The brave solider poses with his gorgeous wife before heading off to war
Short of the amazing props made by people like the HP Lovecraft Historical Society and the contributors to the fabulous Propnomicon blog, old photographs are among the best tools to add an air of verisimilitude to role-playing games set sometime during the last century or so.
However, not everyone has a family history full of explorers, gunfighters and soldiers and this is where those rare photographic studios that offer 'olde time' pictures come in handy.
With a range of period props and costumes, you can create a slice of history - in sepia - that your family never knew it had... and then use the pictures as the basis for role-playing characters!
Timmy The Flea
Whenever I come across one of these studios, I like to take the opportunity to get dressed up and pose for an old time picture. Not only do these make for interesting 'conversation' pieces when displayed around the home (I'm beginning to sound like an advert!), but they are unique role-playing props.
It's not cheap (the last one Rachel and I had done cost £32 at the National History Museum of Walesaround 20 years ago), but then again you don't find these specialist studios in every High Street or on street corners.
We're not talking about those online apps where your head gets badly Photoshopped into a fake film poster; this is the full works, as you can see from my examples above, and each one conjures up a string of stories and possible scenarios.
And I know these days you can do this via AI, but that can be very hit and miss - as well as being ethically dubious.
There used to be a photographic studio in the Trocadero Centre in London, which was stocked with Wild West and gangster costumes (Pete has a picture of him and some friends as 1920's Chicago gangsters in his stairwell), but that closed many years ago.
If you happen to stumble upon one of these places, and are looking for that special prop for your role-playing game, an 'old time' picture is a worthy investment of cash (obviously it doubles as an actual souvenir as well!)... and who doesn't like dressing up every now and again?
A widowed governess in 1870s Montana Territory searches for her son, who is the latest child to go missing in a rugged mining town.
Western horror The Wolf and The Lamb is due out next month (May), starring Agents of S.H.I.E.L.D.'s Adrianne Palicki, Black Sails' Zach McGowan, and The Yeti's Eric Nelsen.
They left everything they knew for a new life on the prairie. Meet the Ingalls family as they discover what “home” really means. Little House on the Prairie, based on the beloved books, premieres July 9, only on Netflix.
Neither the original TV series nor the books were part of my psyche growing up, so I'm looking forward to finally getting to know the Ingalls.
It should be obvious now, if you've read a number of my film reviews, that I have a soft spot for those of a Medieval bent, but have no problem with foreign movies, subtitles, epic durations, black and white, symbolism, non-linear storytelling etc
However, the much-lauded Czech film Marketa Lazarová sorely tested my patience with its plodding, yet rambling, narrative that unfolded at a glacial pace and suffered with a surfeit of "telling rather than showing".
At its core is a basic Hatfield & McCoy feud between two neighbouring clans in 13th Century Czechoslovakia - one headed by the bandit Kozlik The Goat (Josef Kemr), the other by struggling businessman Lazar (Michal Kozuch).
It's a harsh winter, but matters only get worse when Kozlik's family kidnap a nobleman from Saxony, which provokes the King to send his representative to crush the villains and rescue the young man.
Kozlik tries to entice Lazar into siding with him against the King, but when that stratagem fails, Kozlik's son Mikolás (Frantisek Velecký) kidnaps Lazar's virginal daughter Marketa Lazarova (Magda Vásáryová), who had been preparing herself to become a nun.
Bizarrely - in an almost Twilight-like twist of logic - Marketa eventually falls in love with Mikolás and the last third of the movie plays out against the backdrop of their doomed romance.
On paper, the plot sounds quite inspiring and straight-forward, and about 90 minutes in there's a really impressive battle scene when the King's forces, led by Captain Beer (Zdenek Kryzánek), attack the Kozlik hill-top fortress.
But away from this, everything moves so slowly and, even with the frequent "chapter introductions" that are thrown up on screen (as you would find in Victorian novels) to help explain what was going on, it feels as though the story is jumping around - but without any rhyme or reason.
There are also moments of casual European full-frontal nudity and one extended, surreal dream sequence but these just come across as arbitrary and without any real purpose to the narrative.
And it's a 159 minutes long. And you feel every, single minute.
Some of the praise heaped on this film is for its lack of special effects in its fight sequences, but conversely it's worth pointing out that Mikolás has a one-armed brother, Adam (Ivan Palúch), and on a number of occasions you can tell his "lost" arm is simply tucked inside his baggy shirt!
Marketa Lazarová is also quite dark, in appearance as well as tone, often making it difficult to follow what is going on. This also isn't helped by the subtitles - which suffer not only by often being unclear who they are associated with but also I suspect some weak translating along the way.
The occasionally nonsensical subtitles made me strongly suspect that the film makes a lot more sense in its native tongue, if you can remove the barrier of having to rely on someone else's condensed translation of possibly complex or multi-layered ideas.
A number of pretentious and dull film periodicals, which take movies way too seriously, are quoted on the DVD box cover as proclaiming Marketa Lazarová "the best historical film ever made" and "the most convincing film about the Middle Ages made anywhere".
Don't believe them. It may have been when it was made in 1967, but there have since been far better, far more accessible and far less tedious films made about the Middle Ages.
I had been really looking forward to this as I had read such great things about it online, but in the end Marketa Lazarová was a major disappointment and very mundane after the ridiculously inflated praise it has somehow garnered.
As the original 1947 Sinbad The Sailor movie proved, you can make an excellent Sinbad film without Harryhausen effects as long as you have a great cast and script - Sinbad Of The Seven Seas has none of these.
I guess my spidey-sense should have been tingling by the mere sight of Lou 'Incredible Hulk' Ferrigno grinning on the cover of the DVD case.
And if not then, by the fact that the film opens with a contemporary framing device of an annoying mother (Daria Nicolodi) reading her equally annoying daughter (Giada Cozzi), Edgar Allan Poe's The Thousand-and-Second Tale of Scheherazade (although Poe's story bears no similarity to this sorry affair).
So far, so Princess Bride. But the narration continues, even as the scene shifts to Sinbad and his multi-racial crew, and then it continues some more and it pretty much never stops throughout the whole movie!
And if that wasn't bad enough, all the dialogue by the main characters has been rerecorded and dubbed over - quite badly and quite obviously.
Not that the actors are that good anyway, nor do they have quality material to work with and little apparent direction from Enzo Castellari, master of the spaghetti western and director of the original Inglorious Bastards.
From start to finish, Sinbad Of The Seven Seas is a dreadful script performed by dreadful actors, with the only comparison I can make being the distinctly British tradition of pantomime. And like pantomime, unless you are under six, Sinbad The Sailor is - in equal parts - likely to bore you to distraction and have you laughing out loud at its awfulness.
The only performer to come out of this with any kudos is John Steiner as villainous vizier Jaffar, clearly the only one in on the joke, who is gloriously over-the-top and arch, switching between delightful smugness and being his own worse enemy. Not only does he tell Sinbad where he has hidden the magic crystals that Sinbad must track down but then, having summoned a magical storm to batter Sinbad's ship, he runs it ashore on one of the islands where some of the crystals are hidden!
Inexplicably Sinbad is joined on his adventures by a Viking (Ennio Girolami), a Chinese soldier of fortune called Samurai (!!!) (Hal Yamanouchi), effete prince Ali (Roland Wybenga) - who is to marry the caliph of Basra's cute daughter, Alina (Alessandra Martines) - as well as a bald chef and a cowardly dwarf called Poochie (Cork Hubbert).
While chasing after the magic jewels that Jaffar has scattered - like a pointless video game - they encounter a number of ludicrous obstacles, most of which are overcome by very bad fight sequences (Sinbad has an odd habit of throwing his sword away and simply wrestling whatever he is facing).
The only scenario that shows a bit of initiative is Sinbad's seduction by Amazon Queen Farida (Melonee Rodgers) and her ultimate comeuppance.
I can't even bring myself to discuss the surreal cameo by bodybuilder Teagan Clive as Jaffar's co-conspirator, Soukra, the S&M dominatrix witch, except to say, like the rest of the film, it will leave you perplexed, bemused and possibly in need of counselling.
Unless you are in a particularly masochistic mood, really love ultra-low budget bad movies or are aged under six, Sinbad Of The Seven Seas is best steered clear of.
As this new blog continues to grow (out of the detritus and chaos left by my previous near twenty years of blogging), I'm always looking to develop my hardcore band of followers - my posse, if you will.
Look to the right and you will see in the side column (below the current 'featured article') a widget entitled Join The Posse. Under avatars for my current followers is a button marked Follow.
Simply press that and - all being well - your avatar will join the ranks of this group of brave heroes.
I do think you'll need a Google account for this to work (Blogger, after all, is a Google thing).
Not only does this mean, my expertly crafted prose will appear in your Google "Reading List" but it demonstrates to me that you're interested in my waffle and support what I'm doing (without having to part with a single red cent, sign up to a Patreon, or back my Kickstarter).
In recent weeks, the posse has attracted three new members: my good lady wife, Rachel (who blogs about dolls houses at Miniatures Make Me Happy); my dear Canadian friend Norm Collins; and the "witch-king of gaming" Timothy S Brannan (who blogs about roleplaying games and witches, and witches in roleplaying games, over on The Other Side).
You're already here, reading this, so why wouldn't you want to join them?
Of course, honestly, the best way to follow the action on Cowboys, Capes, and Claws is to add this blog to your Feedly aggregator or similar RSS feed reader application (it almost sounds as though I know what I'm doing!)
David Carradine is Kain, a wandering holy warrior (now, where did they get that idea from?), on the dying planet of Ura, which appears to have turned to mostly desert under the harsh twin suns.
Kain finds himself in Yamatar where two rival gangs are fighting over control of the village's only well and the local peasants are suffering in the process.
In a rip-off/homage/remake of the samurai classic Yojimbo (which also inspired A Fistful Of Dollars and Last Man Standing), Kain hires himself out first to one side and then to the other, playing the two gangs off against each other in an escalating cycle of violence.
Caught up in this is the captive "sorceress" Naja (Maria Socas), who shows no evidence of magical ability throughout the movie. In fact the only thing magical about her performance is that for 99 per cent of her time on screen she's topless.
She is, though, ultimately responsible for overseeing the forging of the Sword Of Ura, a magical MacGuffin thrown in for good measure in the film's final act, that appears to have no real paranormal power beyond being quite light weight.
There are also a flat, tentacly monster, a pair of cackling freaks, a pet lizard-creature and some orky-lizardmen slavers who get mixed up in all the shenanigans, to spice up the gang war, but the highlight of The Warrior And The Sorceress for many people is the classic scene when Kain is being feted by one of the crime bosses - Zeg (Luke Askew) - and is entertained by a nude, four-breasted dancer!
Except for the nudity there isn't much to justify the movie's 18-certificate - there's no gore and very little bloodshed, despite the surfeit of sword fights and opportunities for Kain to show off his moves. The Warrior And The Sorceress is quality entertainment given its 78 minute duration, even if it is truly lacking in the "sorcery" element you really expect from a swords and sorcery movie.
The movie Hombre is one of my favourite Westerns. It was recommended to me by a tutor on my scriptwriting degree course (as inspiration for the Western I was writing as part of my finale project).
The movie is based upon a novel by the late and lauded Elmore Leonard.
The other day, randomly, I picked up my copy of Hombre and read the first chapter. This got me wondering what stories were included in the chunky hardback, The Complete Western Stories of Elmore Leonard, which I'd purchased last year.
The book flopped open to a title page I hadn't seen before... revealing that it was signed by Leonard himself.
Being a homebody generally, it's very unlikely that I'll get to pose for selfies with my favourite authors, actors etc
So I prefer "signed items" instead. I have a collection of signed Philip Reeve books (my favourite author) and head shots of stars of Classic era Doctor Who - from Carole Ann Ford and William Russell to Sophie Aldred and Sylvester McCoy. These latter pictures are proudly framed and displayed on the office wall, while my Philip Reeve library has its own shelf in one of the lounge cupboards.
Back in February, I acquired from an online store (not Amazon) a limited edition (#365 of 750), first edition (with red page edges) of Red Sonja: Consumed by Gail Simone (which was signed by the author).
I was most delighted by this, and then when I shared it on BlueSky, Gail herself replied, hoping I'd enjoy the book.
The other week, a postcard winged its way across The Atlantic, signed by Dungeons & Dragons YouTube "influencer" Ginny Di.
This was a reward for supporting her Patreon (which I've been a member of since 2020).
It wasn't just Ginny's signature - and the details of an enchanted weapon to be used in a RPG - that made this magical though. It was the fact that a postcard had managed to find its way over here to the UK without getting mangled or lost.
A signature is a sign of caring (I know many things get signed in a production line-like setting, but the fact is the creator is still doing it).
I may spend 90 per cent of my life within the four walls of our house, but receiving a signed item from someone whose work I admire (even it's purely by chance, such as the Elmore Leonard book) is a connection.
At one end of the process, the artist has signed their work and at the other end I get to hold it in my hands and appreciate the time spent both creating their art and signing my book, picture, postcard etc
There's a lot of optimism (wishful thinking?) in Just Westerns':
"...preview of 40 new upcoming Western films and TV shows heading are way in 2026 and beyond, including Young Guns 3, Lonesome Dove remake, Blood Meridian, A Fistful Of Dollars remake, Horizon: Chapter 2, The Dark Tower TV Show, Butch & Sundance, Flint, The Magnificent Seven TV Show, Wind River2 and many more, as well as new Westerns starring Tim Blake Nelson, Kevin Costner, Scott Eastwood, Kiefer Sutherland, Wes Studi, Samuel L. Jackson and Chris Pine."
For my personal tastes there are a few too many "neo-Westerns" here (although I love Yellowstone... and there's an abundance of Yellowstone-adjacent projects on this list) and, maybe, not enough classic, period Westerns.
This weekend found Nick and I back at our local wargames' show, Cavalier, at the Angel Centre in Tonbridge.
It was my first time in a couple of years and while I wasn't feeling one hundred percent, I was determined that my excitement would see me through. And, thanks to Nick stepping in as my ad hoc 'carer' (in the absence of Rachel, who was at home with Alice), I managed an impressive (for me) three hours at the show.
The highlight of the day came early, when Nick and I had barely seen a quarter of the displays and traders, as a gentleman from the Maidstone Wargames Society invited us to join in their Labyrinths of Mars participation game.
This was one I'd mentally flagged ahead of time, looking at the list of games on the show's website, because - as I suspected - it was John Carter themed.
The game was a reskinning of the classic family board game Labyrinth, which I'd played with Nick and his son, Alec, several years ago. However, this iteration included fighting and treasure hunting, and was scaled up to feature 28mm miniatures.
My dynamic duo of Barsoomian warriors before battle commenced
The ever-moving Labyrinth of Mars
Nick's team (top) make a strategic withdrawal from my gang (bottom)
As with the boardgame, you always start your turn by sliding a spare tile into the layout - pushing all the other tiles in that row on one space, thus constantly reconfiguring the Martian (Barsoomian) maze, and making planning ahead quite challenging.
There were four of playing and we each had four objectives to find before we could escape the labyrinth, be they treasures, allies, or boosts, and you could earn special cards as well that gave you extra abilities or bonuses.
I'd got three of my objectives (a couple of artifacts and a Barsoomian prince), without making too much of a scene about it, but the last thing I needed for my 'collection' was The Great White Ape (pictured above).
The only problem was The Ape had just joined Nick's team, as Nick had played a "brain transfer" card on it, giving it a Barsoomian brain... rather than a raging great ape's brain!
So, I had to attack Nick's party! Aided by the prince, we overpowered Nick's characters (and with some lucky die rolls) and the ape opted to join my "stronger" team.
Then on my next turn (again more by luck than judgement), I was able to slide the walls of the maze to open a straight avenue to the exit... where I was declared not just the winner, but WARLORD OF MARS.
I suspect Nick is never going to forget how I robbed him of potential victory!
After this, we resumed our patrol of the main hall, and the first person we bumped into - who was demonstrating his grid-based Vietnam War game - was Paul of Pazoot, a wargaming YouTube channel I have recently discovered (thanks to his work with Big Lee of Miniature Adventures).
This was my first - in-person - encounter with an actual YouTuber.
Paul's 'Nam game, which he was putting on with the East Kent Wargames Society, will be the second of his Battle Chronicle range of narrow-focused rules sets across different historical periods. The first is 1812: Retreat from Moscow, which Big Lee is working on.
Here follows a brief selection of some of the other games being played at Cavalier:
Shepway Gamers' The Englishman's Castle: a 28mm Wars of the Roses conflict
Of course, as well as gaming, these events are also for shopping. Both Nick and I, in our own way, were surprisingly restrained this year. While Nick didn't buy anything, I managed to restrict myself to items for my Dead Man's Hand (Wild West) game.
I found myself mainly being drawn towards terrain, as I have enough unpainted gunfighters etc already, waiting to sent off for painting.
Amazing fantasy terrain at surprisingly affordable prices - I'm impressed I resisted
Pumpernickle Games do some lovely stuff - I hope to get some desert bits from them at a later date, but, in the meantime, who doesn't want their own Stonehenge?
At the end of the day, I only purchased a Western bank, from Beowulf, with interior fixtures and fittings; a pair of metal cacti and a pair of resin outhouses from Debris of War; and a log cabin.
My haul from Cavalier 2026
It was a great time and I'm glad I persevered. I'd wanted to play at least one participation game, but wasn't sure if I was up to it. So I'm delighted it happened to me one I was looking forward to checking out.
I did have one "funny turn" - after squatting down to look at some items that were being displayed on the floor, then bobbing up again. But Nick kindly offered me his arm and helped me to a chair, where I could rest a while.
Once I got home (Rachel came and picked me up), I was totally zonked out for the rest of the day, then had a rough night of near-continuous coughing. But, you know what, it was so worth it.
I had a fantastic time with one of my oldest friends, we got to play an awesome wargame... which I won, we chatted with a ton of people, and I got myself some more bits for my PROJECT 60 wargame of choice.
And I've already have made a shopping list of future bits and bobs I can order from these traders online.
Below, you will see a 17-minute video by Model Paint Whatever of the sights and sounds of the day, which shows off way more of the games on display than I have:
And here's a piece from Big Lee himself about Cavalier:
The latest issue of the ever-brilliant Judge Dredd Megazine
This week issue 2470 of the weekly 2000AD sci-fi comic anthology comic, along withissue 489 of the Judge Dredd Megazine - the monthly Dredd-centric spin-off - popped through my letterbox just in time for 2000AD's 49th birthday celebrations today (February 19).
I can't recall if I purchased the first issue of the Megazine when it was launched in 1990 (I suspect not), but I certainly remember picking up the very first issue (prog) of 2000AD, back in 1977, when I was 10.
One of my few remaining vivid memories from that age is of sitting in the back of my parents' car, eagerly reading this comic that was unlike anything I had seen before.
I suspect mum and dad were taking me somewhere "fun", but I was more interested in my copy of 2000AD.
Early issues often came packaged with gifts, such as "biotronic" stickers with the second issue, so you could emulate John Probe (the star of the comic's Six Million Dollar Man clone M.A.C.H. 1)with the illusion of robotic parts peeking through your skin!
It's weird now to think that the big selling point of 2000AD initially was its Dan Dare strip (which, despite some striking visuals, ran for less than two years), and Judge Dredd - now a pop culture icon - didn't even appear until prog two.
2000AD was gritty and darker than my usual fare at the time, and thus felt more 'grown up'.
There are stories from those early days that have firmly cemented themselves into my psyche: such as Flesh (about time-travelling cowboys harvesting dinosaur meat), Shako (soldiers versus a man-eating polar bear in the Artic), and some of the more twisted of Tharg's Future Shocks (self-contained Twilight Zone-like stories with an inevitably bonkers surprise ending).
I read the title weekly for a long time, but, as is my wont, eventually found something else to hold my attention (probably American comics, roleplaying games... and girls).
Judge Dredd's debut in prog #2
I can't pinpoint exactly when I stopped reading 2000AD regularly.
However, I do remember devouring several of the early, important, Judge Dredd story arcs, such as The Judge Child, Judge Death Lives, and the Apocalypse War, which would have taken me to at least prog 270.
Sláine, Pat Mills' mythical Celtic berserker,first appeared in prog 330, and I know I followed his early adventures in the magazine, as I immediately grokked the fact that the ideas presented there could be ported over into a redefining of the "berserker/barbarian" character class in Dungeons & Dragons.
So that's six or seven years of loyal reading.
There was one aspect of the magazine that I never really bought into: the fact that it was supposedly edited by an alien called Tharg (a pseudonym adopted by all the actual editors), who arrived on Earth with his arsenal of "cool" alien slang.
He was an extraterrestrial Stan Lee, but gregarious Stan was always 'The Man', whereas, for me, Tharg was a pale imitation.
I've mellowed rather now and the cringe I felt as a teenager about this whole idea now simply makes me smirk a bit.
In subsequent decades, it was primarily Sláine and Judge Dredd that brought me back into the 2000AD fold, picking up either single issues from newsagents or graphic novel collections of stories from bookshops (or later, Amazon).
Although, for many years, there wasn't the same frisson of excitement picking up and reading the odd prog here and there compared to when I was 10.
It felt as though so much geeky media - and society in general - had shifted in that similar ("don't talk down to young readers") direction, even though 2000ADwas the trailblazer.
However, in the last year I have resumed my subscription to 2000AD, paired with my longer-running one to the Megazine, as I'm now finding the various stories - on the whole - in the anthology title are gelling more with my tastes.
I also love the fact that 2000AD's still going strong, and that new readers are discovering the joys of its gritty, British adventures every week.
Can't wait to see what the publishers, Rebellion, have lined up for 2000AD's 50th anniversary next year.
This week on his Robert E Howard Show segment, my favourite booktuber, Michael K Vaughan, discusses the latest release from the Robert E. Howard Foundation Press, The Adventures of Breckinridge Elkins.
I just happen to have purchased this hardback tome recently (now that I'm trying to go 'all-in' on this line of definitive publications of Howard's work), although I have to confess the only Elkins' "tall tale" I've read is the one that was published in Savage Sword of Conan magazine last year.
Breckinridge isn't a Howard character I'm particularly au fait with. But Michael does a great job in this video of convincing me that I'll probably enjoy the book, as it seems to bear comedic similarities with my beloved Sailor Steve Costigan yarns, as well as being part of Howard's Western work.
To celebrate its 20th anniversary, wargame producer Great Escape Games has released three special collections of miniatures for its bestselling Western skirmish system Dead Man's Hand over the past few months.
The most recent, Put Up Yer Dukes, came out just the other day - offering five figures that encapsulate the iconic stature of John Wayne in the Western mythos.
To be honest, I'd have snatched this up just for The Shootistminiature, it being one of my all-time favourite Westerns, but I was buying up the sets as they were released anyway.
Prior to this we had The Quick and The Lead, which gave us miniatures for eight of the main characters in Sam Raimi's excellent Western The Quick and The Dead, as well as self-contained rules for running movie-style duels.
And the first of these bonus sets was A Fistful of Clints, five miniatures depicting classic characters portrayed by Clint Eastwood.
All the sets, of course, come with the requisite cards so you can use the miniature characters as "Legends of The West" (special characters) on your table.
While I may have picked up each one of these sets when they were released, so far I have only gotten my Clints painted by Matt:
My Fistful of Clints
I'm a long way from getting an actual game of Dead Man's Hand up and running, but I'm already entertaining ideas of battles just involving the characters from these three sets.
I really like what Great Escape Games has been doing with these sets and really hope they continue with this line: I'd pay good money for a Kevin Costner-inspired set, for instance.
It's the 120th anniversary of the birth of the greatest pulp adventure writer of all time, Robert E. Howard, creator of Conan, Solomon Kane, Sailor Steve Costigan, King Kull et al.
In the videos above people way smarter and more erudite than I share their love and appreciation for the man and his inspirational and enduring writing.
"...the home of Robert E. Howard requires some serious repairs: its foundation and piers are rotting and collapsing, there is termite damage to a large section of an outside wall, and many of the floors are starting to buckle and drop. While the hard-working folks of Project Pride in Cross Plains have restored and cared for the House since acquiring it back in the 1980s, their small volunteer army cannot address the extensive repairs that will be needed. Professional restoration is required for this 100+ year old home on the National Historical Register, and it is needed now, before the damage gets worse.
"Because the house is on the National Historical Register and the State of Texas Historical Places list, the cost of repairs will be affected. All repairs will require contractors that have experience with this type of historical preservation, as we will need to keep the House as close to its original state as possible, during its historical period (i.e., when REH lived there)."
I have to be honest, because of my medical issues last year, I haven't felt like watching/reviewing many new films - instead building up a healthy backlog of unopened Blu-rays to (hopefully) throw myself into in 2026.
On the other hand, I did watch an awful lot of TV shows, much of it being new.
My favourites for the year in this category (again, in no particular order) were:
We also said goodbye to some great, long-running shows in 2025, including:
Stranger Things - no notes.
Cobra Kai - now that’s how you do a franchise! Fantastic and satisfying wrap-up for the series.
Evil - we finally got closure on the greatest pulp horror show of the 21st Century. This one really breaks my heart because it was such an inventive genre programme, running through more outré ideas per episode than most shows conjure up in a season. And Katja Herbers.
My pop culture Odyssey: a slice of super-powered geek life with heavy emphasis on pulp adventure, superheroes, comic books, westerns, horror, sci-fi, giant monsters, zombies etc
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