action sequences. Just to emphasize his gymnastic abilities that have been basically impossible to do.

    Charlie Cox

    Marvel’s Netflix shows were known for their lower-budget feel, often resulting in the use of more practical action choreography that limited what Cox could do as the famously spry superhero. Of course, this doesn’t mean those fight scenes weren’t extremely well-done. Just that with a little added CGI, they might be able to do something more faithful to the source material. Also, to be fair, Cox prefaced his answer with a disclaimer explaining why he couldn’t give a more detailed response:

    I’ve learned that these questions are a little tricky because the problem with them is that if I start detailing things I’d like to do, then very quickly, it becomes a news story. It potentially gets in the minds of not only the fans but also the creators and the writers. I really want to be careful not to muddy those waters because if it turns out to be a good idea, it can be a shame because it robs the fans of that moment of discovery. So forgive me for being a little bit vague in this area.

    Charlie Cox

    Daredevil: Born Again is set to debut on Disney+ in the spring of 2024, with Cox and Vincent D’Onofrio returning to their respective roles of Murdock and crime lord Wilson Fisk.

    Source: GQ

  • ‘House of the Dragon’ – Best & Worst of “The Green Council”

    ‘House of the Dragon’ – Best & Worst of “The Green Council”

    It may be Rhaenyra’s birthright, but it’s starting to feel like Alicent’s kingdom. In the latest episode of HBO’s House of the Dragon, titled The Green Council, Olivia Cooke’s Queen Hightower takes a grain of salt and runs with it. Following a crucial error made by her husband on his deathbed, Alicent feels justified in placing their son, Tom Glynn-Carney’s Aegon II Targaryen, on the Iron Throne. Backed by her father, Rhys Ifans’ Otto Hightower – Hand of the King – and a network of deceptive councilmen, Alicent goes on the offensive to support Aegon and discredit her one-time friend. Unfortunately, the would-be Lord of the Seven Kingdoms is nowhere to be found, and the hunt for his Grace gives Eve Best’s Princess Rhaenrys Targaryen just enough time to mount a rather bold counter-attack. With secrets revealed and the dark underbelly of Flea Bottom becoming a genuine problem for the crown, the Dance of the Dragons has only truly just begun.

    There is more than enough political action to dig through this week, as House of the Dragon takes a deep dive into House Hightower and their many allies. Not even mentioned above – Fabien Frankel’s psychopathic Ser Criston Cole makes a return to prominence when Graham McTavish’s noble Ser Harrold Westerling steps down as Lord Commander of the King’s Guard, Ewan Mitchell’s strong-chinned Prince Aemond proves he may be the best Targaryen brother, and countless innocent civilians are either killed or made to be prisoners because the Royal Family can’t get themselves together. It’s a whole bunch of drama, but nothing Murphy’s Multiverse can’t sort into distinctive categories. With that being said, it’s time to discuss the best and worst moments of The Green Council.

    (Eve) BEST – The Beast Beneath the Boards

    Photograph by Ollie Upton / HBO Eve Best HBO House of the Dragon Season 1 – Episode 9

    Last week, Phia Saban’s Princess Helaena Targaryen gave a frightful premonition to her mother that she should beware “the beast beneath the boards”. It was a wildly cryptic comment that seemed to hint Helaena could see the future, and in The Green Council, fans learn that may be exactly the case. Just as Aegon is crowned King, and starts to get a terrifyingly real feel for power, Rhaenrys bursts through the ceremony on the back of her dragon to let the “Greens” know that Targaryen blood is not burned so easily. It’s a moment that the entire season has been building up to, and it does not disappoint. Best’s performance is incredible, both regal and commanding, and the sweet sweet feeling of watching the duplicitous Hightowers quiver in fear before someone they’ve treated so poorly is enough payoff to hold fans over for at least another year.

    Best also delivers in an earlier scene between her Princess and the newly-empowered Queen, in which the former flexes decades of personal trauma in a conversation Alicent should have known not to have. This moment alone probably would have put Rhaenrys in contention for this episode’s most valuable player, even before she went crashing through walls on the dragon’s back to cement her status as The Queen Who Should Have Been. Either way, her title no longer matters, because she’s earned a new one entirely. First Princess, then an almost Queen, and now – the Beast Beneath the Boards.

    WORST – A Child Fight Club and The Lord of the Feet

    The Green Council pulled back the curtain on quite a bit of the dirty secrets hiding in Westeros’ darkest corners. As such, it was difficult to pick just one as the worst the episode had to offer. As the hour began, it seemed Ser Cole was still a lock for House of the Dragon’s most obnoxious inhabitant, but things changed quickly when Aegon went missing. During the search for his Royal Highness, it’s revealed that King’s Landing is home to an underground fight club where children without homes are forced to sharpen both their teeth and nails before fighting each other to the presumed death. It’s a disgusting scene to watch play out, and anyone who says they didn’t flinch each time one kid landed a claw on another is probably lying. Even worse, it’s implied that some of the children involved are the bastards of Aegon himself, carelessly sleeping his way through the city and leaving his own blood to rot. It’s not a long sequence, but its larger implications are enough to put it at the top of the “worst” list in an episode filled with some pretty bad stuff.

    Also, one would be remiss to write about the downsides of this episode and not mention Matthew Needham’s Lord Larys Strong. In a particularly uncomfortable few minutes, the dastardly know-it-all forces the Queen to show him her feet in exchange for important information. It is yet another example of female objectification in Westeros, as even the Queen herself must use her body to get what she wants. The grotesqueness of this doesn’t need that much further explanation, but the fact it feels like this foot fetish might be a recurring thing on House of the Dragon means it needed to get a shout so it would never have to be discussed again. Really, just icky.

  • REVIEW: ‘The Rings of Power’ Finale Plays Like Emotional 3D Chess

    REVIEW: ‘The Rings of Power’ Finale Plays Like Emotional 3D Chess

    Morfydd Clark stands solemnly by a gorgeous river, glaring at an open scroll. Her character, Galadriel, has just realized she’s made a horrible mistake. Always so surefooted, the Elven warrior exudes a guttural disbelief. It’s something so shocking that the audience feels it too, their insides twisting with hers as the literal face of evil steps from around the corner. There begins a sequence with enough impact, it may stand as one of the best scenes television has offered this year. In Alloyed, its season finale, The Rings of Power comes full circle and demands to be lauded. It’s a cerebral thrill ride from beginning to end, one designed for faithful fans of the franchise and newcomers alike.

    Alloyed plays like an emotional game of 3D chess. There are quite a few players on the board, and each one of them is wildly clever. Every time one thinks they might know what’s going to happen next, a different character unveils their hidden scheme and throws the rest of it out of whack. It makes for an insanely entertaining hour, especially for those watching without the aid of knowing extensive lore. Even if one does view the finale with years of J.R.R. Tolkien‘s works under their belt, however, they’ll likely be surprised and delighted by what the finale does with established moments in Lord of the Rings history. Alloyed takes a myriad of concepts and plotlines and spins them together until they’re fit for live-action storytelling. It’s impressively cinematic, and in the end, pretty gosh darn satisfying.

    The performances in the episode are what really bring it all to the next level. As mentioned, Clark has been a revelation all season. The nuance she brings to Galadriel has elevated the character far beyond what fans saw in Peter Jackson‘s film trilogy, and every ounce of energy she’s put into her role is on full display here. Lloyd Owen and Cynthia Addai-Robinson, too, put their best foot forward in a memorable scene as Elendil and the Queen Regent Míriel. Standing together in the belly of their ship, the two actors share a moment so genuine it threatens to become more powerful than all of Middle-earth’s mithril combined. Something similar could be said about Markella Kavenagh‘s little Harfoot, Nori, and Daniel Weyman‘s giant Stranger, who finally get some answers and set the show on a path toward its second season.

    Really, the finale’s greatest achievement is the way it’s able to move The Rings of Power forward. As wonderful of a season as it’s been, the many mysteries surrounding it’s characters and locations often left episodes running in circles and biding their time for eventual payoff. Alloyed is that payoff, and it’s executed beautifully. Now, with true allegiances revealed and a world beginning to take shape, there’s a clear map drawn for what comes next. With everything going on the past few weeks, pacing hasn’t been as much of an issue as it once was, but the seeming promise of Alloyed is that it’s all full steam ahead from this point on. Hopefully, that means the second season will be even more anticipated than the first. Either way, it has one heck of an episode to jump off from.

  • ‘Werewolf by Night’ Concept Art Reveals Monster in Color

    ‘Werewolf by Night’ Concept Art Reveals Monster in Color

    Marvel Studios’ first Special Presentation, Werewolf by Night, was unique for quite a few reasons. Chief among them, however, was the short film’s commitment to displaying its dark new corner of the Marvel Cinematic Universe almost entirely in black and white. The spooky aesthetic helped cement the monsters of the world as memorable figures in the MCU’s character roster, but the visual filter wasn’t always going to be a part of the project. It took director Michael Giacchino a few tries to convince Marvel boss Kevin Feige to make the switch away from their traditional look, and in that time, it seems a few passes were made at designing the titular werewolf for a story told in full color.

    Concept artist Billy Christian recently took to his Twitter account to unveil the final approved design for Gael García Bernal‘s Werewolf by Night. In the post, he confirms that he was unaware the special would eventually be done in black and white and says his art was intended to be used as a style guide for the rest of production. It was clearly still influential, as the practical look of the monster was essential to the overall vibe of the hour-long short.

    The art is perhaps the best idea fans will get as to what Marvel’s werewolf may look like when he ultimately crosses paths with other heroes in their own colorful projects. A similar appearance can currently be seen in costume form at Disney Parks’ Avengers Campus, as an actor roams the lot dressed in full Werewolf by Night regalia.

    Source: Twitter, Variety

  • EXCLUSIVE: ‘Cowboy Bebop’ Star Joins Tim Blake Nelson Film ‘Bang Bang’

    EXCLUSIVE: ‘Cowboy Bebop’ Star Joins Tim Blake Nelson Film ‘Bang Bang’

    Bang Bang is only getting bigger. The upcoming sports drama, which is set to star Tim Blake Nelson in the title role, has added five more performers to it’s roster. Daniella Pineda, perhaps best known for playing Faye Valentine in Netflix’s live-action Cowboy Bebop, joins Tony Award winner Nina Arianda, Kevin Corrigan, Andrew Liner, and Will Janowitz as new additions to the film’s cast. The group will appear alongside Nelson and Glenn Plummer, who were exclusively revealed as being attached to the project by Murphy’s Multiverse in September.

    Bang Bang centers on former featherweight boxer Bernard ‘Bang Bang’ Rozyski, played by Nelson, as he attempts to settle a score with his old rival Darnell Washington, played by Plummer. When his grandson, Justin, comes to stay with him, Rozyski sees the boy as an opportunity to relive his glory days, complicating his family life and leading him down a path toward the ultimate rematch. Liner will play Justin, while Arianda portrays his mother, Jen. Pineda is set to bring Officer Flores to life, while Corrigan and Janowtiz portray men named John and Dylan, respectively. Janowitz, who once held a recurring role in HBO’s The Sopranos, also wrote the movie’s script.

    There is currently no release date for Bang Bang, which will be directed by Vincent Grashaw. However, it’s likely the project is aiming for a 2023 release. Production is scheduled to begin at the end of the month in Covington, Kentucky with Jesse Ozeri and Dane Eckerle on board as executive producers.

  • From ‘Velma’ to ‘Midnight Club:’ Hunter’s Top 5 NYCC Experiences

    From ‘Velma’ to ‘Midnight Club:’ Hunter’s Top 5 NYCC Experiences

    After months of anticipation, New York Comic-Con has come and gone. Four incredible, lovely, tiring days of being a professional nerd. If one were to tell my younger self he was attending events like NYCC as a member of the press, that little guy would explode with excitement. It’s an honor, and every moment spent sprinting around the convention center is one worth talking about. However, we have neither the time nor the patience to discuss every second, so I’ve narrowed it down to my top five experiences instead. Creating a list like this is difficult when so much of the weekend was such a good time, so don’t take it as a condemnation of anything that didn’t make the cut. It’s really just the highlight reel for a perfect game.

    5. Cosplayers

    I love other nerds, so getting to see and talk to them is always going to make the list. I’ve been to quite a few conventions in my day, and if I’m being honest, this year’s NYCC might have been one of the most impressive when it came to fan creativity and cosplay. Every day, the costumes roaming the show floor seemed to become more and more complicated. Many were striking enough to stop me in my tracks. There were giant functioning robot suits, perfect renderings of classic comic looks, hilarious combinations of characters that most would never think to put together, and even one or two people who defied gravity. I saw a man floating and I’m still not sure how he did it.

    The communal love we show each other at places like NYCC, as people with a common interest, is so inspiring. I found this to be especially true at the Marvel booth’s cosplay contest, where dozens upon dozens of folks dressed as every Marvel character a person could think of gathered to celebrate one another. There was no hostility or jealousy. Just a lot of compliments and happy reunions.

    4. The George Lucas Talk Show

    I’m a sucker for comedy and a lover of Star Wars. Therefore, showing up for a live recording of The George Lucas Talk Show at NYCC was a given. For those outside the know, this a satirical show in which comedian Connor Ratliff dresses up as Star Wars creator George Lucas and interviews real celebrities with deadpan delivery. It’s sort of a niche little corner of fandom to find yourself in, but if you like absurdist humor, it comes highly recommended.

    The George Lucas Talk Show records an episode at NYCC every year, using the event to secure top Star Wars talent as guests. This time, they managed to secure Mandalorian stuntmen Brendan Wayne and Lateef Crowder, as well as Aphra comic writer Alyssa Wong and show regular Zach Cherry – who exists more in the world of Marvel than the galaxy far, far away. Belly laughs were aplenty, especially when Wayne admitted that Din Djarin is “never nude,” and the recording was a great little break from the chaos of the show floor.

    3. The Midnight Club

    I’ve loved Mike Flanagan’s work for years. He’s easily one of the best horror creatives currently shaping the genre. So, it was my great pleasure to see him and the entire cast of The Midnight Club take the stage at NYCC for the world premiere of his latest Netflix series. Watching horror with a crowd is so much fun, and the delightful Q&A that followed was even better. The cast and crew were brought onstage alongside a choir of mysterious, hooded, candle-carrying figures, with the lights dimmed all the way down. A theatrical touch I greatly appreciated.

    I was also there in person to see Flanagan and his team awarded the Guinness World Record for Most Jump Scares in an episode of television. Not only did it make for a great laugh, but now I’m able to check “watch someone receive a world record” off my bucket list. A little two-for-one special at one of the convention’s most underrated panels. Make sure you watch the show, it’s worth it!

    2. Velma

    My time at NYCC began with coverage for Velma, the upcoming animated adult comedy from The Office star Mindy Kaling. Before the Main Stage panel began, I had to opportunity to attend the project’s press room, which meant I was lucky enough to share space with Kaling herself as she answered a variety of questions from the journalists in the room. This was exciting in and of itself, but it was Kaling’s genuine kindness and clear joy that really made it so memorable. It was only my second time in a convention press room, and it was all so warm and welcoming.

    Of course, things only got better once the actual panel started. The casting announcements were a surprise for me, and I almost dropped out of my seat when Sam Richardson and Glenn Howerton’s faces appeared onstage. Those of us in attendance were also treated to a screening of the series’ first episode, which was wonderful from start to finish. I wasn’t sure what to expect from Velma going in, but it was definitely not a disappointment. Now, I consider it one of the best moments from the entirety of my time at Javits Center.

    1. Violent Night


    I never would have expected this going into the convention, but the World Premiere screening of Tommy Wirkola’s Violent Night was probably the most fun I had during all four days. Starring David Harbour as Santa Claus, the film sees jolly old Saint Nicholas mercilessly tearing through a group of trained hitmen on Christmas Eve. This isn’t the space for a review, but I can say witnessing that madness with the cast and crew sitting beside me, and a theater full of screaming fans, was an absolute blast. There’s something special about living through the magic that is a large group being insanely happy in unison.

    A member of the cast sat behind me during the showing, and hearing the hoots and hollers from his family during key moments was fulfilling and sustaining. Screaming, laughing, and cheering with all my fellow horror fans was a ride. Sitting in the first few rows, and being only feet from Harbour and John Leguizamo as they introduced the screening, was a very warm feeling. One of those experiences that reminds me why I’m doing what I do.

  • ‘House of the Dragon’ – Best & Worst of “The Lord of the Tides”

    ‘House of the Dragon’ – Best & Worst of “The Lord of the Tides”

    As it turns out, a family naming all of their kids the same thing can be quite confusing. Not only is this true for viewers of HBO’s House of the Dragon, but it is apparently also problematic for the characters who inhabit its fictional space. This week’s episode, called The Lord of the Tides, is once again all about succession. Set six years after the end of the previous installment, Steve Toussaint‘s Lord Corlys Velaryon has supposedly suffered a grievous incident that has left his life hanging in the balance. Now, the future of his house and his title are in question, with Harry Collett‘s Prince Jacaerys Velaryon – the designated heir – deemed unfit to rule by many members of the royal family.

    The Lord of the Tides begins and ends with death. Wil Johnson‘s Ser Vaemond Velaryon loses half his head after claiming Emma D’Arcy‘s Princess Rhaenyra Targaryen mothered bastards, and Paddy Considine‘s King Viserys Targaryen takes his final breaths after a very odd family dinner. Suffice it to say, there’s a lot going on in this episode. Luckily for the folks at home, Murphy’s Multiverse was able to dig through the pile and come up with the best and worst moments The Lord of the Tides had to offer.

    BEST – King Viserys and the Family Dinner

    Surprising nobody, House of the Dragon was at its very best when the whole Targaryen clan gathered together to cause utter chaos as a familial unit. That closing dinner sequence, in which King Viserys makes it known one last time where he stands on the matter of his succession and the future of his kingdom, is the drama of Westeros at its peak. In only a few minutes of screen time, viewers are treated to a newfound truce between Rhaenyra and Olivia Cooke‘s Queen Consort Alicent Hightower, an absolutely grotesque look at Viserys’ tepid dying body, plenty of uncomfortable silence, and Ewan Mitchell‘s Prince Aemond Targaryen starting a brawl with his cousins and nephews. The way the scene is able to keep its audience on the edge of their seats without doing anything too gimmicky is impressive, and a testament to the way this show has sewn together its plotlines to create believable tension.

    Paddy Considine, in what will likely be his last appearance as the good King Viserys, should also be mentioned for an incredible performance as the husk of his former self. He was absolutely the standout of this episode, potentially leaving a greater mark on the Game of Thrones franchise in this hour than the rest combined. It’s deliciously ironic, too, that a character who has always been so clear in his desires should accidentally ruin the future of his name by speaking vaguely, in a fugue state, just seconds before expiring. All that insistence on Rhaenyra’s right to the Iron Throne, every moment of begging his family to get along, was thrown down the drain in a case of mistaken identity. Painful, and excellent.

    WORST – Lord Corlys’ Off-Screen Injury

    As great as House of the Dragon has been, there are some things that it could do much better. For example, in this episode, fans learn that Lord Corlys – a major character they’ve spent a lot of time with – is likely going to die, and the events surrounding his impending doom all happened off-screen. This isn’t the first time the show has convinced its audience to care about a character, only to do away with them quickly and unceremoniously for the sake of time jumps and speeding through the plot. The series has a lot of ground to cover, which is understandable, but it becomes frustrating when it takes moments that should feel big and makes them weirdly small. It was almost jarring when the episode opened with a line of dialogue that Corlys was kaput, and then little else was said in regard to his impact on the franchise at large. Even if he survives his wounds and returns to prominence, it would have been nice to see what happened so viewers could better relate and sympathize with whatever moves he makes next.

    Follow along on Twitter as we break down each new episode every Sunday.

  • ‘The Midnight Club:’ A Tale of Two Viewing Experiences

    ‘The Midnight Club:’ A Tale of Two Viewing Experiences

    Mike Flanagan’s latest horror masterpiece, The Midnight Club, is now streaming on Netflix. The series, based on a novel by Christopher Pike, revolves around a group of terminally ill teenagers living at the (probably) haunted Brightcliffe hospice. Unbeknownst to the well-meaning staff, the mischievous kids sneak out of their rooms every night and meet in the library, where they tell each other ghost stories and think about life beyond the grave. It’s a fantastic premise, and it’s even better in execution. After a string of hits like the Haunting series and last year’s Midnight Mass, Flanagan delivers yet another exhilarating, endearing spookfest that’s worth everyone’s time and attention.

    As a fan of frights and lover of good television, I had the distinct pleasure of experiencing The Midnight Club’s premiere episode on two occasions before it became available to the rest of the world. First, after receiving a screener from Netflix, I watched the pilot alone in my room. I set everything up the same way I would have for the rest of Flanagan’s projects. A bottle of wine sat beside my bed in dim lighting as I curled up under my sheets – fluffy pajamas and all – and hit play on The Final Chapter. For the next hour, I mostly just made a variety of noises. They included screeches, gasps, and pleas for the fear to stop. With nobody but myself around, I was free to do whatever was necessary to cope with the events playing out on the screen in front of me. Whether or not I also covered my ears to soften the blow of jump scares is private information.

    Then, only a few nights later, I was lucky enough to watch The Final Chapter once more. For my second viewing, however, I was not alone. Instead, I found myself sitting amongst a large crowd of excitable horror fans at New York Comic-Con. The event was hosting the world premiere of the series, with the full cast and Flanagan in tow, and had pulled out all the stops. It was like a theater experience in that room, with the audience reacting loudly to every ghoulish moment and leaning forward in unison for each segment of emotional relief. We all took the bait together, metaphorically holding hands as we made our way down the murky path to Brightcliffe. It was an entirely different experience to the one I had lived through in my apartment. I no longer had my safety blanket, and instead was comforted only by the knowledge that everyone else in the room was as terrified as myself. It was group suffering, which is arguably the best kind of pain.

    Following my time in the convention center, I was left with a curious thought – after watching The Midnight Club both alone and with a crowd, was either method better than the other? I think the definitive answer is a firm “no,” as the way one chooses to experience something is subjective and a matter of personal preference. However, I thought it interesting to at least explore the differences between the two. Watching by myself, I was struck by the way The Midnight Club was able to consume the space in which it was playing. With each movement of the score, or trick of the camera, it had the power to suck away all other energy from my room. Shadows began to creep, and my attention was pulled fully into the world of Brightcliffe. It made jump scares harder to take. A quiet nightmare interrupted by the ferocious, adrenaline-filled jolt of sudden monstrous faces. When it was over, I sat in silence. Contemplating the choices I had made up until that point in my life.

    With an audience, it was altogether different. It didn’t matter that I already knew where the scares would be. The show is well-constructed enough to pull me in again, but this time, I had backup. There was a sense of relief after every fright, with myself and my fellow audience members even laughing at our own collective cowardice, in a somewhat successful attempt to clear the air of fear. Simultaneously, though, the scares felt bigger. With a full room reacting all at once, there was a sense of camaraderie in our terror. More of a rollercoaster ride than a personal attack. It was also a delight to watch the faces of the crowd as they lit up for each of the show’s best moments. There’s a certain pleasure one can take in knowing your seat partner is having just as much fun as you.

    So, ultimately, watching The Midnight Club as a group was maybe more fun, but watching it alone was altogether the scarier experience. I’m not sure which is the one Mike Flanagan intended, but the show really works either way. Take note, if you plan on watching the show but aren’t sure how much you can really handle. It’s easier to put yourself through it if you have a nice little group together. If you’re a horror junkie, or a proverbial anxiety purist, lock yourself in a dark space and hit play with nothing to aid you but your favorite pillow. You’ll enjoy it no matter what. How you sleep after is entirely up to you.