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The Fashion of Villanelle

"Gone is the femme fatale spy-assassin we have been accustomed to seeing."

An Introduction to K-dramas

On the 9th of February 2020, history was made at the Oscars when Bong Joon-ho’s Parasite became the first ever non-English film...

Editors’ picks – Life and Culture in the Time of Covid-19

Our CultCher and Life section editors have pooled their wide-ranging knowledge and have produced their picks for shows, albums, movies, books...

Review: Doctor Who’s New Year’s Day Episode, “Spyfall”

On New Year’s Day, exactly ten years after David Tennant’s beloved Tenth Doctor regenerated into Matt Smith, Doctor Who returned with the...

Consuming Food

In his 2008 essay ‘On Food’, Mark Grief lamented that eating had become a hobby, “one pastime among others”. Food and the act of...

Peaky Blinders Season 5 Review

For all its sex, drugs and violence, Peaky Blinders is starting to get tired of itself. Its response? A gripping foray into...

Dark Crystal: Age of Resistance Review

Jim Henson was a master of entertainment: I’ll hear nothing to the contrary. The Muppets were a genuine delight and, no matter how much...

This Way Up (2019)- Review

Content Warning: Mental Health/ Depression/ Suicide.
A picture of the recurring glyph in Black Mirror that is an upside down Y and is the symbol used by Stefan when creating his routes in his game.

So that’s how Bandersnatch works, but did it snatch our respect?

From a design perspective, Bandersnatch falls into a lot of traps. Choices are quite infrequent and always binary, whereas it's standard for most interactive fiction games to allow you to choose almost every line of character dialogue. Isabella Welch discusses whether Bandersnatch is revolutionary or just manufactured hype on part of Netflix.