Strictly Come Dancing 2025: The Thomas Skinner Controversy

View fullsize

Strictly Come Dancing remains the BBC’s flagship light entertainment show for Autumn. Despite controversy and scandal, the show bounced back last year and firmly re-established itself as the “feel good, family show” it has always claimed to be. Blind comedian Chris McCausland becoming the 2024 champion certainly validated the show’s commitment to diversity and inclusion and helped place Strictly (as it is known to its fans) back on its cultural pedestal. I’m sure those involved in the production of the show breathed a sigh of relief when the season ended on such a positive note, eclipsing the negative press that had been ever present last summer. Second chances and opportunities for a “course correction” are few and far between these days. Especially when you have elements of the UK press waiting with bated breath and hoping that you’ll fail.

For those who live outside of the UK or who do not watch Strictly, it is worth taking a few moments to consider the significance of the show, its importance to the BBC and its place in UK pop culture. Strictly has grown from its humble origins in 2004 as a celebrity dance talent show, to a national institution and a text book example of  “feel-good TV”. It champions dancing, fitness, inclusivity and celebrity re-invention. It regularly has an audience of over 7 million viewers and has been licensed to over 60 other countries under the title Dancing With the Stars. The show has a broadly wholesome reputation and as such has proven accessible to a wide audience. It appeals to wide eyed fans, families, casual viewers and even cynical old curmudgeons like myself, as learning to dance is a prodigious undertaking requiring dedication and fortitude. Strictly is also a great way for actors, artists and media personalities to revitalise their careers.

Bearing this all in mind, the fact that Strictly is a big deal in entertainment terms and that it has bounced back after a problematic year, let us address the elephant in the room that manifested itself in late summer when this year’s contestants were announced. Why did the BBC decide to include Thomas Skinner in this year’s line up? For those who are unfamiliar with Mr Skinner, he is a UK businessman and TV personality who is best known for appearing on The Apprentice. At first glance, this is hardly controversial. However, if you look further Thomas Skinner has clear political affiliations with the likes of J.D. Vance and Robert Jenrick, has spoken out publicly on several issues such as crime in London and the performance of Mayor Sadiq Khan and is potentially seeking a political career with either the Conservative Party or Reform UK. He has been offered support by Dominic Cummings.

View fullsize

Strictly has always been a bastion of inclusivity. Straight, gay, able bodied, disabled, all are welcome on the show. The show has even included former politicians, such as Anne Widdecombe and Ed Balls. However, these were individuals who were no longer directly involved in frontline politics at the time of their appearance. It can be argued that this is not the case with Thomas Skinner. Furthermore, Mr Skinner is linked to a type of popular politics that has specific views regarding diversity and inclusion. Things they perceive as being “woke” or the province of the left. A percentage of the UK electorate and thus Strictly viewers, see the sort of politics and ideology that Mr Skinner is affiliated to as populist, nationalist and even racist. Hence his inclusion in this year’s show was not well received by all. Others see it as a politically useful Trojan Horse.

If you peruse the in-depth musings on Strictly by its hard core fans on such platforms as Reddit, Instagram and TikTok, you’ll find several recurring complaints regarding Thomas Skinner. Firstly, that he potentially contradicts the show’s inclusivity philosophy with his personal views and political outlook. Secondly, his very presence diminishes the feel good factor inherent in Strictly by dragging real world politics into the show. Something that fans wish to escape. Thirdly, the inclusion of a person with clear right wing leanings will further exacerbate the tabloid press frenzy regarding the show, as much of the UK print media is owned and edited by figures of a similar political disposition. Hence, a show designed to bring audiences together may potentially become a vehicle for bi-partisan politics and a further bridgehead in the ongoing culture war.

The BBC has long been a target for the political right, being seen as institutionally biased against them and a platform for all the political and cultural ideas that they are mainly against. The BBC in its naivete continues to seek balance in all things and thus ultimately giving a platform and possibly an excess of air time to those who would happily see it brought to heel or closed. It can be argued that in principle, Thomas Skinner should be able to participate in a show such as Strictly Come Dancing and be treated the same as anyone else. He is competing in a dance based reality show and no more. However, the reality of the situation is quite the opposite. Television of this kind is about more than just entertainment. It is a platform for messaging and promoting a media persona. Look at what appearing on a few episodes of the comedy panel show Have I Got News For You did for Boris Johnson’s career.

View fullsize

It was inevitable that the inclusion of a person such as Thomas Skinner on a high profile TV show such as Strictly, would result in a political bunfight. The BBC cannot claim surprise at this? Perhaps they chose to do so as a way of declaring to their opponents, “look we aren’t biased. Here’s one of your people”. An act of appeasement or the extending of an olive branch, perhaps? However, such a move never works. As any child will tell you, you can’t befriend your bully. Which means that for however long Thomas Skinner remains on the show, the wider coverage will be about his politics and him personally, as opposed to his dancing prowess. More cynical viewers believe that he has been partnered with Amy Dowden, a much loved professional dancer who has been battling multiple illnesses, as a means to negate the negative optics. If that is the case I doubt it will work.

This Saturday’s second episode of this year’s Strictly will see the first couple voted off the show. Someone has to go and it usually is the celebrity with the least skill. However, the participation of Mr Skinner and the media circus that follows means that whatever happens, the situation will be portrayed negatively for the show and what it represents, in the tabloid press. No doubt there will be plenty of political capital to be gained. If Thomas is eliminated, it will be because the liberal elite establishment conspired against him and if he endures, then it will be a triumph of British traditionalism over the woke cultural Marxism. The right wing media headlines effectively write themselves, the BBC scores a massive own goal and the viewing public are left with an unpleasant aftertaste as their favourite pop culture safe place is dragged through the sewer of contemporary politics.

Keep dancing.

Standardise and Monetise: The Decline of Online Content

View fullsize

I use a browser extension called Control Panel for YouTube, which allows me to determine who many videos are displayed on my YouTube homepage and to filter the content that is shown. At present it is configured to display rows of six. Something that I have noticed of late, is the amount of videos with hyperbolic titles and thumbnail images created by AI. Both of which are design choices made to increase engagement. Clickbait titles are contrived to meet current SEO optimisation criteria and as such feature more and more in search results. The fact that they frequently have no relation to the subject I am researching, seems to be neither here nor there. The same issues arise with regard to AI generated images, which again frequently have no bearing on the matter. The fact that more and more content creators do this, infers that it works and is now an essential part of the process you must follow to be seen and featured in search results.

What worries me is not so much the inherent hyperbole, both written and with regard to images, but the fact that YouTube content is driven by a standardised process. A prevailing meta is often creatively stifling, generic and tedious. We have seen this time and time again online. TED Talks being a prime example. When these lectures first began to gain an audience in 2006/7, the talks had a degree of individuality about them. Over time people began to notice what worked and what didn’t work within the format and so began establishing a process. Eventually this evolved into a sort of unofficial formula that became commonly adopted. This resulted in a noticeably generic style that eventually became an impediment to the way a presentation was received by audiences.

View fullsize

Today, the prevailing philosophy that shapes how people approach, make and present their online content seems to be “standardise and monetise”. That is not to say that there isn’t any good quality content online as there certainly is. What it means is when you search for a video, podcast or blog post related to a specific subject, it is harder to discern what meets your criteria. The algorithms return results that have met SEO standards but not necessarily the users intellectual, or presentation requirements. To put it candidly, you may type a very nuanced search request in a search engine pertaining to something niche and specific, such as Etruscan pottery. The search engine then returns a list of links allegedly relevant to that inquiry. However upon inspection you may find that links to relevant sites, such as Museums in Etruria and other historical resources, are surrounded by irrelevant results, such as local pottery suppliers and tourism in Italy.

I believe this problem goes beyond the iniquities of SEO. You only have to look at the everchanging terms and conditions for YouTube. The company seeks to monetise content but only in a manner that meets the sociopolitical foibles of its advertisers, financiers and political associates. Any material that does not meet this ever shifting set of rules or offends in some manner is effectively disenfranchised by the algorithmic gods. It won’t be seen or returned in search results. Anyone trying to produce video content within such an ecosystem has a stark choice to make. Produce videos in accordance with their own personal principles and risk being demonetised and buried. Or attempt to self-censor one’s content to satisfy YouTube’s standards. The latter results in risible bogus phrases such as “unalived” and “graped”. The notion of trying to sanitise a global platform as YouTube so that the only content that prevails is “marketable”, is ludicrous and possibly immoral.

View fullsize

Upon reflection, YouTube’s policy should not come as a surprise. Similar market forces have been at work in the film and music industries over the last 35 years. There was a time when a film could be made on the merits of its story alone and its subsequent rating was a secondary consideration. Nowadays, mainstream films are frequently made to achieve a specific rating and thus be accessible to a broad audience. Filmmakers of note with a history of success at the box office struggle to find financing for their new projects, if they are deemed to lack mainstream appeal or reference subjects that are at odds with the politics of the prevailing establishment. It is for the same reason that politics and expressing views on social matters have all but vanished from mainstream, popular music. Both industries are now driven by proven formulas and market requirements. This is to their artistic detriment.

Finally it is pertinent to mention blogs with respect to this conversation. Despite rumours to the contrary, they still exist and constitute a major part of online content. Blogs are still a medium for fandom but I do not think that it is considered the first choice of platform. Long form writing takes time, effort and thought. As does reading such content. Videos are immediate and potentially require less application from the viewer. Video content can also be tailor made in a specific idiom and then targeted at particular audiences. Hot takes, controversies, militant fandom, gatekeeping, nostalgia and numerous other “perspectives” can quickly find an audience and gain their creator notoriety. Blogging seems at times quaint compared to such a bellicose alternative. It is also often pilloried for not monetising by default, as if fandom for fandom’s sake is a naive or a fiscally crass decision.

View fullsize

Despite all this, there is still good material to be found online. There are engaging and intelligent blogs, podcasts and YouTube channels. Good quality cinema still exists as does innovative music. The problem is that it is much harder to find among all the bland, homogeneous and spurious material, due to a fundamentally dishonest search methodology. The market may well have won according to some but in doing so it has led to a universal race to the bottom. It is not just a question of inferior content being spoon-fed to the credulous. The internet is partly responsible for creating an audience that cannot consume any other form of material. This is the price we pay for clickbait, dumbed down content, diminished concentration spans, educational decline and an inability to think critically. This is the reality of “standardise and monetise”.

Atomfall: The Red Strain DLC

View fullsize

The Red Strain is the second DLC for the RPG Atomfall. It provides another interesting side story that is adjacent to that of the main game. Set in the new region of Stafell Crag, the player finds a secret installation called Test Site Moriah, run by C.O.R.E. (Co-ordinated Orbital Research Establishment). C.O.R.E. have seniority over B.A.R.D. (British Atomic Research Department) and have taken much of their research and used it for their own experiments. This includes the Red Strain, a genetically modified version of the Blue Infection. However, this has escaped containment and spread throughout the entire site. Once again the player must explore the zone, looking for leads and collecting resources, while trying to piece together what has happened. As in the previous DLC and main game, not every NPC that you meet in The Red Strain can be trusted. 

The DLC offers new weapons, including a silenced pistol and SMG, as well as several new skills. The player can now scavenge weapons from the C.O.R.E. Robots that patrol the region, although their high destructive power is offset with slow rate of fire. There is also an upgraded version of the Signal Redirector (MK II), which now allows the player to control turrets, swarms and robots, as well as switch power to locked or deactivated areas. Stafell Crag, a former rocket research site, is a far more vertical zone and as such adds a further degree of interest while travelling the area. The infected guards are all armed with SMGs and the C.O.R.E. Robots patrolling the various buildings have organic brains. Hence they are more aggressive when challenged and persistent if you retreat. As ever, stealth is the safest approach when exploring. 

View fullsize

Stafell Crag is pleasingly different in its aesthetic, compared to the Midsummer Isle and the main regions of the base game. The railway station is atmospheric but also tactically useful, as the bridge and signal box offer elevated positions. Test Site Moriah is dominated by the rocket testing facilities and radar domes. I have referenced previously how aspects of the game draw upon the writings of Nigel Kneale. This area is very reminiscent of the military facility that features in Quatermass II. The story in The Red Strain DLC is far more science fiction driven and an interesting contrast to the folk horror themes found in Wicked Isle. The main characters are unusual, being disembodied brains in life support jars. The voice acting for these curious individuals is very good and the banter between them reflect the sociopolitical and class idioms of the time.

View fullsize

The Red Strain offers two new endings to the main game and they are quite different to those from the base game and the Wicked Isle DLC. Although well conceived, they may not satisfy all players, especially those who have not completed the game before. New players may be better served by playing through the Atomfall base game first and choosing one of the original six endings. Another notable difference in The Red Strain DLC, is that the Voice on the Phone does not offer as much guidance this time. He frequently calls and makes comments on developments but he doesn’t appear to have a preferred course of action. This is possibly because the story in the DLC does seem to be tangential to that of Atomfall, whereas the Wicked Isle was more closely linked. The entire Oberon issue doesn’t really materialise in The Red Strain until there is a plot requirement at the end to bypass the Interference Field.

View fullsize

Atomfall developer, Rebellion, have managed to craft three very engaging narrative arcs. The base game blends a mixture of science fiction and horror elements in a uniquely British idiom. The investigative approach, rather than simply undertaking clearly defined missions, is one of the game’s greatest strengths. The Wicked Isle DLC has a specific narrative tone referencing folk horror and the gameplay is stealth focused. The Red Strain has a far more science fiction driven story with a more aggressive approach to combat. However, the endings for the latest DLC do seem more specific and definitive than those available in the base game. Also, The Red Strain does not add any further details to the existing lore. We learn nothing further about Oberon or the Voice of the Phone. Hence I wonder if this marks the end of the development cycle for Atomfall or whether there will be any further DLC?

Primitive War (2025)

View fullsize

One of the most common objections raised regarding the Jurassic Park/Jurassic World franchise is that the films are specifically made to obtain a PG-13 rating from the Motion Picture Association, for purely commercial reasons. Hence, in all films, there is little on screen violence and the dinosaurs are mainly portrayed as a threat and a means of providing jump scares. When a character is killed by a dinosaur it usually happens off screen, is obscured by something else in frame, or is shown in long shot with very little detail. The realities of being eaten alive by a predator are conspicuously absent. Hence, audiences looking for films featuring more graphic dinosaur attacks, have not been well catered for apart from some minor direct-to-video titles. Primitive War finally fills this gap in the market with a frenetic genre mashup that strives to punch above is budgetary weight.

In 1968 during the Vietnam War, Colonel Jericho (Jeremy Piven) orders Vulture Squad, a reconnaissance unit, to track down a Green Beret platoon that has gone missing on a classified mission. Sergeant First Class Ryan Baker (Ryan Kwanten) is concerned about the secrecy surrounding the mission and well being of his squad. After being dropped by helicopter in a remote region of the jungle the squad finds evidence of a firefight along with a large bird-like foot print. Upon searching a tunnel complex they are attacked by a pack of Deinonychus and are split up. Baker along with new squad member Verne (Carlos Sanson) are rescued from a Tyrannosaurus attack by a Soviet paleontologist, Sofia Wagner (Tricia Helfer), who shelters them in a nearby bunker. He learns that a Russian General has been experimenting with a particle collider, resulting in wormholes and the dinosaurs’ presence.

View fullsize

Primitive War takes the standard genre tropes found in Vietnam War movies, along with those common to “creature features” and mixes them together with B movie aplomb and the candid honesty inherent in Australian exploitation cinema. The result is fast paced, violent and thoroughly entertaining. The computer generated dinosaurs and animatronics are broadly good and when it does start to get a bit sketchy, it’s not a deal breaker because it is clear that the production is really trying hard to do it best with what its budget. Furthermore, rather than just resting on its high concept, exploitation laurels, Primitive War even takes a stab at focusing on characters and getting audiences emotionally invested in the protagonists. You could argue that it tries a little too hard but the film is ambitious and that is a praiseworthy quality these days because so many film productions do exactly the opposite.

Based on books by Ethan Pettus, who co-wrote the screenplay with director Luke Sparke, Primitive War strikes the right tone with its hard boiled, military dialogue and hyperbolic kiss-off lines. I especially enjoyed “Come get some, you Foghorn Leghorn motherfuckers”. The cast, who are mainly from television, acquit themselves well and the screenplay endeavours to give this dirty half-dozen some back story, touching upon such themes as PTSD and survivors guilt. The set pieces are violent and the dinosaur attacks show the reality of being devoured alive. Considering the $8 million dollar budget, the visual effects hold up well. There are some sequences that don’t work as well such as an aerial attack by a flock of Quetzalcoatlus but the film strives to style it out with its pacing. The dinosaurs reflect contemporary scientific thinking, hence many are brightly coloured and feathered. 

View fullsize

Primitive War is a superior example of exploitation filmmaking. It makes its pitch quickly and efficiently to the audience and doesn’t waste time delivering upon viewer expectations. What stands out about this production is that it doesn’t allow its financial constraints to impact upon its creative ambitions. Director Luke Sparke and the cast clearly took the film seriously and strived to do their best. The result is a film that is ambitious, entertaining and exactly what was promised in the trailer. There are some rough edges along the way but that is to be expected. This isn’t a big studio production. Perhaps it could have been a slightly tighter 110 minutes instead of 133 but there are far more bloated, self indulgent films out there. Like most of the Jurassic Park/Jurassic World franchise. Unlike a lot of mainstream films these days, Primitive War is an honest film. If you want dinosaurs versus soldiers during the Vietnam War, that is what you get.

Emperor Of The North (1973)

View fullsize

During the seventies, cinema was not only a source of mass, commercial entertainment but was still perceived as a medium for intellectual and philosophical discourse. Television was a poor relation in terms of art and cultural significance. Film was where the so called auteur director could muse and ruminate upon the nature of the human condition and audiences could subsequently gush sycophantically about their work at dinner parties. Or something like that. Let it suffice to say that some film makers were still indulged by studios and financiers, who were still keen to cash in on the cultural sea change that came to Hollywood in the late sixties. It’s difficult to see how a film such as Emperor of the North (AKA Emperor of the North Pole) could have been made otherwise. A film set in the Great Depression about a hobo illegally travelling on freight trains and his feud with a ruthless conductor. 

During the Great Depression, Shack (Ernest Borgnine), the conductor of the No.19 freight train on the Oregon, Pacific and Eastern Railroad, makes sure that no one rides for free on his train. When A-№1 (Lee Marvin), a legendary hobo among his peers, manages to climb aboard the train, a younger and less-experienced hobo called Cigaret (Keith Carradine) follows hims. However, he is seen by Shack, who locks them both inside the boxcar that they're hiding in. A-№1 casually sets fire to the hay onboard, forcing Shack to stop the train at a nearby rail yard. A-№1 escapes to a hobo shanty town, whereas Cigaret is caught by labourers at the rail yard. He brags to them that he is the only hobo to have ridden on  Shack’s train. Shack is not liked by the labourers due to his psychotic temperament and they start taking bets that no hobo can ride Shack’s train all the way to Portland. When A-№1 hears of Cigaret’s bragging he decides to take up the challenge, thus claiming the hobo title Emperor of the North Pole.  

View fullsize

Robert Aldrich is certainly an interesting director and I particularly like The Dirty Dozen and Flight of the Phoenix as they both examine power struggles in social hierarchies and anti-heroes battling the establishment. I also have a soft spot for Twilight’s Last Gleaming as it strives (but fails) to make a point that is still pertinent today about the nature of war. However, Emperor of the North is far too much of a niche metaphor and simply lacks sufficient narrative and character development to sustain a feature film. It frequently gets bogged down in hobo philosophy which is espoused didactically, rather than depicted directly. Furthermore, as the central characters are archetypes, we learn little of their back stories or motivations. Who was A-№1 before the financial collapse? Why is Shack so zealous in his work? No details are furnished. Director Aldrich was confident that the audience would quickly grasp his symbolism. Sadly, they didn’t or perhaps they did and just weren’t that impressed.

Emperor of the North is far from a terrible film. It is just a somewhat superficial one. It takes nearly two hours to make a minor sociopolitical point that hardly comes as a revelation. Despite having some solid set pieces, it isn’t a pure action film because of the frequent musing on hoboism and its inherent message doesn’t need to be cryptically deciphered because it is as subtle as a Rhinoceros horn up the fundament. It is essentially saved by the presence of its two lead actors who bring far more to their respective roles than what is present in the script. Lee Marvin effortlessly exudes guile and charisma as A-№1 and Ernest Borgnine is every inch the psychopath as he alternates between malevolent scowls and his signature Cheshire Cat grin. Whatever the film’s other failings, the climatic battle on a flatcar with the two stars fighting with chains and an axe, isn’t one of them.

View fullsize

The film’s original full title was Emperor of the North Pole, alluding to a self-deprecating  hobo moniker that is grand but ultimately empty, as the North Pole at the time was considered a barren kingdom. However, outside of the US and later on home media the film title was shortened to Emperor of the North, apparently to avoid confusion that it was some sort of Christmas story. Casual viewers are probably best served not watching this one and opting for a better known example of the director’s work. Those with broader tastes may well enjoy the cast of notable character actors from the era, along with the raw brutality that is ever present in Aldrich’s work. Beware the excruciating song that plays out at the beginning of the film over a montage of steam train footage as it traverses the landscape. Tune it out if possible and reflect upon how there was once a time when a mainstream studio would greenlight a motion picture about a hobo riding trains.

LOTRO: Kingdoms of Harad Expansion Announced

View fullsize

MMORPG announced earlier today and it was subsequently confirmed by Standing Stone games, that the new expansion for The Lord of the Rings Online will be Kingdoms of Harad and that it will launch later in the year. The expansion will see the conclusion of the epic Song of Waves and Wind storyline and the level cap raised from 150 to 160. There will be a new region to explore, Mûr Ghala, comprising four zones. Adagîm, Idagâl, An Shêru and Kighân. The latter contains the main trading hub of Zajâna. Players will travel into the region with Gandalf the White, along with allies of the Kindred of Coins and Mizadi as they seek to counter the regional power struggle brought about by the fall of Sauron. Canonically, this takes place three months after the destruction of the ring, hence King Elessar and Eomer are busy with domestic affairs in their respective kingdoms.

View fullsize

Kingdoms of Harad is the thirteenth expansion for LOTRO, the first five of which, along with the later Before the Shadow are now bundled as part of the free-to-play base game. As of today the new expansion is available for pre-purchase from Standing Stone Games and is available in the usual three different, digital permutations. The Standard Edition, Collector’s Edition and the Ultimate Fan Bundle. All packages come with the new story content as well as the instance and raid cluster. There is also a single, one per count, “150 level up package” that can be used to instantly take a character of your choice to level 150, so you can immediately explore the new region. The provisional release date for the new Kingdoms of Harad expansion is 3rd December, with the usual caveat of a delay if there are technical issues.

View fullsize

Standing Stone Games can be accused of many things but not dragging their heels with regard to releasing new content. Kingdoms of Harad will be the seventh yearly expansion since 2019, which shows a degree of commitment to the MMOs future. Not bad for a game that is over 18 years old. Furthermore, there should be a new “Development Update” letter at the end of the month, which hopefully will show some progress with some of the longstanding technical issues that continue to impact upon the game. Such as the improved GUI with 4K support and the persistent problem of game lag that still seems to intermittently blight the new 64-bit servers. Although it is good to get new story content, it is important to address the essential nuts and bolts of this ageing game. In the meantime, Kingdoms of Harad will more than likely be available on the Bullroarer test server in the next few weeks.

Terrified (2017)

View fullsize

In Buenos Aires, Clara (Natalia Señorales) hears voices emanating from the plughole in her kitchen sink. The voices seem to be plotting against her. Her husband Juan (Agustín Rittano) says the sounds are coming from next door. That night, Juan finds Clara’s dead body levitating in their bathroom, slamming against the wall by an invisible force. Meanwhile their neighbour, Walter (Demián Salomón), is experiencing supernatural occurrences while he tries to sleep. An invisible force repeatedly shakes his bed. After using a video camera to film these events, he sees a tall, cadaverous figure emerging from under the bed, standing over him as he sleeps. Across the road, Alicia (Julieta Vallina) is grieving for her recently deceased son, who was run over outside Walter’s house. Alicia's ex-boyfriend, police commissioner Funes (Maximiliano Ghione) calls Jano (Norberto Gonzalo), a paranormal investigator and the pair soon discover more supernatural occurrences in the area. 

There are times when it benefits a film to clearly define the parameters of its story and then get on with the job of telling it efficiently. Conversely, there are other times when the best thing a film can do is simply drop the audience into the middle of some unusual event or situation and just let them experience what is happening without an excess of exposition or lore. This is what Terrified (AKA Aterrados) does. The film begins with two separate supernatural events which are quite different in nature. The story then moves on to a third vignette and it becomes apparent that these activities are happening in the same neighbourhood. Although the story subsequently follows three paranormal investigators and a local police commissioner’s attempts to determine exactly what is happening, there is no overall explanation for these events or what can be done about them.

View fullsize

Through the use of “hyperlink cinema”, we see several aspects of something potentially much larger unfolding. This adds much to the film’s atmosphere. Director Demián Rugna, eschews the standard approach of modern US horror of building to an event and instead dives immediately into multiple fatal, supernatural events. He further wrong foots audiences by having these activities taking place in modern suburbia, making a contemporary kitchen and bedroom the centre of these phenomena. However, he still taps into deeply ingrained, traditional fears such as something lurking under the bed. The jump scares are well conceived, as are some of the more graphic set pieces, blending CGI and practical effects  cleverly. He also does not squander the film’s running time, starting at a pace and maintaining it through the lean and efficient 87 minute duration.

Another factor that makes Terrified interesting is its setting. Buenos Aires, in Argentina, is like any other modern city but it has a subtropical climate and flora. The actors also speak a specific Spanish dialect. All of which offers viewers both a degree of familiarity and a sense of difference. The ubiquitous nature of US film making along with its standard tropes can at times be a source of cinematic fatigue. Terrified side steps these, offering a well constructed and intriguing tale, with a palpable sense of tension and fear. The film excels at scaring the audience by presenting paranormal encounters in a setting one doesn’t expect by default. Furthermore, the subsequent investigations are conducted with the modern tools, which still fail to yield any viable answers. Rather than giving us an explanation, the audience is instead given an intense experience, that they then have to process themselves.

View fullsize

If you like to be spoon-fed highly predictable jump scares, via a story working within an established narrative framework, you may not necessarily enjoy Terrified. It doesn’t play but such cinematic rules. If you are seeking an innovative horror vehicle whose primary goal is to scare and discombobulate you, then turn off the lights, crank up the sound and revel in Demián Rugna sensory assault. Horror is an extremely flexible genre that can accommodate a broad spectrum of themes, ideas and stylistic presentations. All too often film makers simply follow an established formula, providing no more than minimal variations on a theme. Terrified does more than that, offering a window into startling and disturbing supernatural happenings. It is a film that focuses on the journey, rather than the destination and it is an exceptionally well conceived and shocking journey.

Black Sabbath (1963)

View fullsize

Black Sabbath (AKA I tre volti della paura) is a 1963 horror anthology film directed by Mario Bava. Although an Italian production, the film was co-financed by American International Pictures and as such was conceived to appeal to US audiences. Hence, the English dialogue edit of the film which was released in America differs significantly to the original Italian version. Despite the presence of the legendary Boris Karloff and the popularity of both anthology and gothic horror at the time,the film was only a modest success at the US box office and did not do well in Italy. However, in more recent years there has been a critical reappraisal of Black Sabbath, especially the Italian dialogue version. Many aspects of the film which are standard genre tropes today, were in fact novel at the time. Also despite the production mainly being studio bound, the film oozes style and has a striking visual aesthetic.

The Italian version starts with “The Telephone”, in which upmarket call-girl Rosy (Michèle Mercier) returns to her basement apartment at night and starts to receive a series of menacing phone calls, allegedly from her former pimp Frank who she testified against and had jailed. She calls an ex-lover, Mary (Lidia Alfonsi), and asks for her help but things are not as they appear to be. The second story, “The Wurdulak”, features a 19th century Serbian nobleman Vladimir D'Urfe (Mark Damon) who takes shelter for the night with a peasant family in their farmhouse. They await the return of their father Gorca (Boris Karloff) who has gone to kill a Turkish bandit who has been terrorising the area. When Gorca returns his family fear that he has become a Wurdulak; a living corpse that feeds on blood. The final story “The Drop of Water”, is set in 1910 London, features her nurse Helen Chester (Jacqueline Pierreux) who steals a sapphire ring from an elderly deceased medium she is preparing for burial. On returning home she is plagued by the sound of dripping water and a ghostly apparition.

View fullsize

The most immediate difference between the US and Italian versions of Black Sabbath is the colour timings. The Italian print which was processed by Technicolor Roma and supervised by Mario Bava, has a vibrant, more flamboyantly nightmarish colour palette. The cinematography by Ubaldo Terzano and Mario Bava is fluid and often uses movement to create atmosphere. The use of vivid, saturated hues and dramatic lighting, particularly the contrast between light and shadow, creates a foreboding and menacing atmosphere, making the visuals themselves participants in the horror. Karloff’s entrance as Gorca is a masterfully composed sequence. He steps into frame with his back to the camera and the limps ominously towards the farmhouse. His imposing demeanour is enhanced by makeup that contrasts with being lit from below. These details are more pronounced in this version.

The Italian edit also has the stories in a different order to the US release. The film begins with “The Telephone” and in this version the sexual subtext is far more apparent. Rosy is clearly a prostitute. Mary is possibly a former client who subsequently fell in love with Rosy. Themes that were excised from the US prints. This story plays out in many respects as a giallo, bearing many narrative hallmarks. Next is “The Wurdulak”, the most gothic of the three vignettes. The Italian version has a little more violence, when Gorca reveals the head of the dead bandit. Finally “The Drop of Water” is identical in both versions of the film, as its shock lies in jump scares, rather than violence. The US release has a different introduction by Boris Karloff and he links each new story. The Italian version has him appear at the start and end of the film only. The original score by Roberto Nicolosi is present in the Italian release but was replaced in the US version by a new soundtrack by AIP stalwart Les Baxter.

View fullsize

Overall the Italian release of Black Sabbath, is the superior version. It delivers three supernatural tales, featuring adult themes with style and atmosphere. The US version is tamer in tone, mainly because horror films at the time were aimed at the teenage market. The visual impact of the Italian version is greater due to the more vivid use of colour and the original score is less intrusive and melodramatic than the new American soundtrack. If Mario Bava’s version has one failing it is the dubbing of Boris Karloff into Italian. Although a necessity for the film’s release in its home market, it does have an impact upon Karloff’s performance. Modern audiences may consider some of the ideas, especially those in “The Telephone”, to be a little tired and overused However, the notion of a stalker in this instance predates most US films by a decade.

View fullsize

The artistry and structure in Black Sabbath, particularly its blend of suspense and supernatural horror, directly influenced the Italian giallo genre and the wider global horror aesthetic. Beyond the supernatural, the film masterfully explores themes of guilt and the encroaching forces of evil, making the terror deeply relatable and psychologically disturbing. Mario Bava continued to have a significant impact upon cinema throughout the sixties and seventies. He pre-empted the US slasher genre with the gory giallo  A Bay of Blood (1971) and clearly had an influence upon Ridley Scott’s Alien (1979) with his atmospheric science fiction film, Planet of the Vampires (1965). Black Sabbath is a fine example of the stylish European approach to gothic horror and is therefore “must see” viewing for horror aficionados. Seek out the Italian version if possible.

MultiMonitorTool

View fullsize

Back in January, I was very pleased because I had finally found some open source software, DisplayMagician, which allowed me to quickly and easily alter my display profile and run specific games and applications on my second monitor. Prior to this I would find that some programs just wouldn’t stay put, once they were dragged or otherwise cajoled to display on the monitor of my choice. They would continuously snap back to the primary display, regardless of my actions. DisplayMagician solved this issue and did so with aplomb. Or it did, until last weekend when I upgraded my PC from Windows 10 to 11. Then it stopped working. I therefore did some digging online and it became apparent that this is a known issue that is currently being addressed by its creator, Terry McDonald.

I hope all goes well with Mr McDonald’s troubleshooting but as there is no timeframe for a fix, I found myself today back where I had started at the beginning of the year, with regard to looking for a suitable tool to change primary monitors on the fly. Which then led me to discover MultiMonitorTool by Nirsoft (Nir Sofer). According to the developer “MultiMonitorTool is a small tool that allows you to do some actions related to working with multiple monitors. With MultiMonitorTool, you can disable/enable monitors, set the primary monitor, save and load the configuration of all monitors, and move windows from one monitor to another. You can do these actions from the user interface or from command-line, without displaying the user interface”. It is also free (although you can make a donation) and is regularly updated.

View fullsize

I am happy to report that MultiMonitorTool works and works well. However, having previously used software for this task that simply required me to click on an icon, I found swapping display profiles from a command line, or clicking on the MultiMonitorTool application window somewhat fiddly. Like so many PC users, I like my desktop and icons laid out just so and I’m fussy about how I do things. Therefore, I decided to write a batch file that could toggle between making monitor 1 and monitor 2 the primary display. It took me a while to remember how to do this but I got there eventually. I then created a shortcut but pinning it to my taskbar proved problematic. Once I got around this, I then encountered an error when running the batch file via the shortcut. Possibly due to permissions and the fact that the MultiMonitorTool was outside of the system32 directory. My simple task was getting steadily more complex.

I next decided to create a script to run the batch file for me and then pin a shortcut to the script to my taskbar. However, my memory of .vbs files is worse than my memory of .bat files. So this time I turned to Google Gemini for assistance which produced a simple script according to my needs. All that was required after this, was a custom icon for the .vbs file shortcut. I possibly spent more time perusing icon files than I did actually resolving the problem. Needless to say, I now have a convenient icon on my taskbar that I can use to change my primary display designation, prior to launching certain games and applications. It works quickly and with minimal hassle. Furthermore, I saved myself $40 by not buying the Steam version of DisplayFusion which does the same thing as MultiMonitorTool.

Robert Redford (1936 - 2025)

View fullsize

It’s been five years since I last wrote about the passing of someone whose work I admired. Not because there’s been a shortage of such people dying. Sadly, it happens all too often. I stopped because I was experiencing my own grief over the loss of my parents in 2020 and 2022. So I wrote about other things instead and got out of the habit of “RIP” posts. Yet the recent death of Robert Redford has compelled me to write something, because he was so many things. An old school star from an important era of US filmmaking. He was also a much better actor than some think, as well as a talented director who didn’t just use his fame to make vanity projects. His passing was somewhat of a shock because I had seen him recently make a cameo in the TV show Dark Winds, of which he was an executive producer. It was his last onscreen appearance. 

Robert Redford came to my attention, during the seventies when I was growing up. It was a time of newspaper adverts for the latest film releases, something that I frequently perused having gained a liking for film and the promise of seventies film poster art. I remember seeing promotional material for Three Days of the Condor (1975) and being enthralled by it. I also recollect radio adverts, which were big at the time and hearing snatches of dialogue and suppressed gunfire. I finally saw the film eight years later and it lived up to my expectations. Redford’s character was resourceful and far from indestructible, in this well crafted thriller. His charm and charisma were self-evident but he had other qualities that helped him rise above his matinee idol persona that he was trying to break free from at the time.

Slowly, I caught up with many of his most iconic roles such as Butch Cassidy and the Sundance Kid (1969), The Sting (1973), and All the President’s Men (1976). It was clear that Robert Redford was growing as an actor and his choice of roles became increasingly more complex and nuanced throughout the eighties and nineties. He also tried his hand behind the camera, with his directorial debut Ordinary People (1980). The story of the implosion of a wealthy family from Illinois, following the accidental death of one of their two sons and the attempted suicide of the other, was deftly handled with Redford garnering praise for his emotional intelligence. About this time, he also established a yearly independent film festival which was eventually renamed the Sundance Film Festival. Success outside of acting led to him establishing two production companies, Wildwood Enterprises, Inc. and Sundance Films and financing such titles as A River Runs Through It (1992) and The Motor Cycle Diaries (2004).

View fullsize

Another surprising aspect of Robert Redford was his activism with regard to environmental issues and Native American rights. At a time when much of Hollywood was awash with stars revelling in their own iniquities, seeing someone of that ilk with a modicum of principle and concern for things outside of themselves was refreshing. Furthermore, as filmmaking and its associated culture evolved over time (and seldom for the better), it was reassuring to see someone from a prior golden age, still acting, making films and being relevant. Which is why so many of us just assumed he’d go on forever. As previously mentioned, his latest endeavour was bringing a new adaptation of the Leaphorn & Chee novel series by Tony Hillerman to television, with the gritty and authentic drama Dark Winds. And then he was gone.

A few years ago, I worked my way through all the episodes of The Twilight Zone television series. I was pleasantly surprised to see Robert Redford in an early role, in a story titled Nothing in the Dark,. He was young, handsome and certainly had a cinematic quality about him. He got far on his sex appeal at the start of his career yet was fortunate to have other talents at his disposal as he matured. When age changed him, as it does to us all, he still had that easy going charm, tempered with worldly experience. It’s what made his final cinematic role in The Old Man & the Gun (2014) so enjoyable. It is often considered cliched to state that the passing of someone of this nature is the end of an era but in Robert Redford’s case, it really is. There are no modern equivalents.

World War Z: The Complete Edition by Max Brooks (2013)

View fullsize

The zombie genre is a narrative seam that has been heavily mined in recent years. There seems to have been a never-ending supply of films, television shows and video games involving the undead over the last two decades. Which is why the notion of society being destroyed by its own citizens has somewhat lost its intellectual and horrific lustre. Hence I can understand people rolling their eyes at the mention of the novel World War Z by Max Brooks. The 2013 film adaptation starring Brad Pitt, which jettisoned most of the source text's innovations, isn’t the best advertisement for the book’s virtues. However, if you take the time to look beyond the hyperbolic title, you’ll find World War Z a work of singular intelligence which uses the zombie genre as a means to explore multiple socio-economic and political themes.

Instead of a traditional novel with several central characters and a linear story arc, World War Z is a collection of fictional interviews that take place between survivors of the zombie apocalypse from around the world and a fictional version of the author Max Brooks. Each personal vignette provides a first hand account of a specific event within the history of the zombie apocalypse and its subsequent consequences upon the narrator or the wider world. These personal anecdotes often obliquely reference wider happenings such as a specific government policy, military engagement or a mass migration. They frequently allude to things that the reader doesn’t directly know about. However, there is always sufficient information to deduce what is being inferred, be it wide scale cannibalism, emergency legislation to deal with civil unrest, or the collapse of specific public institutions.

Hence we  hear from Fernando Oliveira, a Brazilian former surgeon, who recollects how the zombie virus was initially spread via the illegal organ trade that he was part of. Then there is Jurgen Warmbrunn, a Mossad agent, who co-write the first formal document recommending countermeasures against the undead. He reflects on how it was distributed to all major governments around the world, who subsequently dismissed it. There are also interviews with everyday people, such as Jesika Hendricks, an American-Canadian woman. She recounts how she survived the first winter after the Great Panic when she and her parents fled north, hoping the cold would freeze the zombies. These interviews personalise the global disaster, while simultaneously exploring the failings of government and how capitalism is ill equipped to deal with catastrophic events.

View fullsize

There is a lot of interesting analysis of both contemporary society and politics within World War Z. Both the public and the incumbent US government, initially refuse to countenance what is exactly going on, leading to a period of history referred to as the Great Denial. The pharmaceutical industry quickly exploits the situation by producing a placebo drug, which the government happily greenlights to buy time. When the modern US military finally faces a massed attack of undead outside Yonkers, their tactics and weapons fail. The shock and awe they depend on to psychologically crush their opponents, is absent in an enemy that is oblivious to their technological superiority. Perhaps the most fascinating aspect of the story is the US government's attempts to repurpose the surviving workforce, with 65% having no viable skills, apart from manual labour, in a post apocalyptic world.

The audiobook version of World War Z has a somewhat complicated history. Random House published an abridged version running 5 hours and 59 minutes in 2007. The book is read by Brooks (who previously had a career in voice acting) and includes Carl Reiner, Mark Hamill and Henry Rollins portraying some of the characters interviewed. Later in 2013, Random House released a revised 12 hours and 9 minutes audiobook titled World War Z: The Complete Edition (Movie Tie-in Edition): An Oral History of the Zombie War. It contains the entirety of the original, abridged audiobook, as well as new recordings of the previous absent material by such actors as Simon Pegg, Jeri Ryan and Parminder Nagra. There is also an alternative version available on Audible UK, with a completely different voice cast.

View fullsize

For the purpose of this review I listened to the rather ponderously named World War Z: The Complete Edition (Movie Tie-in Edition): An Oral History of the Zombie War. Although a lengthy production, the interview format easily allowed me to listen in stages over the course of the week. Sometimes an all star cast can be an impediment to an audiobook adaptation, with individual voice actors becoming the focus of attention instead of the prose. However, in this instance the robust cast imbues the interviews with a sense of credibility, making the various recollections very personal and human. There are no accompanying audio effects and the adaptation lacks a musical score. A simple ominous sting separates each personal recollection. This minimalist approach works very well, as it would have been a mistake to over embellish the production.

Nineteen years on from its publication, World War Z remains relevant, thought provoking and even a little portentous. The COVID-19 pandemic, although far from a zombie apocalypse, certainly shared some parallels with the themes of the book. There was government denial, flagrant business profiteering and a public that was unprepared for such a radical change to their daily existence. The current decline in democratic processes and politics in western civilisation has created an atmosphere of impending societal collapse. Is the broken world that is so vividly depicted within the pages of World War Z an indication of our own future? Max Brooks wrote metaphorically of zombies undoing our civilisation. We currently seem to be doing something similar but without the metaphor.

LOTRO: The Problem With Skirmish Soldiers

View fullsize

Skirmishes were added to the MMORPG The Lord of the Rings Online, in 2009 with the release of the Siege of Mirkwood expansion. Skirmishes are a repeatable and scalable combat system that allows players to access various instances for solo or group play from anywhere in the in-game world. Players can choose a Skirmish Soldier from a variety of classes to accompany them and provide healing, tank or additional DPS. On paper it’s a great system which is why many other MMOs offer something similar. I recently decided to tinker with my Skirmish Soldier build on my main character to see if I could optimise their performance. As my primary alt is a Lore-master, for the last few years I have had a Warrior as their Skirmish Soldier, to take some of the aggro from attacking mobs. I used the excellent guide by FibroJedi and swapped over a few Training and Personal Traits.

I do not find playing Skirmishes at the default difficulty setting with my level cap Lore-master to be particularly challenging. Mainly because my primary character is well specified with good gear and an optimised Legendary Weapon. On occasions, I will send my Warrior to attack a specific target, if for example, one of my main attack skills is on cooldown. Most of the time, they simply follow in my wake, providing what support they can. Or so I assumed. Recently, I decided to look at my combat log after playing through Thievery and Mischief Skirmish. Let it suffice to say, there were few entries regarding their contribution and what was there showed minimal damage. The Skirmish Soldier in question had all their skills and abilities maxed out. I subsequently ran several other Skirmishes with other alts, all of which had Skirmish Soldiers of a commensurate rank to the level of the alt. The results were similar.

View fullsize

Hence I did some research via the official LOTRO forums and the subreddit and it would appear that Skirmish Soldiers are generally considered ineffective and often a liability in high-level content due to poor scaling and unintelligent AI. At lower levels, soldiers can be overpowered but still have a tendency to pull aggro and break crowd control. This beneficial over powered state only lasts for a ten levels or so. The main problem after their AI, is that their damage and utility do not scale well at higher levels, making them less useful compared to player-controlled companions like Captain's Heralds or Lore-master pets. A Herbalist Skirmish Soldier is the most recommended and reliable choice because its primary function is healing. A role that tends to keep them adjacent or behind the player. They help keep you alive during difficult fights, which is more important than the negligible damage output from other roles.

Over the years, the level cap increases have further exacerbated this problem. Hence, my fully maxed out Warrior doesn’t contribute that much to any fight. I mainly use them as a decoy. Similarly, when deployed during general PVE questing the Skirmish Soldier (or Landscape Soldier in this circumstances) suffers the same problems with skill scaling and damage output. Therefore, their primary role at present, is one of psychological prop. Making the player feel supported and thus, boosting their confidence. Making Skirmish Soldiers the equivalent of Andrew Ridgeley from Wham. LOTRO developers, Standing Stone Games need to fine tune and rebalance this game mechanic, so that Skirmish/Landscape Soldiers become a more reliable and universal companion within the game. I’d also like more cosmetics options for them. However, knowing SSG, I won’t hold my breath.

Software Updates

View fullsize

As part of our increasing dependency upon software, we have also grown accustomed to its associated foibles, especially the negative ones. Today, I upgraded my blog from Squarespace 7.0 to 7.1 and my PC operating system from Windows 10 to 11. I started early in the morning and ensured that all my personal data was backed up. My default expectation was that both processes would go wrong in some way, shape or form. Let’s take a moment to consider this mindset, which is born out of experience. It is now taken as read that whatever you upgrade, be it an app on your phone or a program on your PC, that it’s going to be problematic. It won’t be a seamless transition and you’ll end up having to do some sort of troubleshooting. Despite our lives becoming more dependent on such software, the quality of these products seems to be deteriorating. What a sorry state of affairs.

Setting aside the failures of the tech industry, I was pleasantly surprised by the fact that both upgrades went well, with no major fallout. With regard to Contains Moderate Peril, I am quite happy how individual posts are displayed. I just need to determine whether from now on, I can include images that scale to the width of the page (but display at full size when clicked on), rather than having to set them to a standard resolution. I also have to fix the main blog page, as it is currently showing each post in full, rather than just the first paragraph along with the option to “read more”. However, these are not deal breakers. The site is still functional for both PCs and mobile devices. Similarly, the Windows upgrade went well. I was interested to see that some of the formatting aspects of Windows 10 were carried over and as a result, I have not had to excessively tinker with the visuals of Windows 11.

View fullsize

Oddly, because things appear to have gone relatively smoothly, I cannot help but feel somewhat disconcerted. Mainly because, as mentioned earlier, we are so used to things just not going to plan these days with regard to the software we use. Hence for the next few days, I will remain prepared for some unforeseen technical issues to manifest themselves. If they materialise, so be it. If they do not, then it’s an added bonus. Hopefully, there’s nothing else on my PC that requires a major update, for the immediate future. That being said, I rebooted my phone earlier today and it has obviously installed an Android update. I only spotted this when I received a phone call and was furiously trying to swipe upwards to answer it. Turns out I now have to swipe to the right. Oh the pleasure of software upgrades! The tech companies obviously think that daily life just isn’t interesting enough.

LOTRO: Standing Stone Games and Support Tickets

View fullsize

On 2nd August 2025, I was playing the MMORPG The Lord of the Rings Online, on my primary character, a level cap Lore-master. I decided to continue with one of the Allegiance Quest lines, specifically Durin’s Folk. I played through several quests and earned the appropriate tokens that advance the Allegiance system. I then handed these in to the NPC in the Hall Under the Mountain, expecting the next quest in the series “Chapter 3: Gimli’s Request” to be unlocked. An item appeared in my inventory that I then clicked on, which should have bestowed the quest. Unfortunately, nothing happened. Furthermore, the item vanished from my bag and therefore I could not attempt to click it again. I checked the LOTRO Wiki and then looked around the Hall Under the Mountain to see if any NPC had a ring icon above their head. As they did not, I surmised that this was a software glitch and logged a support ticket with Standing Stone Games.

Tonight, 40 days later, I received an email response from SSG and opened the message expecting to read that they had manually advanced the quest for me and I could continue with this story arc. However, that was not the case. I have attached a screen capture of my original support request along with the response from SSG, for readers edification. I believe I made myself quite clear in my initial communication. Hence I am somewhat confused by SSG’s response. There are several points to consider.

View fullsize

I have removed the name of the Customer Support member of staff out of courtesy

Firstly, are SSG claiming that they cannot advance a quest for a player when they state “Our ability to provide gameplay help or walkthroughs is limited from here in in-game CS”? If that is their assertion, I do not believe it. In the past, both I and friends have had quest lines advanced by Turbine/Standing Stone Games staff, when a bug has occurred.

Secondly, why write “I would suggest consulting with the community either in-game or on our official forums to gain a better understanding of gameplay content”? I gave a very clear breakdown of the fault I encountered and the problems most certainly can’t be remedied by reading the LOTRO forums. The comment implies that SSG has not read what I have written, for whatever reasons, which is hardly good customer relations.

Thirdly, I am further puzzled by the statement “If you believe there is an error with the in-game content, please provide a screenshot containing your character and the occurring issue to assist in further investigation, thank you”. My initial support request clearly indicates that I do indeed believe that an error occurred. It is why I raised a “ticket” in the first place. A quest bestowal failed, which is the very definition of a game error. As for supplying a screen capture, how exactly can I do this after the event? Again, this gives me the impression that my support request has not been read. I will not jump to any conclusion as to why this is but the most obvious answers that come to mind are far from edifying for SSG.

Finally, by what criteria is this support request “solved”?

View fullsize

Details of the Allegiance quest in question

There is always a temptation to consider a minor customer service matter such as this, too trivial to pursue any further. However, such a course of action ultimately makes matters worse for all players and paying customers. As a European, I am used to robust and good quality customer services. This example is the opposite of that. I waited 40 days, only to receive a generic response which neither addressed my in-game problem or even had the courtesy to offer the most basic of apologies for the inconvenience. This will not do.

If on the off chance that anyone from SSG reads this post, do you think this reflects well on your company? Not so much the fault, as bugs will occur in video games. I’m more concerned about the casual dismissal this official response infers and the fact that no one seems to have bothered to read what I wrote. Beyond this, can my game related problem be resolved? If you cannot advance a simple quest line for me after an obvious error, then please say so. A polite “sorry” would be well received.

In the meantime, I would be very interested to hear from fellow LOTRO players as to their experiences when seeking technical support from SSG. Did you wait long for a response? Do you feel that your request was read and understood? Was your game related problem resolved?

Upgrading My Blog: Part 2 Break Stuff

View fullsize

In the last post in this series, I specified the need for a plan with regard to upgrading my blog. Well a plan has emerged, been refined and has now been formally adopted. Rather than migrate Contains Moderate Peril to a new platform and effectively have to rebuild all the content, I am going to upgrade my existing presence on Squarespace. This decision was made for two reasons. Time and money. Migrating to a new platform will take a lot of time and incur additional costs. Upgrading the existing website will take less time and has no cost implications. That is not to say that it will be easy. It has become abundantly clear that the upgrade process will break stuff and that all published posts will have to be manually repaired. Hence my choice boils down to the lesser of two evils.

At present Contains Moderate Peril runs on Squarespace 7.0 and uses a template called Trombone Shorty. The template is obsolete and Squarespace 7.1 is now available with improved functionality. If I simply upgrade to the latest version, my site will break. If I replace the obsolete template with a compliant one, then upgrade, my site will break less. It’s all a bit of a Hobson’s Choice and somewhat annoying. However, this coming Saturday 13th September, I shall be upgrading one way or another and so expect the website to have anomalies. I shall then go through the back catalogue of posts and fix the formatting and replace the various pictures with ones that can be scaled accordingly.

View fullsize

I have decided that as part of this revamp and relaunch of Contains Moderate Peril, I am going to streamline its content. Film, television and video game related posts, such as reviews and long form criticism will now be the primary focus of the revised website. All other content will be relocated elsewhere. Where exactly, I’m not sure at present. But such content could find a suitable home on a platform such as Blot or Bear. I like to write about a wide variety of subjects and will continue to do so. However I think that it is wise to keep them separated. There was a time about a decade ago when Contains Moderate Peril had a clear identity. I think that has been diluted over time by trying to do too much in one place. I think re-establishing a clear remit will be beneficial.

Treasure Island in Outer Space (1987)

View fullsize

Treasure Island In Outer Space is a curious Italian television production from 1987 starring Anthony Quinn and Ernest Borgnine. It also features numerous international actors better known for their work in cult and exploitation films, such as Bobby Rhodes, David Warbeck and John Morghan. Directed by Antonio Margheriti (AKA Anthony Dawson), famous for such films as Killer Fish (a cash in on Piranha) and The Last Hunter (a Vietnam exploitation epic), Treasure Island In Outer Space is a faithful adaptation of Robert Louis Stevenson’s classic novel. The screenplay by Renato Castellani and Lucio De Caro draws heavily from the source text, maintaining character names and original dialogue. However in updating the material to a futuristic setting, the script is littered with the worst kind of eighties sci-fi clichés. We are subjected to sonic trains, anti-gravity rays and the usual buzzword driven faux science. 

As in most of Antonio Margheriti’s films, there are a lot of traditional visual effects. The miniatures are efficiently realised, given the budgetary restrictions, by the late Emilio Ruiz del Rio (Pan’s Labyrinth, Dune, Conan The Barbarian). There are also some solid matte paintings, in-camera visual effects and simple composite shots. However, not all the visual effects are up to the standards of the time. The most obvious explanations for this are possibly the budget running out of the strictures of the shooting schedule. The quality of the set designs are also variable. Some are again somewhat obvious, leaning into standard tropes of the decade. Hence we see random arrays of flashing lights and banks of switches and dials that serve no particular purpose. Others, such as the bone graveyard at the film’s climax, are quite striking visually and have clearly been given some thought.

View fullsize

The lead performances from both Quinn and Borgnine are acceptable, delivering measured interpretations of their characters. Both avoid the standard cliched tropes associated with the depiction of pirates on film. Quinn attempts a more paternalistic approach to the character of Long John Silver. Itaco Nardulli is a somewhat generic Jim Hawkins. Like most Italian productions, the actors speak their lines in their native language while filming and are dubbed accordingly in post production. The main cast have subsequently re-recorded their own dialogue but some of the Italian cast have been dubbed in a somewhat incongruous fashion. Treasure Island In Outer Space features a traditional musical score by composer Gianfranco Plenizio, avoiding the usual synthesizer based approach to the science fiction genre, which was common at the time.

View fullsize

What makes Treasure Island In Outer Space a somewhat frustrating experience to watch is the ways that some aspects of the production have been given attention and others have been handled poorly. The cinematography by Sandro Messina is quite creative by television standards, with some scenes being shot from low angles or behind objects. Sadly the action scenes and fight choreography is somewhat theatrical and lacks any sense of momentum or kinetic energy. At seven episodes, each with a running time of 50 minutes, the English language version of Treasure Island In Outer Space is a somewhat lengthy adaptation. Perhaps a little too long. These deficiencies highlight the fact that this show is very much a product of its time and as such should be judged accordingly. There are better adaptations of Treasure Island and there are worse. For those who are curious, Treasure Island in Outer Space can be found on YouTube.

NB. Treasure Island in Outer Space was shown in 5 episodes, each running 75 minutes on Italian television in 1987. There are no major differences between this and the English language version which ran for 7 episodes of 50 minutes. However, there was also a theatrical version of the show, which was common practice at the time. This has a running time of 150 minutes and was released under the title Space Island.

Star Trek Online Needs an Expansion

View fullsize

If you check the Star Trek Online Wiki, you’ll find that there has been a steady stream of new content added to the MMORPG over the last 15 years. However, it doesn’t quite feel that way, mainly because more recent material seems weaker and less memorable. The last two major story arcs in STO have been somewhat lacklustre and demonstrably inferior to those that went before. Both Terran Gambit and Kings & Queens suffer from uninspired, repetitive ideas as well as an infrequent release schedule. Effectively weak stories have been dragged out over too much time. No doubt changes among the STO writing team have had an impact on content but it also seems that some of the newer stories have been tailored around whatever former Star Trek cast members that are available. As a result there has been a somewhat “square pegs in a round holes” aspect to both story arcs, where the pieces just don’t seem to fit together well.

Another factor that is leading to a sense of fatigue in STO is the never ending treadmill of events. If you want something quick and easy to get into, then STO always has some sort of event or activity going on. Events are devised that if you complete a specific number of Taskforce Operations or episodes from a story arc, you are rewarded with something “useful”. An armour set, or a ship’s console or even a Tier 6 ship. These can be beneficial but they are not essential to all players. A console that enhances plasma damage is of no use to you if you use disruptors on your ship’s build. And talking of ships, there comes a point when you simply don’t need anymore. I have several dozen and have been using an Inquiry Battlecruiser for the last three years. As the saying goes “if it ain’t broke, don’t fix it”.

View fullsize

Which is why I think that STO would benefit greatly from the release of a new expansion for the game. This could include an increase in level cap, possibly a new tier of ship or some sort of tangential system. An additional reputation faction could be added as well. But the most fundamental requirement would be a well written, immersive and engaging story arc. Furthermore, rather than the standard, “the galaxy in peril” storyline, it would be preferable to have something based upon exploration and diplomacy with a new alien culture. A sociopolitical themed story that required thinking and making informed choices, rather than the usual “pew pew” Starfleet just kicked your ass, sort of stuff. A plot that is grounded more in the sort of intrigue we saw in Star Trek: The Next Generation.

Sadly, I do not think this is going to happen. DECA Games have been responsible for the ongoing development of STO for over a year now and so far there have been no indication of any ambition beyond events, new ships and scaled down story arcs. No sign of an expansion of the calibre of Legacy of Romulus. There is a degree of similarity between STO and LOTRO (The Lord of the Rings Online) as both MMORPGs have loyal playerbases that effectively have nowhere else to go. Both communities are very accommodating and supportive of their respective games, often finding their own entertainment within the games. Unfortunately, the LOTRO community enjoys a more regular content schedule and a better calibre of writing. I suspect that it is only a matter of time before the STO community gets fed up with the status quo.

Biggles (1986)

View fullsize

After the success of Raiders of the Lost Ark in 1981, filmmakers scrambled to find existing intellectual properties that they could use for similar films. Hence archaic heroes such as Alan Quatermain were hastily given a modern makeover and thrust into generic movies, in a vague attempt to replicate Steven Spielberg’s successful formula. Which brings us neatly on to James Charles Bigglesworth AKA “Biggles”, a fictional pilot and adventurer from a series of books written by W. E. Johns between 1932 and 1968. Several attempts had been made in the past to bring this character to the silver screen, including one by Disney but they all failed. However, the commercial and critical success of Indiana Jones provided sufficient impetus to greenlight a new film. However, due to some curious production choices, when Biggles was finally released it was far from just a period set, action movie.

Catering salesman Jim Ferguson (Alex Hyde-White), is unexpectedly transported from New York City to 1917 France, where he saves the life of Royal Flying Corps pilot James "Biggles" Bigglesworth (Neil Dickson) after he is shot down on a reconnaissance mission. Immediately afterwards, Jim is transported back to 1986, where his fiance Debbie (Fiona Hutchinson) struggles to believe his explanation as to what happened to him. However, Jim is subsequently visited by Biggles’ former commanding officer, Air Commodore William Raymond. Raymond tells him about his theory that Ferguson and Biggles are "time twins", spontaneously transported through time when the other is in mortal danger. Shortly after Jim is reunited with Biggles, along with Debbie who held onto Jim when he was transported across time. They discover that the Germans are working on a sonic weapon that  could change the outcome of The Great War.

View fullsize

Yellowbill Productions acquired the rights to the Biggles books in 1981 and the initial aspirations of producer Kent Walwin were high. The plan was to produce a series of period set films, in the James Bond idiom, featuring action and drama. Both Jeremy Irons and Oliver Reed were originally associated with the production. Initial drafts of the screenplay were set in WWI and were faithful to W. E. Johns’ original novels. However, the producers subsequently decided to add a science fiction spin to the main story, possibly due to the imminent release of Back to the Future. Whatever the reason, the film morphed into a curious hybrid which didn’t really do justice to either the science fiction or period action genres. Furthermore, the production schedule was expedited so it could take advantage of UK tax breaks that were due to expire. As a result the screenplay was still being rewritten when director John Hough began filming.

View fullsize

As a result, Biggles (retitled Biggles: Adventures in Time in the US) is somewhat narratively and tonally inconsistent. Neil Dickson is well cast as James Charles Bigglesworth but has to compete for screen time with Jim Ferguson, his somewhat uninteresting time twin. The film briefly improves when Peter Cushing appears, in what was to be this iconic actor’s last role. But overall Biggles just doesn’t know what it wants to be. It feels like the writers have added multiple cinematic tropes to the screenplay out of desperation. Sadly, the romance and occasional slapstick humour fall flat. The action scenes, although well conceived, betray their low budget, featuring old tricks such as a plane flying behind a hill before exploding. Plus there’s a somewhat gory scene involving a soldier who is killed by the sonic weapon, which seems out of place.

View fullsize

Biggles failed at the UK box office and was equally unsuccessful when released later in the US. However, all things considered, a flawed film can still be an entertaining one. Biggles is all over the place but it does raise a wry smile from time to time. There’s plenty of the old “British stiff upper lip” with our hero telling his nemesis, Hauptmann Erich von Stalhein (Marcus Gilbert) “I'll not put a bullet in your head, old boy, because that’s not how we do business”. The flying scenes have a sense of momentum and are well shot by second unit director Terry Coles, who had done similar work on Battle of Britain. The soundtrack is also peppered with several very eighties songs from Mötley Crüe, Queen and Jon Anderson from Yes. Hence, if you’re looking for some undemanding entertainment or have an interest in the various films that tried to cash in on Indiana Jones, then you may wish to give Biggles a go.

Education in the UK

View fullsize

Formal education in the UK is a structured process, starting at early years learning and continuing through to higher education at university. Some aspects of the educational system are mandatory, whereas others are optional. At present, children in the UK must start full-time education from the age of 5 and remain until the age of 16. After this age, they are no longer required to attend school per se but must remain in some other form of education or training, such as a vocational college or an apprenticeship. Many students remain at school until 18, as there are specific exams to be obtained that are required for a subsequent university placement. Here is a breakdown of the current process as it exists in the UK.

Early years education:

This stage is non-compulsory and caters to children aged from birth to 5 years old. In England, 3 and 4-year-olds are entitled to 15 hours of free nursery education per week for 38 weeks of the year. Early years education takes place in various settings, including state nursery schools, nursery classes, reception classes within primary schools, and private nurseries or childminders.

Primary education:

Primary education is compulsory for children from age 5 to 11. It is divided into Key Stage 1 (ages 5-7) and Key Stage 2 (ages 7-11). Children learn basic literacy and numeracy skills, as well as foundational knowledge in science, mathematics, and other subjects. Children in England and Northern Ireland are assessed at the end of Key Stage 1 and 2. 

View fullsize

Colfe’s School, South East London

Secondary education:

Secondary education is compulsory for children aged 11-16. It is divided into Key Stage 3 (ages 11-14) and Key Stage 4 (ages 14-16). Students pursue a broader curriculum including core subjects (English, maths, science) and optional subjects (humanities, languages, arts, vocational courses). At the end of Year 11, students typically take General Certificate of Secondary Education (GCSE) exams. 

Further education:

This optional stage encompasses post-16 education, including A-levels exams, vocational qualifications, and apprenticeships. Further education is offered at schools as well as in colleges and adult education institutes. A-levels exams are the primary qualification required for a university placement.

Higher education:

This refers to study beyond further education, primarily in universities and Higher Education Institutes. The UK higher education system is recognised internationally. It includes undergraduate and postgraduate courses. Entry typically requires A-levels exams or equivalent qualifications, and applications are made through The Universities and Colleges Admissions Service. 

View fullsize

Balliol College, Oxford

As an addendum to the above summary, here is a breakdown of the different types of school available in the UK. State education in the UK refers to government-funded schools that provide free education to children and are paid for by taxes. Every child is entitled to a place. These schools must generally follow the national curriculum, set by the Department of Education and are overseen by local authorities or directly by the government. There are several types of state-funded schools, including community schools, foundation and voluntary schools, academies, and free schools, each with varying degrees of independence from local authorities.

Types of schools:

• State Schools: Government-funded, following the national curriculum.

• Academies: Publicly funded but independent from local authorities.

• Free Schools: Newly established, publicly funded schools.

• Grammar Schools: Selective schools based on academic ability and an entrance exam. Publicly funded.

• Independent Schools (Private Schools): Funded by fees and not required to follow the national curriculum. 

• Home education. Schooling at home is an option in the UK. Parents are responsible for the costs of education, including materials, trips, and examinations. They don't have to follow the National Curriculum. 

Next let us consider what is exactly taught at school. The National Curriculum is a set of learning standards for England's local-authority-maintained schools. It outlines subjects and attainment targets across four key stages, ensuring children learn similar content and skills by age 16. It mandates core subjects like English, Maths, and Science at all key stages, while also including other foundation subjects such as Computing, Art, and Languages. While academies and independent schools don't have to follow it, the government is reviewing the framework to increase its relevance and ensure all state-funded schools teach the curriculum.

View fullsize

Department of Education, Westminster

Finally, here is a brief summary of the exams and tests that occur during a child’s formal education. The first significant test in the UK is a phonics screening check in Year 1. The UK school system's key public exams include SATs (Standard Assessment Tests) for primary school pupils at ages 7 and 11. GCSEs (General Certificates of Secondary Education) are taken at age 16 in Year 11. Students in Years 10 and 11 (Key Stage 4) typically study for 8-10 GCSEs, with English Language, English Literature, Maths, and Science (either combined or separate) being compulsory subjects in most schools. While students can choose additional subjects, these core subjects are required.  A-Levels (Advance Level), at age 18 in Year 12, are not mandatory and can be replaced with alternative vocational qualifications like BTECs and T-Levels. A-Levels are predominantly taken by students pursuing university higher education.

In the follow up blog post to this one, I recount my own experience of the UK education during the seventies and eighties. I shall try and highlight the differences between what were considered the educational norms in my day, compared to the current system. I will also explore a lot of the social and cultural changes that have happened over the forty years that have elapsed since I last attended any form of school. The most noticeable one being the notion that learning per se is a laudable undertaking, as opposed to specifically learning to meet the needs of the job market.

Blaugust 2025: Lessons Learned

View fullsize

This year’s Blaugust: Festival of Blogging has reached an end and it would appear that this event has been well received by those who have participated in it. I believe that there were 168 bloggers taking part this year, many of whom have not participated before. Some were new to blogging, where others simply wished to see if they could increase their writing output. As ever there was a wide variety of blog styles and subject matters and it has been most interesting to read new posts every day. I have attempted to leave comments and positive feedback where I can and I hope that some of these new blogs that I’ve discovered continue to write. Well done to everyone who took part. I hope it has been an enjoyable and informative process and that you have learned from it. I know that at least one blogger has determined that writing online is not for them, which is a valuable lesson.

As for myself, this year’s Blaugust has been broadly enjoyable from a writing perspective. I have posted every day and so met the goal that I set for myself at the beginning of the event. A slap up meal and a bottle of the good stuff awaits as a reward. I shall try to continue posting regularly in September but don’t feel disposed to make any commitments beyond that. The biggest impediment to writing I have at present is a neck injury that I recently “acquired”. I find sitting in my gaming chair at my desk can become painful after an hour or so. But like any problem, there are always ways to manage or work around it. Here are a few additional thoughts and lessons that I’ve learned from this year’s Blaugust. They’re in no particular order and I’ve simply written them down as they’ve occurred to me.

View fullsize

• Squarespace as a blogging platform, lacks several key features such as a word count and a means of counting published posts.

• The word count of a post on Contains Moderate Peril can range from 700 to 1,200 words.

• I can write short posts if I wish to but prefer to express myself in a more detailed and expressive fashion. I speak the same way, so it’s not my default position to be brief.

• I celebrated 18 years of blogging during Blaugust, so I cannot claim to be a newbie. However, like life itself there is always scope to learn new things and this year’s Blaugust participants have given me much food for thought.

• Lot’s of bloggers don’t worry about adding images to their text but I guess that very much depends upon what you write about.

• I think there is a finite number of blogs that you can effectively follow. I am presently tracking over two hundred blogs via Feedly and it is proving difficult to do this, due to the time it takes. I may have to do some “pruning”.

• It is reassuring to see people still expressing opinions on politics, current affairs and social issues. I understand how social media culture can be somewhat intimidating or unpleasant, so making any sort of public statement requires a personal “risk assessment”.

• Every blog post you read presents an opportunity to learn of a new pop culture reference.

• Blogs can directly or indirectly tell you about the author’s life. Some folk are going through a lot. Bear that in mind. Be kind or at least don’t be a fool.

• If you post pictures of your pets on your blog, then people will read it.

View fullsize

Reading new blogs via Blaugust: Festival of Blogging has been fun, as has getting to know their authors. It also highlights how the blogging scene is in constant motion and that people come and go over time. It brings absent friends to mind. Blaugust, as well as my 18 years of writing online, has brought back fond memories of numerous bloggers who have hung up their proverbial spurs and headed off into the sunset. However, that is the way of things. Nothing remains the same forever apart from those two hardy perennials, death and taxes. So it just remains for me to say goodbye to Blaugust 2025. With regard to those who have participated, let us remember the wise words of Young Mister Grace from the BBC sitcom Are You Being Served, “You’ve all done very well”.