Hello, America! Trying out new greetings during this time, and I admittedly also have reruns of the Bernie Mac show on in the background, so I choose to believe my intro is just me channeling the Return of the Mac (cue comedy rim-shot! *ba-dum-tst*🥴). Today also marks the first day of me officially launching this blog post on my site as a freelancer! So, we’re off to a great start this month as well. Taxes got filed, papers got processed, and the oil in the weird little machine mandating both resistance and compliance is, ya know, running. But it’s time we take another break from the heaviness and denseness, America, because today is a holiday. It’s Star Wars Day!
That’s right, folks, this is for all of the Jedi Padawans, Jedi Masters, or even the few Sith Lords who are “just misunderstood” (looking at y’all, Reylo shippers 🙄). Today, we are observing the impact of a franchise that started off as a sci-fi flick that even George Lucas himself expected to fail. Star Wars, starring Mark Hamill, Harrison Ford, and the late Carrie Fisher, was meant to be a one and done deal for Lucas, but fans were enthralled by world that had been built, the conflict that had been struck, and the battles won by the mystic monk-like space wizards known as the Jedi.
Now, I’m an avid sci-fi fan and casual Star Wars fan. I loved the original trilogy, mildly enjoyed the prequel trilogy, and I genuinely liked the sequel trilogy up until everyone became divided over the last film in the saga. At that point, I just didn’t bother watching it, and I had already been spoiled on the ending, and I truly am just impartial to it. In the words of the Han Solo himself-
That being said, there is something I would love to highlight and talk about today, on this gloriously wonderful Star Wars Day. Whether or not you were a fan of the films, the extended universe created in novels and comics, or the amazing television shows, one thing fans could agree on is that Star Wars was always strongest when its driving force was family. Luke Skywalker was only able to become a fully powered Jedi, and go on the galactic journey that he did because of his friends and family. They were his support system, so to speak. Han was the strong, yet cynical friend who believed in Luke more than the Force itself. Leia was, well, his long-lost sister who’s Force-sensitivity helped guide the Rebels and the Resistance in the war against the Dark Side. Then you’ve got RD-D2 and C-3PO. They’re just two little robots that, in my head-canon, are in romantic relationship. Star Wars is a love story between these two droids and nobody can tell me otherwise.
Anyway, I digress; Star Wars is a series centered around families that support each other, and as the story branches out, we see how love and kindness, or rather lack of it, can shift an entire dynamic between a mentor and his pupil, like Obi-Wan and Anakin. All Little Ani needed was practice more unconditional love, and he wouldn’t have become the space nazi dark lord that he was, right? Or perhaps we see it in the lack of compassion that his Anakin’s son, Luke, showed for Ben Solo, aka, Kylo Ren of the Knights of Ren and the space neo-nazi dark lord. As the story shows the heroes prevailing on the side of the Jedi and the Force, those who were corrupted by greed, anger, and power, were victims of inherited trauma, essentially. Anakin is shown rejecting unconditional love and kindness in his hear, but finally opens his heart to compassion when he dies in the arms of his son. Fast forward chronologically in the Skywalker Saga, and that very same son, Luke, is now rejecting unconditional love and kindness to Anakin’s grandson, Kylo, who essentially channels the same anger and thirst for power that his grandfather fell victim to. Luke doesn’t find that unconditional love until he meets Rey, the new hero in this story. She also ends up saving Kylo’s soul the same way Luke did for his father, sort of breaking a chain or a cycle in the Skywalker lineage.
But you already knew all of that, didn’t you? Yeah, unless you’re a nerd like me, then this might’ve been a hell of a lot to digest. Fear not though, because this May the 4th can still teach everyone one thing; use the Force! Channel the Force, and reject anger, and greed, and power. Instead, open your heart up to love the same way Jedi open their heart up to the Force, and perhaps then you will find your support system as well.
Anyway, that’s all I’ve got for y’all today, folks. I’m using the theme of family to work on my upcoming story, The Dark Within Us, and in the meantime, I hope everybody enjoys whatever Star Wars fun y’all are having today. May the Fourth Be With You! 💫 Be safe, and stay lovely, folks. Until next time. Peace.✌🏽
Hey folks! Hope everyone is having a great week. I know I am! Met up with some great people, just got my first paycheck, have been in a really great state of mind, and have gotten to enjoy some REALLY GOOD television this last week! Just peeped the end of Crisis on Infinite Earths and Arrow‘s series finale, and I have THOUGHTS! Also came across some good animated shows recently, notably, Kipo and the Age of Wonderbeasts.
The show is a Dreamworks show, so expect the beautiful worlds that they create, like She-Ra’s world designs, with a whole other level of fantastical imagination. Kipo is set in a world where humans live underground now, and at first, we don’t know why, but quick into the first episode of the show, we learn that the surface world is now overrun by mutated monsters, or “mutes” as they’re referred to in Kipo, or as I like to call them, “the Wonderbeasts”, as per the wholesome title! The mutes are the sole reason for roping me into this new age that Kipo exists in, and you’re amazed EVERY episode when a new mute is debuted, from lumberjack kittens and mafia frogs, to lesbian metalhead snakes and a sentient body of water.
This show also does something I didn’t think would happen for me, which is create another group of friends that I’d love as much as I did with She-Ra‘s group. I fell in love with the dork that is Kipo, the killer smol bean Wolf, and the hilarious pairing of Benson and Dave. They all have such lovely chemistry, going from a group of kids just trying to survive through an adorable post-apocalyptic world to becoming a found family that would fight tooth and nail for each other. Not to mention they are all POC, one is biracial, one is LGBTQ+ AF and I love it!
A reason I stuck with this show, not knowing it should fill my She-Ra shaped hole, is the soundtrack. The music is SO good, and when I say it’s on par with Into the Spider-Verse, I am not exaggerating. The music is hip-hop influenced with some songs taking folk country inspiration and even some rock and R&B too! My favorite thig about this show, which I wished more shows would do, is they acknowledge the dope music that comes on in each sequence by having a character play it off of a cassette tape. It’s smooth i how it transitions from a plot detail of “Oh, I’ve got the PERFECT track for this trip,” to the immersion of an action sequence with hype music, similarly to Spider-Verse and their ost.
As I said before, the action is stellar! No cap, it is by far the most interesting and visually exciting action oriented animation that I’ve seen from an American animation studio since Young Justice, going as far as to almost borrow some anime visual designs as well! After just coming off of MFZK, this show does that thing I loved from that movie, which is do the most dope action sequences with banging music! If there’s any good show that you wanna start that is lighthearted, but carries stacks, while taking you on an wondrous journey of imagination with an amazing setting and fun characters and sick beats, then check out Kipo and the Age of Wonderbeats on Netflix!
Greetings! Hope everyone had a lovely holiday season. Classes start up again soon, and people are getting back into the work grind, and I have been ITCHING to get through the week and find time to write another post. I was debating what the first post of the year should be about, but after having went through all of The Witcher on Netflix and slowly watching The Mandalorian on Disney+, I realized what I had to talk to you guys about.
It’s no secret that these two shows started to take the world by storm, really. With Disney+ being a big step as far as streaming services go, getting all of the content that Disney now owns onto one platform for families was exciting. That being said, majority of the content really is just for families. Like, The Simpsons are there, and it might be the only FOX property as far as I know (which is weird because they don’t even have FOX’s X-Men movies or anything, just their old cartoons), but majority of the content really is tailored for family oriented viewers and, like, a stupid amount of unscripted series and documentaries. Like, this might very well be a streaming service for your grandparents. That being said, Jon Favreau’s The Mandalorian fits in that demographic and then some, seeing as it’s an expansion of Star Wars lore (your grandparents’ franchise), while also creating a solid and enjoyable series for fans who pretty much know nothing about Star Wars. I’ve considered myself a casual fan of the series, having seen all of the movies excluding the latest (just haven’t had time), and I absolutely adored The Mandalorian.
There are really two kinds of viewers watching the show who know nothing about Star Wars. You’ve got people who start the series because of the hype it’s gained and go in entirely blind and find that they really can enjoy it without all of the context of the Star Wars universe, because what’s needed to be understood is in the series anyway. You’ve also got the people who want to watch the series, but believe that watching the Star Wars movies will enhance the experience and is almost required. That being said, I don’t think that’s the case, and I think that’s what made this series a real treat.
On the other side of the nerd spectrum, you have fans raving about Netflix’s The Witcher. Now, not much needs to be said about Netflix at this point, it’s been around, it might always be around, and right now it’s Disney+’s biggest contender (sorry DC Universe, maybe just market your service a little better, because I’ve only ever seen ads for Harley Quinn on Adult Swim, and that’s after the platform has been out for over a year), and most of their credit goes to Lauren Hissrich’s The Witcher being one of the most streamed shows to date. That title also went to The Mandalorian for a while, both of which topped Stranger Things, which is a pretty big accolade to earn. Now, when it comes to viewing The Witcher, which is based off of a video game series that is based off of the book series, it kind of feels difficult to encourage anyone to say that they need to go to the source material to enjoy the series, because that’s not the case. I didn’t play the games, even though they seem super rad, and I haven’t read the books either, but this show was REALLY neat.
That could have something to do with the queer subtext I got to enjoy between Geralt, the titular character of the series, and Jaskier, the bard who would GLADLY toss a coin to the Witcher’s taut ass, or just seeing Henry Cavill shirtless that many times (as opposed to a dude who literally never removes his armor). It could have also been seeing these female characters completely owning the series, more so than Geralt himself sometimes, especially when there’s SO MANY OF THEM! I didn’t know who I desired to kick my ass more, the Princess Ciri, her dope (but arguably racist) grandmother and Queen Calanthe, Yennifer the Witch, or Renfri, the chick from the first episode that never come back (she might’ve been my favorite, hot take!)
There was a lot to enjoy in both of these series. A lot of which the shows have in common (sexy angsty freelance dads earnin’ big bucks while becoming adoptive fathers), but that isn’t to say that these shows don’t have critical differences (like one being in space and the other being in a fantasy realm).
Both The Mandalorian and The Witcher both feature protagonists who embody the warrior archetype; they both are seemingly the last of their kind, and carry the weight of that with them, which leaves these two with walls built between them and other people. They have been betrayed, and have had their trust broken, and now live their lives as nomads who kill for coin and credits, leaving a trail of bodies in their wake and tales of their endeavors told in rumors and songs. That is, until their journeys go from simply taking jobs in self-contained anecdotes to bringing children into Mando and Geralt’s arms. Mando is tasked with killing the child, but he’s not a heartless monster, so he decides to save the child! Geralt has no intention of having a child, but he sort of stumbles his way into becoming a godfather of a princess in comedic Stooge fashion.
Now, the only reason I’m not writing about how these shows are pretty much the same thing as one another and giving them shit for it is because, well, these shows really aren’t the same at all, despite the warrior-dads thing. And yes, it goes beyond the surface and is more than just the sci-fi and fantasy aesthetics. In terms of what the shows do, they have episodes that each focus on a singular event occurring, like, “The One About The Prison Break In Space”, or “The One Where I Join A Quest To Slay A Dragon”, which makes it feel as though each of their eight episodes truly are a single chapter, or a peek into these character’s lives in a journal of sorts. The structures of these shows are what really get me. In The Mandalorian, Mando doesn’t meet the child until the end of the first episode, which is sort of the inciting incident, but from there, the story progresses forward in a way where time isn’t necessarily tracked, but we know that everything is occurring sequentially. It doesn’t feel as though there are big gaps or time jumps between scenes or episodes aside from, but we don’t really get much detail as to how much time has passed. This doesn’t make for a jarring experience, though.
However, when one is viewing The Witcher, we are watching Geralt’s story occur, along with Ciri and Yennifer, two of the wonderful female characters I mentioned earlier. Now, each of these three characters’ stories all start at a certain point. Geralt’s story starts with him meeting Renfri in a village. Yennifer’s story starts with her as a hunchback being sold to witches and inducted in their academy of sorts. Ciri’s story starts with her fleeing her kingdom after it is conquered by an enemy kingdom (who don spooky black armor that couldn’t scream “we’re the bad guys” any louder). Now, as these stories progress throughout the episodes, there’s a lack of an overlap until a certain point. Like, we’re seeing things happening to Geralt, and to Yennifer, and to Ciri, and they all go places and do things, and for a while, we’re like “huh, when do they…?” and then we start to get to points where certain characters that, say, died in certain episodes reappear later, and interact with Geralt, or Yennifer, or Ciri (the Big Three, so to speak), and then it starts to dawn on us…the show’s structure isn’t linear at all.
See, that’s what got me. The Witcher is told from three perspectives, all of which pretty much start at different points in time, and only one of which is actually taking place in the present. This isn’t explicitly clear right off the bat, which might’ve confused some viewers, and would’ve upset me if it hadn’t all come together by the finale. It isn’t until the last episode that we see these three characters make it to the same point and place in time (and no, I don’t mean TIME TRAVEL, that’s another post I’m writing soon). The last episode is also when we finally get a child in Geralt’s arms, which is a wild contrast to Mando’s parental journey. One gains a child by the start of the show, while one gains a child by the end. One follows a linear plot, and the other jumps between years in the story. Favreau and Hissrich both follow drastically different writing structures, but somehow utilize wildly similar formulas in how their protagonist’s arcs progress, which in turn has created the new archetype we all love and appreciate now: grumpy warrior dad!
Anyway, that’s all I really have. I’m not over here writing essays, so this might be the cleanest wrap-ups I will write for a while. If you’re wondering which of the two my favorite was, it’s pretty close, but I’d have to go with the show with the dude who was naked more often (Sorry, Disney, your family-oriented marketing is wholesome, but that’s all it is). But in all seriousness, The Witcher is a series I went in completely blind for, which might of left me with a lot less expectations than I did for The Mandalorian. I knew Star Wars, so I might’ve expected a certain type of show, and despite thoroughly enjoying the series, The Mandalorian never made me go WOW (except scenes showing off Cara’s guns…as she holds her rifles and stuff). I did go “aw” a couple of times, but that’s what I’m talking about. It wasn’t saucy like I had hoped. The Witcher scratched that naughty itch for me, while also having me go “WAIT A MINUTE” when the plot lines converged, leaving me pleasantly more entertained than the former. That’s just my hot take, and anyone else’s take is just as valid! Let me know some of your thoughts. Stay lovely, folks!
(Sorry, I don’t have a punchline for the title. Maybe comment some if y’all think of one.)
At the time of this posting, we will be pretty much one week away from the start of the Crisis of Infinite Earths crossover event on the CW network. We’ve got crossovers with the main Arrowverse shows that debuted here; we’ve got Arrow, The Flash, Supergirl, DC’s Legends of Tomorrow, and the newest edition in the lineup, Batwoman. Aside from those five series, we’ve got a tie-in with characters from Black Lightning, along with cameos from other DC tv show properties like Smallville,Birds of Prey, The Flash from the 1990’s, and even big characters debuting, like Kevin Conroy as Batman from the Kingdom Come comic series, Brandon Routh as Superman from his 2006 film (which is also canonically Christopher Reeve’s Superman character and Kingdom Come Superman), with other appearances rumored for the crossover. Some of those names include Lynda Carter and Burt Ward in an undisclosed role, and others that I can’t keep up with because this event is HUGE!
I’ve got my theories and speculations about what we’ll see out of the crossover, and as much as I’d love to go on about those thoughts, that’s not what I’m going to do with this post. That being said, I did make a bingo card in preparation for Crisis with all of my major theories used as the spots. It’s posted on my Tumblr, and y’all can check it out here!
Now, without further ado, let’s get caught up on these shows and see where we’re going from here on out! SPOILERS follow!
We’re, uh, actually skipping DC’s Legends of Tomorrow. It premieres after Crisis, so…
“Better, Gayer and Edgier Than Batman”
Let’s start with Batwoman! Itdebuted this year, which I was mega excited for because IT WAS SO DOPE TO GET THE TEASE FROM THE ELSEWORLDS CROSSOVER OMFG! There was a lot of backlash for Ruby Rose being cast as, like, the one lesbian in Hollywood, which I would’ve been more upset about if I hadn’t seen her kick ass in John Wick. My biggest thing when it comes to action series is having the actors and actresses be bold enough to pull off the stunts on their own without stunt doubles. Not that it’s bad to use doubles, but I’m just more impressed as shows having their own actors do stunts. That being said, the stunts on this show aren’t the most exciting, but it’s a good thing the show has been making up for it with Rose just KILLING it as Kate Kane. I had skepticisms about the villain, but Alice proved to be a really good arch enemy for Batwoman, so I’m down with it. The will-they-won’t-they between Kate and her ex is okay, but like, I’m waiting to get past that and for Kate to find real potential love next season or something. The writing has been really good with Caroline Dries from The Vampire Diaries working on the series. We’ve got a good Batwoman adaptation, solid drama, and so much queer representation to make my recently out-of-the-closet queer heart melt. Love the series. Can’t wait for post-Crisis Batwoman to do some gnarly things and expand on their lineup. I’d love to see Red Hood, Orphan, or even Bluebird show up. Not much else to say, considering this series JUST debuted with its first season. The other shows have a LOT more to go through.
Let’s go to Supergirl, now! We’re five seasons in, having reached episode 5×08, right before Part 1 of the Crisis starts. At this point, we went from an entirely different network version of the show, having started on NBC, with massively different set pieces, cast and crew, and writers doing different things. The show moving to the CW left us with a loss of, who I thought was a dope villain, Maxwell Lord, along with gorgeous characters like Lucy Lane, and the enigmatic Cat Grant. In that move, we did happen to gain OTHER set pieces, new cast and crew, and, like, OTHER writers. From the purest origin story we could get for Kara, to the cutest queer coming out arc for Alex, to gaining the Legion of Super-Heroes (I would’ve loved, like, Lightnig Lad and Timberwolf and Triplet, but…we got Brainiac 5 and Saturn-Girl, so we’ll take the dub where we can). Villains like Manchester Black, Reign, and Lex Luthor came around, and then we’ve got MY personal favorites, Lena Luthor and Nia Nall.
Out of all of the arcs we’ve gotten during these seasons, I’d have to say season four was my favorite. We didn’t have Mon-El being trash (yeah, I didn’t like him at all), we got our lovely trans representation debut in Nia, who was the purest little bean of a character when she debuted, to someone who has kicked ass alongside our heroes, but for some reason has been a little absent in our most recent episode, and I really don’t remember why. The storyline between Kara and Lena really got amped up after season four, going from acquaintances to best friends to PRACTICALLY GIRLFRIENDS, to this seemingly broken relationship. This is the one thing that keeps drawing me back to the show, and I would love to keep them at the core. Manhunter stays being a cool father figure, but Martian Manhunter’s storylines are less exciting now that he’s been focused on this random brother that Monitor brought back. With that arc coming to a close, we can prepare for Supergirl’s involvement in Crisis, bringing in Superman and Lois Lane, along with their baby AND LEX LUTHOR AGAIN! Can’t wait for where the show goes post-Crisis. I don’t know if they’ll continue this Leviathan arc, which aired around the time that Event Leviathan was being released by DC. It was a conspiracy espionage with a masked villain who was taking down the government to basically build a new world order, because according to Leviathan, everyone else has been saving the world wrong. I was expecting season five’s arc to go down that route, but it’s been…NOT that. We got an Earth Bender from Avatar trying to kill Supergirl, and it’s been okay, but I’m hoping that isn’t the villain post-Crisis. Hopefully we’ll drop the queerbaiting subtext between Kara and Lena, and just LET OUR BABIES BE HAPPY. That’s all I want, is for the two of them to be happy.
“Season 6 of ‘Monster of the Week’ ft. Preparations for Crisis”
We are six seasons in for The Flash, caught up on 6×08 right before Crisis, and we’ve gone FAR! I’m talking naive little me watching Arrow’s second season and thinking, “gee, Barry Allen might be a side character on Arrow’s next season” to the first Arrowverse spin-off debuting and teasing Crisis on its premiere. From that point, we got one of the best first seasons of an Arrowverse show, with Reverse-Flash posing as one of the dopest villains on the show, with season two pushing epic boundaries with the Multiverse being introduced. Season three debuted Flashpoint, one of the things I was most hype about, but it being an episode long was the biggest buzzkill. It was a little too dark and depressing, so it’s sort of part of this repressed part of my mind. Season four was when they said, “gee, let’s get funny again,” and became borderline tacky in some instances. Ralph Dibny, the funnier guy, debuted at this point, and the tone of the series shifted dramatically. The villains, in all honesty, started absolutely sucking from this point onward.
The show kept its “Monster of the Week” formula intact, but with its villains no longer being speedsters, after everyone got annoyed with season three’s Savitar disaster. We had an uber-smart handicapped technophobe, an awfully voiced and unthreatening meta-serial killer (and his future niece or whatever, which nobody cared for), and this season’s villain. Now, what I love about the recent seasons is that they took more liberty pulling from the Rebirth canon, similarly to Supergirl pulling from Event Leviathan. We had Godspeed make an appearance (although it was definitely way more lackluster than it should’ve been), and Bloodwork show up as this season’s main villain. I’ll be honest, his gimmick makes sense, being a villain who offers immortality to Barry to help survive Crisis. It would’ve made sense for last season’s Cicada to be immortal, but what do I know? That being said, Bloodwork’s thing was basically just spreading a bad zombie infection. Like it wasn’t all that complicated, but it wasn’t interesting at all. Barry has a mind trip when he’s infected, and with Dark Flash showing up, it was just gunk in his mouth. Like, I really wanted to like this villain, and this whole season, but it was mostly just “fight a villain while we think about Crisis” but not really do anything about Crisis. I guess that’s the point though, with Barry having to accept his fate of dying in Crisis. I really hope that we don’t see Bloodwork past the first half of this season. I say “first half,” because once Crisis is done, I’m expecting a major shift in everything going on throughout a majority of the shows, especially with The Flash. It’ll be the first time we see a future past the looming headline that’s been haunting Barry since the premiere, and hopefully cool things in terms of structure will go down.
“Every Mission Has An End”
That leaves us with Arrow. The Big Papa of the Arrowverse, having just aired 8×07. Each episode this last season was meant to be an homage to the series as a whole, with each episode being reminiscent of its corresponding season. We got through seven episodes, seven seasons, of the best and worst of the Arrowverse, from seasons one and two being Arrow’speak, with it dying down during season three and four, and the remainder of the series having both highs and lows. Season five ended the five-year story of Olive being on the island and becoming the Arrow, only for those flashbacks to become super convoluted, so, you know, whatever. After that, season six became a lot more grounded and ended with a big gamechanger: Oliver outing himself as the Green Arrow. Season seven led to a dope prison arc, with more Rebirth villains coming in, like the Ninth Circle, and the Longbow Hunters debuting Silencer.
Again, highs and lows. Ricardo Diaz was, like, cool for being the first villain to survive a season and continue being a villain, but he got old really quick. Emiko Queen was also really dope, but her whole “villain-or-hero” thing was just as annoying as it was with Laurel from Earth-2. Yeah, Earth-2 Laurel’s “villain-or-hero” thing was ALSO one of the major lows of the show. It lasted, like, three seasons? I don’t know. Hated it. Hated Lance’s off-screen death, Ragman disappearing, Felicity growing from adorable to annoying, and blue balls (or, green balls) with all of the Green Lantern references for Diggle. But we got highs, like the 150th episode of Arrow being a really dope documentary styled episode, the flash forwards giving us baby Mia and William being the best siblings ever, and more ROY HARPER, the love of my life! I’ll admit, this last episode really chopped his arm off, which hurt SO much, but like, Roy has always been written as the DC character to be hurt the most, next to Wally (who is annoyingly absent from The Flash right now. We got Roy back before Crisis, why couldn’t we get Wally? Shame the writers don’t know what to do with him). Anyway, we had a very good run anyway. Stephen Amell killed it as Oliver Queen this season, with the entirety of the season being a big buildup for Crisis, while it also sort of being Oliver’s internal battle with himself, as he was sort of in denial about dying. We got fan favorites that came back for the final season, from the Merlyns to Moira and Thea, Adrian Chase and the OG Deathstroke (no Nyssa or Ragman or Artemis, also mad about those). But in terms of the final season wrapping things up, it did so in a way that made it feel like an entirely new show, both fresh and familiar for Arrow fans. It’s been great, honestly. Loved it.
And with that, you have caught yourselves up on the Arrowverse with me, and are a week away from witnessing one of the biggest events to happen with DC. I’m talking altering the canon of not ONLY the CW shows, but shows and films and canons that have been around for decades and have just now debuted. We are IN FOR A REAL TREAT, FOLKS! Get ready.
Hey there! It’s like the blog says. My name is Sameer Diab, and if you stumbled across this page, you’ll see what I’m all about. I’m a freelance writer and musician. I’ve been making content for almost ten years, but after all this time, I have finally gotten around to placing all of my original content in one place. All of my writing, both fictional and fan-fictional (some of you will eat that up), and all of my music, both original tracks and bootleg remixes, will be found here on this site. On this blog, I’ll be posting my creative content, but old and new, and also cover new shows, movies, books, and a whole lot of good stuff. Stay tuned!