Emily Clark

I don't tend to care about celebrity spin-offs. I usually find them uninteresting or boring, but Celebrity Traitors was brilliant. Truly brilliant. I was hooked, and some moments made me laugh out loud. That's rare, especially for reality TV. Alan Carr, in particular, was amazing to watch each week. The whole cast did a great job and played the game brilliantly - or so brilliantly terrible that it made excellent TV. Bravo to everyone.

I recently replayed the game, and I was taken aback all over again by how genuinely unnerving it is to play. The graphics still hold up, and the sound design is excellent. What stops me from giving the game 5 stars is how frustrating it is to play. A challenging game is good, but a player should be able to work their way through without needing to look up a guide. Everyone I know who played this game also had to Google what to do/where to go next. There aren't enough prompts or guidance in-game, and I never thought I would ever say this! I'm a big believer in players using their brains, but Visage is an example of a game needing to give more assistance. Your resources are so limited; you really don't have the time to waste candles and lighters because you're aimlessly wandering around a house. The controls are also awkward, but I can forgive this, as it actually helps to create a sense of urgency when you need to turn on a light, run away, etc.

A heads up: although you don't need to be super familiar with the bands lore to enjoy the film (being a fan of catchy tunes, live music, and corny humour is enough) - just be aware for those unfamiliar with Ghost, this is a film for the fans. Some newcomers may watch "Rite Here Rite Now" and wonder why it's cheesy. Ghost has always been very tongue-and-cheek. So, to newbies, there you go: embrace the corny aspects and the cheese, and enjoy the music and visuals. This film isn't aiming to offer something uber deep and intellectual. As it states, it's a story about life, and there's a lot to celebrate. I'm gutted that I missed out on seeing the two LA shows because this event at the Forum was something special. The concert elements are enough of a spectacle to entertain those who aren't a fan of or aren't interested in the story elements. Kudos not only to the brilliant mind of Tobias Forge, the musicians, all the crew who worked behind the scenes on the show and film alike - the audience who were present also deserve a round of applause. Amazing participation from everyone who was there (and it makes me wonder if more artists should ban phones for special events). AND STAY UNTIL THE VERY END AFTER THE CREDITS!

Aftersun showcases an intimate portrayal of a father and daughter's relationship, shown through the daughter's eyes. Set in the backdrop of a fading, cheap holiday resort, it's a holiday experience that will be very familiar to many British families. I don't want to give too much away, but I will say that this film requires some "reading between the lines". If you have ever experienced depression, there are nuances and subtle ques to pick up on that will ring a bell, "ah, that's what is going on." I imagine it might be easy for some viewers to miss certain clues. I like that the film did this. It's the subtlety that makes the film so beautiful. The insight adult Sophia has, compared to her child-self during the time of the holiday, is something for the viewer to consider as well. This film is just all-around wonderful and moving. Very moving. The cast all do a fantastic job. Everything feels incredibly natural. The cinematography and sound design are brilliant too. Aftersun is a gem. One of the best films I've ever seen, truly.

I wanted to like the updated 2024 film because I enjoy the music from the Broadway musical. I had high hopes. Unfortunately, the film fell flat for me. It just doesn't hold up against the 2004 original, where the OG cast are far superior. The 2024 musical film felt Disney-fied to me. It was like I was watching Camp Rock rather than Mean Girls (just with a bit more adult language and themes). I also found some of the actor's deliveries to be poor. Just TOO cheesy, which says something when you're talking about a teenage coming-of-age romcom musical. There's camp, and there's cheese, and this film is straight cheese. Few of the young cast felt like actual teenagers, but Disney-esque caricatures of teens. The 2004 cast felt much more authentic and natural - like real mean kids. So, it was just a let down. I was really disappointed and won't bother to watch it again. I'll stick with the 2004 film, and the Broadway musical.

Since the show ended in 2019, I've rewatched it throughout 2020 as comfort through the various lockdown stages. It's an anti-romcom with a mushy centre (you just need to get to the mush, and it isn't always present in every episode). This hilarious show gets dark, and sometimes you wish you could slap one or all of the characters to wake them up. But they're lovable and, somehow, you root for these people. The whole cast is fantastic, and Aya Cash definitely deserves more recognition for her role. Her character, Gretchen, and her arc in S2 was one of the best performances I've ever seen on TV in a long time. Heavy topics like depression and PTSD are handled with both sensitivity and humour. While 'You're The Worst' was beloved by many critics, it's a shame that this show never gained a wider audience. If this was on a popular streaming service like Netflix, I don't doubt that it would have been a bigger hit. However, there's a part of me that likes how niche the audience was at the time it was aired, so we all wouldn't be subjected to an influx of memes and other social media hype about 'Sunday Funday' and 'new phone, who dis?' It might have been overkill. I'll still tell anyone who will listen to watch this show. The characters feel real, and Gretchen and Jimmy's (Chris Geer) relationship is beautifully and messily played out, even though you often wonder if you truly want these individuals to be together.

'Some Kind of Wonderful' is an 80's teen romance film produced by John Hughes. If you're familiar with John Hughes's work, you know what you're in for. It's a cheesy, feelgood rom-com about angsty kids, bridging together American middle and lower classes with the wealthy. A handsome art student fancies a pretty popular girl, but his relationship with his best friend, a beautiful tomboy, is on the line. Who will he choose? Watch and find out. Eric Stoltz is ridiculously handsome in his youth, and Mary Stuart Masterson steals the show as his best friend, Watts. When Watts turns to Keith (Stoltz) with tears streaming down her face, it's a beautiful moment of vulnerability; a shining example of what it means to bare all and wear your heart on your sleeve. Although this film isn't as popular as the likes of 'Pretty In Pink' (a similar film), 'The Breakfast Club', and 'St. Elmo's Fire', this film is one of my favourite 80's movies. It deserves more attention because it's beautiful and heartfelt, despite feeling slightly rushed.

I did not expect to enjoy the show as much as I did. I'm British, and a fan of the original British show that 'Welcome to Flatch' is based on, called 'This Country'. I only watched the American version because I'm a fan of Aya Cash, even though the promotions looked abysmal. I anticipated disappointment. The pilot episode was rough, but the episodes are short and sweet, so it was easy to persevere until Flatch found its groove. The characters began to grow on me, and upon learning of their vulnerabilities and quirks, I found the show charming and entertaining. It isn't laugh-out-loud funny or wildly original, but it's a lighthearted show that's an easy watch. As Flatch continues to find its footing, I think the second season (and any following seasons) can only get better. Oh, and if there are any fellow fans of a previous show Aya Cash starred in, 'You're the Worst' - settle in for a fun Worstie reunion as Desmin Borges (Edgar) makes a few appearances as her rival and love interest...who happens to be a character named Jimmy!

I'm a big fan of 101 Dalmations, both the books and the films. The 90s films with Glenn Close are my favourite, and I've loved to HATE Cruella ever since. She's fabulously evil; a truly wicked villain. I was skeptical about the new adaptation for one reason: I want Cruella de Vil to remain a villain. Nothing about her is redeemable. There is nothing to redeem. She's an evil, rich fashion designer who kills animals to create fur clothing. That's it, and that's all there needs to be. Spoilers ahead: The new film makes her too much of an anti-hero. I was waiting for the moment where we would see Estella transform into Cruella with no hope of going back. She would truly become her real mother's daughter, and she would be deliciously, horribly evil. It doesn't have to be graphic. She still could have been somewhat "kid-friendly", like the Cruella we know already. An evil villain of a children's story. The new film could have shown us what led her to become the fashion designer and dog thief who wants to skin puppies for their fur. Instead, we got a "brilliant", plucky young woman who rose up against the fashion bourgeoisie. Someone who chose to spare a woman's dalmatian puppies and is a school friend of Anita Darling. School friends? Really? I have to groan. Cruella is now a woman who gifted Pongo and Perdita to Anita and Roger (the parent dogs of the original 101 Dalmation litter). The ending makes zero sense. Zero sense. Disney tried (emphasis on tried) to be too clever. Too clever, yet also far too literal as I hated that Cruella's natural hair was black and white. Really? I'd have preferred it if Estella was a redhead, and she donned a black and white wig while disguised as Cruella, and later purposely dyed her hair when Cruella fully took over (symbolising that Estella was truly gone). She chose to become Cruella, and she was now black and white, the duel colours of good and evil over red (a warning colour for danger, but a colour of love and passion). The only hint the film gave us that Cruella was going to become truly bad...they had to tell us. An origin story should make sense, and it should link to the original source material. A film should SHOW us that Cruella is bad. It shouldn't have to TELL the audience at the last minute, assuring us that this Cruella will be evil one day, don't worry. As a stand-alone film, I like it. Visually, it's stunning. The cast is great, and I forgive Emma's dodgy accent. The outfits are wonderful. The soundtrack is brilliant, and I hope it introduces a new generation to music by the likes of The Doors. There are some Easter eggs included for Cruella fans to spot, like the inclusion of Tallulah Bankhead's famous laugh which inspired Glenn Close's performance, in particular. But do I see this film as a Cruella de Vil original film? No. No, I don't. It's fun, though. I give it that.

Like RuPaul's Drag Race UK, Canada's Drag Race is a breath of fresh air. The queens are all fantastic, and the challenges and lip syncs are a lot of fun. I do think the show needs to have a RuPaul figure to be the 'head judge' to introduce the guest judges, challenges and runway theme. It feels a little disjointed when the guest stars come out and speak to the audience because they're only there for one episode. A recurring, familiar figure would make the show feel more personal and homely (especially, as the message of RPDR being a queer family is heavily pushed). Maybe I only think this because I'm used to RuPaul's role on RPDR US. The judging also seems 'off' at times, and I don't always agree with every decision that is made. On other drag competitions, I find that I at least understand the judge's perspective, even if a decision is made for narrative purposes. I might not agree, but I can understand why a queen wins or why someone is placed in the bottom, etc.