Max Ingleby shares his love for Doniella Davy’s makeup work on HBO’s Euphoria.
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Max Ingleby shares his love for Doniella Davy’s makeup work on HBO’s Euphoria.
Catherine Lloyd, Copy Editor, delves into why The Golden Compass didn’t fulfil the promise it had upon release.
Social Secretary Olivia Gomez and Print Screen Editor Sam Thomson tackle whether Alan Moore’s seminal graphic novel is truly ‘unadaptable’
Elinor Jones, Print Science Editor, looks into the possibilities that could arise when combining Virtual Reality and ancient artefacts.
Online Screen Editor Jacob Heayes interviews writer/director Sam Barlow on his new project Telling Lies and the interactive fiction form.
Online Editor, Harry Caton, weighs up the pros and cons of films that push the boundaries of typical running times.
In the first edition of his narrative gaming column, Online Screen Editor Jacob Heayes reflects on the achievements of What Remains of Edith Finch.
Four contributors make their case for the best coming-of-age films over the last four decades.
Edd Church makes a case for why live-action may not be ideal for video-game adaptations.
Chloe Kennedy makes the case that the Cannes Film Festival’s regulations and attitude are due for some drastic change.
Max Ingleby shares his love for Doniella Davy’s makeup work on HBO’s Euphoria.
Catherine Lloyd, Copy Editor, delves into why The Golden Compass didn’t fulfil the promise it had upon release.
Social Secretary Olivia Gomez and Print Screen Editor Sam Thomson tackle whether Alan Moore’s seminal graphic novel is truly ‘unadaptable’
Elinor Jones, Print Science Editor, looks into the possibilities that could arise when combining Virtual Reality and ancient artefacts.
Online Screen Editor Jacob Heayes interviews writer/director Sam Barlow on his new project Telling Lies and the interactive fiction form.
Online Editor, Harry Caton, weighs up the pros and cons of films that push the boundaries of typical running times.
In the first edition of his narrative gaming column, Online Screen Editor Jacob Heayes reflects on the achievements of What Remains of Edith Finch.
Four contributors make their case for the best coming-of-age films over the last four decades.
Edd Church makes a case for why live-action may not be ideal for video-game adaptations.
Chloe Kennedy makes the case that the Cannes Film Festival’s regulations and attitude are due for some drastic change.
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