MIRROR MIRROR II now back in stock

I’m happy to report that Julia Gfrörer and I once again have copies of our horror/erotic/gothic comics and art anthology Mirror Mirror II available for sale at her Etsy shop. It’s an absolute murderer’s row of artists; if you like our sensibilities at all, you’ll like this book. 

With work by:

Lala Albert

Clive Barker

Heather Benjamin

Apolo Cacho

Trung Lê Capecchi-Nguyễn

Sean Christensen

Nicole Claveloux

Sean T. Collins

Al Columbia

Dame Darcy

Gretchen Felker-Martin

Noel Freibert

Renee French

Meaghan Garvey

Julia Gfrörer

Simon Hanselmann

Aidan Koch

Laura Lannes

Céline Loup

Uno Moralez

Jonny Negron

V.A.L.I.S. Ortiz

Claude Paradin

Chloe Piene

Josh Simmons

Carol Swain

“Silo” thoughts, Season Two, Episode Ten: “Into the Fire”

Brutalist architecture is misleadingly named. When people think of the stark, colossal buildings that are the hallmark of the style, they think brutal as in overpowering. In fact the term comes from the french word brut, meaning “raw,” referring to the style’s tendency to display rather than mask its raw materials, its concrete and steel.

Brutalism is often associated with such massive construction projects as low-income housing or government buildings, and for good reason: It’s a postwar style that emerged from the social-democrat consensus following the conflict, and was embraced by left/liberal governments on both sides of the Iron Curtain. Only when the tail end of the Cold War and its conservative ascendency shook that consensus did these buildings take on the vaguely sinister air with which they are often associated to this day. 

The reason for that is simple, as anyone who’s ever seen a crumbling castle or haunted house can tell you. When a system dies, the buildings constructed by that system for the greater good become symbolic instead of the system’s collapse. City halls become sites of faceless bureaucracy. Monuments become gravestones. Shelters become tombs. 

[…]

The Silo — the Silos, plural — are brutalist in their construction: the concrete is unadorned and enormous in scale. They’re brutalist in their purpose: They were built to safeguard 10,000 souls apiece, recreating society in miniature. 

But they’re also “brutalist” in the misnomer sense: They are the site of authoritarian oppression. If indeed they ever really were built to safeguard anything, all they really exist for now, as Lukas and Bernard and Juliette and Jimmy all learn, is to seal off the lives of those within forever, lethally if need be. 

The Silos are the brutalist paradox transmuted into sci-fi plot form. Are these massive structures the only hope for humanity? Or are they indeed better thought of as haunted places, places of deceit and domination, because whatever world they once existed to protect is long dead? 

[…]

Silo asks a provocative and timely question, one reflected in the controversy of the architectural style upon which it’s based: Are structures of protection really structures of oppression? And when the time comes, will we be able to tell the difference?

I reviewed the season finale of Silo for Decider.

“Skeleton Crew” thoughts, Season One, Episode Eight: “The Real Good Guys”

From the start, Skeleton Crew has run like an R2 unit whose motivator is a bit on the wonky side: In large part, it still works just fine. Its theme-park-ride sense of forward motion and energy alone makes it the most entertaining — okay, make that the only watchable — new Disney Star Wars show since Andor. That’s before you get to its deployment of oodles of fun creatures and droids and space pirates, the kind of good clean fun you want in a Star Wars show for kids. The key ingredient is the lead performance of Jude Law as Jod Na Nawood; his transformation from bad guy with a heart of gold to a real rat bastard is the kind of genuine, character-based surprise that a shocking twist or secret identity can only hope to deliver. 

But there were always signs that the machine wasn’t running as smoothly as it could be. The premise and the show’s initial suburban setting amount to crass Gooniesploitation. The core kids started out as stock characters reciting dialogue straight out of kids’ adventure movies; Wim, the worst offendernever grew out of it. Key action sequences felt thrown together. Most tragically, Kelly MacDonald, who by rights should be the co-lead in a whole Star Wars show of her and Jude Law’s own, gets like two minutes of screen time. 

Like the pirate frigate that makes a fiery but stately descent into the surface of At Attin after being blown out of the sky by X-wings, this is the episode where it feels like the whole thing just kinda stalls out and comes in for a crash landing. It’s the kind of finale that feels like it wasn’t so much written as translated from a series of shoulder shrugs in the writers’ room. After all of this adventuring, the good guys flip the special good guy switch after sending the good guy signal, and the good guys win. 

I reviewed the season finale of Skeleton Crew for Decider.

“American Primeval” thoughts, Episode Six

As I write this review, wildfires brought on by climate change are ravaging Los Angeles. The climate change denier whom a plurality of voters selected to be their president, and who as best I can tell is completely insane, is threatening to bring back American expansionism by conquering Canada and Mexico and Greenland as his conservative Christian backers cheer him on. In this final episode of American Primeval, a fanatical Brigham Young rants about his God purifying the world from wickedness as his Mormons, fresh off a genocidal attack on the Shoshone, solidify their claim on Utah by burning Fort Bridger to the ground. You hear Young’s words over the flames. It feels familiar, is what I’m saying. People will always use fires they themselves started as a smokescreen for their murderous ambition, I guess. 

I reviewed the finale of American Primeval for Decider.

“American Primeval” thoughts, Episode Five

It’s preposterous how good Shea Whigham is at delivering dialogue. Boardwalk EmpirePerry MasonAmerican Primeval — whatever the assignment, he makes every line sound like he’d never heard a word of it before thinking it up right then and there. When Whigham’s Jim Bridger verbally spars with Kim Coates’s appropriately bloviating Brigham Young, he makes the great evangelist sound like a high school freshman at his first debate club event. Sure, Bridger has likely just brought the murderous wrath of the Mormon nation down on his head with his backtalk and intransigence — not to mention his heavily armed squad of employees, mountain men, and Native Americans with nothing left to lose. But Young attacking Bridger now after failing to verbally fluster the grizzled frontiersman in the slightest is a bit like Drake suing after Kendrick Lamar beat the brakes off him in their beef. Even if he wins, he’s a sore loser. 

I reviewed episode five of American Primeval for Decider.

“Silo” thoughts, Season Two, Episode Nine: “The Safeguard”

“Any sufficiently advanced technology is indistinguishable from magic.” I’m thinking about this line from 2001 author Arthur C. Clarke a lot while watching Silo these days.

I reviewed this week’s Silo for Decider.

“American Primeval” thoughts, Episode Four

One of my favorite film microgenres is the Ordeal. In Ordeal movies, characters embark on a perilous journey across some wild territory, and endure a grueling struggle for survival along the way, marked with repeated instances of terror and pain. Think Deliverance, Sorcerer, The Descent, Gravity, and most relevantly The Revenant, written by American Primeval creator Mark L. Smith. Go ahead and throw Martin Scorsese’s After Hours in there if you’re feeling generous, and Homer’s The Odyssey if you want to be complete about it. These narratives are compelling because of how they join the viewer and the protagonist at the hip: You’re not going anywhere until this guy or girl gets out alive, or dies trying. The only way out is through.

American Primeval is an attempt to create an Ordeal TV Show, which in this age of spiffy limited series is now a possibility. There are pros and cons to this approach. In the former column is the obvious point that on  television show, your Ordeal can last a whole lot longer. You can drag out that primal struggle, allowing for more moments of bloody horror and stark beauty. And to fill up that extra real estate, you can create multiple protagonists, each on a different path, each undergoing an Ordeal of their own, each with their own appeal.

[…]

But on the big screen, the Ordeal is a uniquely focused form of storytelling. The pleasure of the Ordeal is its ability to burrow deep into the mindset of its main character as they’re put through their paces over the course of an entire film. By the end, ideally, you feel what she feels in your gut. That’s just not going to be the case when you’re bouncing around between stories and characters on a regular basis, episode after episode. It can even start to feel a bit, well, episodic: This happens, and then this happens, and then this happens, and then this happens, and the next thing you know a grizzled mountain man is snapping a screaming child’s splintered bone back into place and it’s cut to black, roll credits.

I reviewed episode four of American Primeval for Decider.

“American Primeval” thoughts, Episode Three

American Primeval is taking an open-world video game approach to its brand of revisionist Western. As our characters wander around, they encounter all kinds: friendly Mormons and murderous ones, friendly indigenous people and murderous ones, friendly settlers and murderous ones. You just never quite know which one is which when you stumble into them, until the shooting starts. 

This approach can be a little, well, video-gamey. As a horror guy, I was certainly tickled when a blind cackling hillbilly witch showed up to lure our heroes into Consanguinity Corner, but you can only take a show that otherwise self-evidently prides itself on gritty realism when Leatherface and Grandpa from The Texas Chain Saw Massacre show up. 

Yet at the end of the episode, Captain Dellinger writes a lovely and heartfelt letter or journal entry in which he laments the way he feels he’s losing his essential character in the ceaselessly violent world he’s entered. “Hatred” and “brutality” are everywhere, driving out “compassion and basic tenderness.” 

“I am overcome at this time by a deep pain from a tremendous and always present lack of love,” he writes. “So few in these lands know of grace. There is only brutality here.” He’s painting things with an awfully broad brush, as the concurrent shots of Abish being treated with care and kindness by the Shoshone women demonstrate. But he’s not wrong overall. American Primeval may have a kind of shopworn way of showing it, but it really is exhausting to think about how many people in this land of ours like it better when they know others are suffering.  

I reviewed episode three of American Primeval for Decider.

“American Primeval” thoughts, Episode Two

Director Peter Berg has a knack for depicting the inherent sternness of all this. The determined faces of actors Betty Gilpin and Taylor Kitsch and Saura Lightfoot Leon as Sara and Isaac and Abish. The leaders of the Church of Latter-Day Saints, gathered around a campfire, silhouetted agains the big sky. Our four heroes captured with a low angle that makes them look like the Fellowship of the Ring. Rolling vistas and billowing mists. Forests and scrubland. Hard people in a hard land. It’s solid stuff.

What it isn’t is unique, special, or even particularly provocative beyond the in-your-face violence. If that sounds harsh, I don’t mean it to be — it’s just the way it is. American Primeval is a bloody modern Western, and that’s about the extent of it. If you like this sort of thing, this is the sort of thing you’ll like. But unlike Brigham Young, this show isn’t making any converts just yet.

I reviewed episode two of American Primeval for Decider.

“American Primeval” thoughts, Episode One

American Primeval isn’t going to be reinventing the Western genre anytime soon, if that wasn’t already apparent. Revisionist Westerns — in which there are no black and white hats, no noble cowboys against uniformly savage Indians, just a continent full of broken people trying to live another day — have been around for so long they’re now just, you know, Westerns. This is a project that will rise and fall on the strength of its action, adventure, thriller, suspense, and survival sequences, and on whether the actors can make you care enough about the characters to worry about what happens to them. Westward the wagons, folks, and let’s find out.

I’m covering Mark L. Smith and Peter Berg’s new survival-horror Western on Netflix American Primeval for Decider.

“Skeleton Crew” thoughts, Season One, Episode Seven: “We’re Gonna Be in So Much Trouble”

Jod Na Nawood is not a nice person. Considering his occupation, the outer-space equivalent of De Niro and Pesci hijacking trucks in GoodFellas, maybe that should have been obvious. But this is the Star Wars Galaxy, where you can personally slaughter younglings and blow up entire planets but still get a cozy fireside ghost appearance once you die. We’ve been taught to forgive much worse. We’ve also been taught, via Han Solo, that preposterously handsome and charming lawbreakers are heroes at heart more often than not. 

Well, Jod appears to fall firmly in the “not” category. Though his charisma and fast-talking power him through the beginning of the episode, as he repeatedly avoids being airlocked while Captain Brutus and his men try to penetrate At Attin’s Barrier, that’s not what actually gets him to his destination. To do that, he shoots the helpless Brutus to death at point blank range, beheads SM-33 with a lightsaber, bullies and mocks four frightened children, and threatens to kill their parents if they talk. That last bit is textbook child abuser stuff, and Skeleton Crew is having Jude Law say it to a little blue elephant boy. 

I reviewed this week’s Skeleton Crew for Decider.

“Skeleton Crew” thoughts, Season One, Episode Six: “Zero Friends Again”

Skeleton Crew is good clean fun. That may sound like faint praise, and in the context of, like, Mad Men and I, Claudius (and Andor, for that matter), it is. But in the context of The Acolyte and Ahsoka, the Disney Star Wars Universe’s last two TV outings? This show is an enjoyable, zesty enterprise, with big ugly creatures, cool little droids, frequently inventive action sequences, and Jude Law as a scoundrel who my even turn out to be a real scoundrel this time. It has a pulse and a purpose. It justifies its own existence by being entertaining. 

[…]

But even in Star Wars, you’re asking a lot of your audience’s suspension of disbelief in this sequence, when you probably could have just crafted an escape that didn’t depend on four little children all acting like a cross between R2-D2 repairing Luke’s hyperdrive while flying through space and Captain America keeping that helicopter from flying away with his bare hands. I enjoy space werewolves and space kaiju and space Urkel and space Kelly MacDonald as much as anyone, but they can’t compensate for underbaked writing, which is what keeps Skeleton Crew from making the jump from fun to special.

I reviewed last week’s Skeleton Crew for Decider.

An Orc Walks Into a Bar

a short story by Sean T. Collins, 1/4/25

How it started. Can’t say I remember much of what happened after, but how it started? Yeah, I can tell you that. It was me, Kyle, Bryan, Eustace, Jenny, Eleanor, Tom of course, and it was cold. We were in the Green Dog, which was our regular then, and we were a couple drinks in, all of us. Bryan was smoking his pipe, it was new, he was showing it off like. Eustace had such a thing for Eleanor and all of us knew it but her. Kyle and me, we were talking about that year’s Games. Kenny, he owned the place, he had the fire going strong as he could, but we were still all bundled up. Jenny tied her hair back so she could lean in toward the candle on the table, even. It was cold. 

I think it was Jenny who noticed first because I saw her turn white as a sheet while the rest of us were still having a laugh. There was a lull in the noise and then we heard the sound of footfalls, and they were heavy like, and you could hear the scrape against the wood floor.Then I realize it had gotten so cold because the door had opened — like I said, we’d been drinking, things weren’t coming to me quickly — and I turn to look.

He was man height — peasant, not aristo, I mean, but still taller than all of us. He had on a scratched grey chest plate and dark leather armor, which you could see was ripped and stained black in a bunch of places. Ears like a bat and skin the color of, you know, an old bruise, that purple-yellow flesh tone. Big red eyes the size of a human’s mouth. Teeth the size of human fingers that stuck out even with his mouth shut. He had these big bony feet with hard yellow toenails that scraped against the ground when he walked, just these big grippers slapping the floor. When there’s an orc in your regular, you notice these things. Makes an impression like. 

Tom, he didn’t say much on a night out usually. He stands up and he says, and I mean loud, “What do you want?” 

So that kills whatever conversation was left in the place. 

The orc doesn’t even look in Tom’s direction, just sits down at the bar. Then he goes, and I’m not gonna do the voice so you’re gonna have to imagine it, he goes: “I’m here to test the hospitality of the halflings, renowned in story and song.” 

Everyone starts Tom looks real angry. Jenny’s scared as hell, you can see. Eustace is just staring into his drink. 

The orc sighs like. “I am unarmed and I wear no sigil,” he says, real tired like. “Would you turn a poor traveler away?”

Kenny behind the bar, his bald head is gleaming with sweat now, and it’s cold like I said. He looks over to Tom who I can see give him this little head-nod back. 

It took him like three tries but finally Kenny gets out “What’ll it be.” 

“Ale,” the orc says. “Keep it coming. Cut me off after a few if it makes you feel safer, I don’t care.” And Kenny pours him an ale just like that. The orc takes this big long sip and lets out this ahhhh sound only it’s more of a hiss when he does it. Like I said, I can’t do the voice.

I’m watching this so close that I don’t even notice Tom get up. Next thing I know he’s sitting down next to the orc at the bar. Now normally if he does this people know what’s coming, but this orc, he’s new, what does he know.

“Hey friend,” he goes. Tom’s tall, four feet, and he’s all muscle. He’s not scared of this guy. “Hey friend. You a veteran?”

“Aye,” says the orc and takes another drink. 

“I’m a veteran too,” Tom says. Kenny starts to say something and Tom just shoots him a look and he shuts up again. “What campaign, brother?” 

“Azh Khabad was my last one,” the orc says. He’s just staring into his drink, like Jenny.

“Yeah, that was a lot of people’s last one,” Tom goes. “Especially on your side.” The orc just grunts and drinks again. “Where’s your sword and sigil at, brother?”

“Lost ’em,” he says. “In the last campaign.”

“Gotcha,” Tom goes. Then he kind of tilts his head and looks right at the orc and says in this weird loud voice, “Threw them down in the retreat, this one did.”

The orc lets out another one of those hiss-sigh sounds again, puts down his beer. “Yes, I threw them down,” he says. “They would avail me no more.” Finally he turns and looks at Tom, those red eyes, you know. And he says “Why do you stare? Have you never seen a soldier weary from war?”

“I’ve seen plenty, brother.”

We’re all exchanging nervous looks now, and Eustace is whispering something in Eleanor’s ear. Eleanor reaches out and grabs Jenny’s wrist and Jenny jumps and her beer falls over but Tom and the orc don’t notice.

“You’ve killed people,” Tom says. Eleanor squeezes Jenny’s wrist tighter and tilts her head towards the door. I look around and see a lot of folks looking in that direction.

“Probably I have,” the orc says. He’s turned back to his beer already. “But what soldier hasn’t?”

Tom’s drinking an ale of his own now, I didn’t even see him order it or Kenny give it to him. It’s like it materialized in his hand. “Totally fair,” he says, “totally fair. I know I have.” 

He pauses and takes a drink. Eleanor is dragging Jenny toward the door, fast, that’s the last I saw of them that night.

Tom puts his mug down. “But you served an evil cause, brother,” he says, staring right at the orc.

“Probably I did,” the guy says. He takes his own drink, then he moves his head real slow to look back at Tom. “But what soldier hasn’t?”

So Tom, man, he does not like that. He slams the mug down and yells “Those who follow the One True King!” After that you don’t hear a sound in that room except people heading for the exit.

The orc doesn’t miss a beat. “My Lord said he was the One True King. And where I come from, when he speaks, you don’t argue.”

Tom’s just getting madder now, you can see the flush creeping into his face. His fists are all balled up like. “So you were forced into war, is that it?” he asks the guy. “You were forced to fight? You were forced to kill?” All that kind of shit. 

The orc says “No. No, I wanted war. I wanted to fight. I wanted to kill. And when the time came I enjoyed it. But that time is over now. I’m tired.” He starts looking around the room as he talks now. “And I will harm no one so long as I am within these walls, as long as no one tries to harm me first.”

Now Tom, he only gets madder now for some reason. “Oh I’ve tried to harm you already, brother,” he says. “Your armor — you’re a Wolfrunner, yeah?”

And he goes, “Yeah.”

“So you were there,” Tom says. “You were there on the Plain of Sellema when the Paladins of Frodost brought the Early Dawn.” Me and Kyle and Bryan and Eustace had heard this one before and we all kind of looked at each other like. 

The orc goes “I remember the Plain of Sellema, yes.”

Tom’s, well, he’s not the smiling type the way he used to be but you can hear it in his tone of voice now and then and you could hear it now. “So, the vampire knights burning in their thousands, the trolls turned to stone that we used to build a monument to our glorious dead. You remember that, brother?”

The orc’s getting quiet. “Yes.”

“You remember the Werewolf Legion? One second they were rampaging through our front lines and the next they’re just a bunch of naked men on a battlefield. You remember how that ended? Remember them falling to the Silver Axes of Nar-Gurru?”

He doesn’t wait for a response this time. “You know who was in the Paladins of Frodost? Can you guess, brother? I’ll bet you can guess. Go ahead, take your time.”

Another hiss-sigh. He turns and looks Tom right in the eyes again. “You?”

“That’s right!” Tom is crowing now like. Me and the boys are up on our feet, real quiet. “I was one of the halfling paladins who slaughtered your Dark Armies, brother. It wasn’t personal, it was just that all those vampires and werewolves and trolls needed to go.” He gets up in the orc’s face. “Sometimes people just need to go, would you agree, brother?”

“Like the people of Sellema?” he says back. “That was not our doing.”

Tom’s says, “They made their choice. You don’t get to volunteer to be one of the Black Sword’s slaves. That’s just not an option for people to take, unfortunately.” 

Bryan whispers to me “He’s drunk” and I’m realizing suddenly he’s right. 

The orc finishes his drink and goes “What’s done is done, I suppose.”

“Almost,” says Tom.

He must have gone for his gem at that point, it was hard to see from my angle, but the next thing I know his arm is on the floor. His whole arm! The orc just bit it right off at the shoulder. Tom, he passes out, and his face lands right in the palm of his own hand, I swear on the Great Tomb of Atar.

There’s blood everywhere now, and I mean everywhere. A candle on the wall sputters and goes out from the spray, that level of blood. Kenny drops behind the bar and that’s the last I see of him. Most everyone in the bar is making a run for it. But me and Eustace and Kyle and Bryan, well, we just kind of collectively decide we’ve gotta do something about this. We’re pissed about Tom and we’re all drunk. 

And it’s the weirdest thing. The orc, he looks at us coming, Tom’s blood is all drooling and dripping from his mouth. And he goes “Hello, friends. Is any among you a veteran?”

We’re embarrassed like. Only the Wielders could serve in the High King’s army, and only Tom was a Wielder. On the other hand look where it had gotten him. 

So when no one says anything, the orc just says “That’s good. Very good indeed.” 

What were we supposed to do? 

I go first and I bring my mug down hard on his bruise-colored head. The black blood stings on your skin, I didn’t anticipate that even though I knew it was the case, you learn this stuff. Kyle goes in swinging, Bryan too. Eustace I think is backing out but then I see he’s reaching behind the bar for the club Kenny was afraid to use. He grabs it and swings hard, right into the orc’s face, which just explodes. Like I didn’t know you could do that to a living thing’s face and have it still be alive afterwards.  

It took a long time. Like I said, I don’t really remember much.

Anyway they erected a statue to Tom at the Old Bridge, and the orc they fed to Kenny’s pigs, on account of it was his place that got busted up and this was his getback. But all Kenny did was serve the orc a drink so I don’t feel bad his pigs got sick and died after that. Serves him right like. 

The deputies cleared us of course, since orcs aren’t people and you can only murder people, something like that. Bryan has been fine since except for his marriage. I haven’t talked to Kyle in a bit. Eustace did something that Eleanor isn’t speaking to him anymore, don’t know what that’s about. Jenny’s fine, and me and her have been going together since harvest, and we have a new regular. Anyway it’s funny you asked about this, because I just had the craziest dream where the orc says — well, that’s not important. I don’t think about it that much anymore is the main thing. That war ended a long time ago now.

“Silo” thoughts, Season Two, Episode Eight: “The Book of Quinn”

The Pact is what has kept things in line all these decades. It may well stop a catastrophe even now. But it led to this catastrophe too, with its lies and deceptions and bias toward the Up-Toppers. Does such a document deserve to govern a people who have outgrown it? Do its handmaidens in power deserve to rule us? I mean, them? 

I reviewed this week’s Silo for Decider.

“Silo” thoughts, Season Two, Episode 7: “The Dive”

Everyone’s off on a side quest in this episode of Silo. That’s not a bad thing! Ask any gamer worth their salt and they’ll tell you that the wooly, rambling parts of an open-world game are the best part. True video game happiness is when you could probably advance toward the final boss if you wanted but you’re having too much fun solving puzzles and braving dangers and helping farmers locate their lost chickens and what have you to stop playing anytime soon. 

I don’t know if that was the remit for this week’s script, by writer Katherine DiSavino, but as a metaphor it works pretty neatly. Virtually across the board, all of our main and secondary characters are engaged in side quests this week. It might feel like treading water — literally so, in Juliette’s case — but it’s where a show can stretch its legs a bit.

I reviewed last week’s Silo for Decider.

“Skeleton Crew” thoughts, Season One, Episode Five: “You Have a Lot to Learn About Pirates”

One last thing: Wim. Sure, it’s funny to see him mean-mug Jod with a lightsaber in hand as if this is his moment of destiny, then promptly switch it on upside-down and drive it into the ground, knocking himself ass over teakettle. But “I wanted to have an adventure, and now I regret it because adventures are scary” is a movie motivation, not a real-person motivation. Luke Skywalker was a bored teenager wanted to see the universe, not have adventures in it. Indiana Jones wanted fortune, glory, and presumably tenure. The Goonies wanted to save their parents’ homes from foreclosure, for crying out loud. None of them was like “Oh boy, I hope I get into all kinds of danger so I can show how kickass I am!” It’s both unrealistic as a motivator and unlikeable as a personality trait. 

I reviewed this week’s Skeleton Crew for Decider.

“Squid Game” thoughts, Season Two, Episode Seven: “Friend or Foe?”

In the end, it’s both beautiful and brutal. All-out mass murder in a blue-and-red darkness. Muzzle flashes erupting from dozens of crevices in a vast pastel cavern. Desperate men and women fighting to the last bullet. Lovable characters cracking under pressure. A final betrayal in the royal purple corridors of power. The season finale of Squid Game is everything you’d want from a season finale of Squid Game…except for the “finale” bit. There’s nothing final about this episode at all. 

I reviewed the season finale of Squid Game for Decider.

“Squid Game” thoughts, Season Two, Episode Six: “O X”

By the time you finish this season of Squid Game, you will have witnessed hundreds of murders. Hundreds! It’s baked right into the premise. Other than shows that involve actual war, this kind of body count is just unprecedented. It’s certainly unique in that in virtually every case the murder victims are unarmed and helpless, and are getting killed because they messed up while playing a children’s game. 

The question I ask myself when I watch things like this is simply, Why? Why am I watching something in which human lives are discarded like garbage, in graphic on-screen deaths so numerous you need the show to keep track of them for you? Is this some high-octane action-movie thing that’s using murder the way roller-coasters use downward slopes — to shock your system and give you a thrill? Does the violence have weight, does it cause emotional pain, does it speak to something broader than “look out for armed men in pink jumpsuits”? In short, what does the violence communicate, and is it a message worth hearing?

I’m wrestling with this question, I’ll admit. That’s because I think it’s very obvious Squid Game does, indeed, have something to say. The cartoonish bluntness with which its premise is stated — poor and indebted people are pitted against one another in sadistic games for a chance to win enough money to become solvent again, in a sham quasi-democracy overseen by the world’s richest men — tricks the mind into thinking it’s simplistic. 

But read that premise again, and tell me how it differs from conditions on the ground right here and now. Friends, the real world is simplistic at this point. Just as the lethal games are designed to evoke fun childhood pastimes, Squid Game just renders the real world’s cruel absurdity in caricature form. 

There is, however, such a thing as diminishing returns. With only one episode remaining in this short season, and a longer one behind us already, it’s fair to wonder what this heap of several hundred green-tracksuited corpses tells us that we didn’t learn from the previous pile. 

I reviewed the penultimate episode of Squid Game Season 2 for Decider.

“Squid Game” thoughts, Season Two, Episode Five: “One More Game”

Recapping this episode of Squid Game is a daunting prospect. Not because it’s complicated — on the contrary, it’s a simple as these things get. The players play a game, the survivors take a vote and then a break, they bond with each other, they start a new game, there are brief detours for the No-eul and Jun-ho side plots, the end. 

No, the problem stems from how much of the energy of Squid Game is lost if you summarize it. I mean, the show really is as simple as it sounds above. The characters sound equally sketched out when you break them down in text form: the kindly old woman, the genial jarhead, the arrogant celebrity, the gentle trans woman, the surprisingly human villain, and so on. I found all their interactions compelling, but if I were to sum up their conversations without the benefit of the performances conveying them, they’d seem gossamer thin.

I reviewed the fifth episode of Squid Game‘s second season for Decider.

“Squid Game” thoughts, Season Two, Episode Four: “Six Legs”

The clock is ticking on Squid Game, and I don’t just mean for the contestants. In a short season of just seven episodes, we’ve just completed Episode 4 and haven’t even finished our second game out of six. Will the remaining games get rushed through via montage or some other means? Will the competition get cut short, perhaps by Gi-hun and Jun-ho’s mercenary team? Will the season finale end with a big TO BE CONTINUED? No matter the outcome, the result is going to be paced quite differently from the previous season. In other words, we’re guaranteed something novel.

I reviewed episode 4 of Squid Game Season 2 for Decider.

“Squid Game” thoughts, Season Two, Episode Three: “001”

So much of what makes this episode good is also what makes it familiar: the giant doll, the X and O voting, the “Greta Gerwig’s Barbie remixed by M.C. Escher” staircase set by production designer by Chae Kyoung-sun, But what sells the drama of it all, what makes it feel like more than just a rehash, is what has changed: Gi-hun. When we see flashes of the initial season, he looks like a different person, floppy-haired and fresh-faced. Actor Lee Jung-jae’s transformation is subtle, but it’s like an optical illusion or a Magic Eye poster: Once you train yourself to see it, it’s kind of mind-blowing.

I reviewed Squid Game Season 2’s third episode for Decider.