I used to watch plenty of television shows as a child, but one, in particular, that had always fascinated me was The Toy Castle. If you are a 90s kid from Canada like I am, chances are you'll either remember it fondly or will have tried very hard to block out memories of the production's supposedly terrifying acting style.
Whodunit enthusiasts have yet to witness another crime author be garlanded with the same, if not more, praise than record-breaking writer Agatha Christie, whose novels have sold over two billion copies worldwide (The Home of Agatha Christie) long after her death. My experience with Christie’s works is admittedly limited, as I have only seen a theatrical performance of The Mousetrap and the 2017 film adaptation of Murder on the Orient Express (hereafter shortened to Orient Express). However, Christie’s masterful command of the twist ending in this novel has led me to explore the rest of her library, and, by extension, the history of Orient Express for the present paper.
Now here are two franchises I never thought would cross over under any circumstances. Then again, anime never fails to build a world of possibilities.
With Nintendo's constant rehashing of Star Fox 64, I've seen little reason to pay attention to the franchise the game belongs to in recent years. It also doesn't help that Star Fox Zero was criticized for its controls, and with Ubisoft's seamless implementation of its beloved characters in Starlink: Battle for Atlas, I'm left wondering: should Nintendo remain in charge of its own intellectual property?
I enjoy consuming well-written love stories, even if I personally am not interested in pursuing any sort of relationship in real life. But the romance between Tarzan and Jane Porter in Disney's franchise is as pure as it gets, and it's rare to find one in fiction that isn't obstructed by other possible love interests, subtextual ambiguity, problematic behaviours, and/or lighthearted flirtatious types.
Despite its age, Aaron Ben-Ze’ev’s book The Subtlety of Emotions (2001) largely aids the reader in identifying and observing emotions around them, particularly the ways in which they cluster. As a matter of fact, reading its second part has encouraged me to consider examples found in some of my favourite entertainment media that help me better understand the commentaries they are making, whether they are open to interpretation or completely intentional.