A (non-fictional) tale of (corporate) Mortal Kombat.

In HBO’s We Are Who We Are, literally everyone and everything is complicated.

‘Daddy’, a collection about unresolved feelings, always seems to come full circle.

The Boys is a refreshing middle finger at super-heroes’ grip on pop culture - but little else.

‘On the Rocks’ is a wine-tasting, and there’s chocolate cake too.

Again.

It feels proper good to see Tottenham Hotspur playing with intent, hunger, and desire again - and (yes) for Jose Mourinho.

With some persuasion, Bazzi shares a poem. We analyse it like a coupla (ahem) pros.

I Know This Much is True isn’t so much ‘must-see TV’ as it is another vital statement from the director on the nature of trauma. 

Wayne is a gifted novelist, working scene and mood like components of a stringed instrument … but.

El Loco’s got Leeds United looking armed and dangerous - like they’re bloody well supposed to.

HBO’s Betty is the purest small- or big-screen experience you’re going to have this year.

It’s Paris versus Munich in the Champions League Final tonight, and also Impure Romance versus Brutal Efficiency.

Boldy James’ first release from under the Griselda banner gets to its points quickly, stylishly, brutally.

Notes on the not-so-subtle art of self-quarantine.

In ‘Chapter III: Farmer’s Day in Requiem’, Bazzi comes to God, sort of, in an attempt to conquer time.

In ‘Chapter 2: Road Trippin’ to the Kafue’, Bazzi grapples with matters of manhood and nationhood, like any decent grown-up should.

In ‘Chapter 1: His Humblenesss Declares the Bush a Place of Dissent’, a man called Bazzi answers the call of the wilderness.

De Bruyne superlatives; the end of the Messi era at Barca possibly; and the demise of Tottenham Hotspur.

Remedy’s sci-fi romp is commendable sheet music, with fantastic bursts of rock ‘n’ roll.