Doctor Who: Demons of the Punjab
by Vinay Patel; dir. Jamie Childs (BBC, 2018)
A beautifully filmed historical episode (technically pseudo-historical but the titular demons are something of a MacGuffin). The bigger context of the partition of British India allows for an impactful small-scale story where the TARDIS crew contribute little but empathy, which is enough.
Batman: Resurrection
by John Jackson Miller (Random House, 2024)
Miller pays homage to Tim Burton’s Batman with a competently written sequel-novel that takes up both the characterisation and themes (if not, perforce, the funky soundtrack). Nothing much new—especially in the villain—but a readable blend of action, mystery and nostalgia.
Irreverent
created by Paddy Macrae (Netflix, 2022)
Very Australian, very quirky, if a little too untethered to be a true classic. The premise—duped of his money by a disillusioned priest, an on-the-run Chicago enforcer takes refuge posing as a minister in a remote Australian town—says it all.
Black Mirror: White Bear
by Charlie Brooker; dir. Carl Tibbetts (BBC, 2013)
Standard, competently directed psychological thriller… until the scenario untwists to reveal an additional, more disturbing layer of thought experiment. Without being too overt, Brooker poses some searching questions as to the human capacity for cruelness and whether this can ever be justified.
Doctor Who: The Woman Who Fell To Earth
by Chris Chibnall; dir. Jamie Childs (BBC, 2018)
The best debut story since Rose. Jodie Whittaker hits the ground running, and Chibnall strikes a nice balance between SF threat, comfort humour and character introduction. All the soon-to-be regulars show promise (while Sharon D. Clarke is immediately much missed as Grace).
Witnesses, Series 2
by Hervé Hadmar & Marc Herpoux; dir. Hervé Hadmar (Channel 4, 2017)
subtitled, from ‘Les témoins’ (La Une, 2017)
![TV poster: “Witnesses, Series 2” by Hervé Hadmar & Marc Herpoux; dir. Hervé Hadmar (Channel 4, 2017) [subtitled, from ‘Les témoins’ (La Une, 2017)]](https://www.derelictspacesheep.com/wp-content/uploads/2025/05/Witnesses-2.jpg)
8-part French crime drama. Hadmar aims for moody and disturbing, drawing events out until the house of crazy comes tumbling down, exposing everything and everyone as bizarrely motivated and rather pointless. Marie Dompnier evinces the presence and mien to carry it through.
Doctor Who: The Great Beyond
by James Kettle (Big Finish, 2024)
A six-parter structured around a proper SF idea. While the plot follows recognisable patterns and the support characters play to standard, unnuanced types, Kettle lands a poignant denouement that allows the Doctor to live and grow from the consequences of his actions.
Black Mirror: White Christmas
by Charlie Brooker; dir. Carl Tibbetts (BBC, 2014)
The grimmest of Christmas specials, leavened only by Jon Hamm’s used-car salesman vibe as three flashback stories twist into barbed wire. Oona Chaplin conveys the potential horror of relative time in a virtual environment, paving the way for Rafe Spall’s unravelling denouement.
Vampire Cheerleaders 1
consisting of:
“Vampire Cheerleaders: Fang Service” by Adam Arnold; ill. Shiei
“Paranormal Mystery Squad: So My Sister’s a Bitch in Heat” by Adam Arnold; ill. Comipa (Seven Seas, 2011)
Manga. ‘Vampire Cheerleaders’ never gets past its own title, offering teen melodrama, mild titillation and forced humour with little real speculative edge. ‘Paranormal Mystery Squad’ has more potential, yet unfolds in a confused, cluttered mess while sketching its characters with a sledgehammer.
Beetlejuice Beetlejuice
dir. Tim Burton (2024)
So determinedly kooky that it forgets to be anything else, Burton directing a bog-standard redemption arc that renders Michael Keaton dramatically anonymous and wastes Winona Ryder’s talents. Notwithstanding Jenna Ortega and Arthur Conti, who give genuine performances, only the music is worthwhile.