"WE ALL FLOAT...": A Consciousness-Based Appreciation for IT: WELCOME TO DERRY (2025)
Stephen King stopped writing horror after IT — he just didn't tell anyone. This piece reads IT: WELCOME TO DERRY as the belated proof: a town that farms its own children for fear, a general who wants to weaponize a monster's appetite as a unifying national strategy, and a handful of misfit kids who beat both of them the only way any generation ever has — together, by refusing to isolate. Derry is America. Pennywise is the oldest trick there is.
The Enemy Never Shows Its Face: “Why we cannot stop telling the Ingalls Little House story”
Little House on the Prairie was never really about blizzards and bake sales — it's about a family getting moved around a map by forces that never show their faces: the railroad, the land office, a federal government that promised the Osage the same ground it later sold out from under both of them. The 1974 series shrank that villain down to a con man Walnut Grove could beat by dinner; the new Netflix season is the first to tell it at full scale. Freedom, JB argues, was never handed down from the capital. It's practiced locally, by people who know your name.
FIGHT THE EMPIRE! - Why 'Andor Is The Most Important Story in 'Star Wars
Andor isn't the most important Star Wars story because of its politics or its craft, though it has both — it's the root system underneath everything else in the mythology, the story that turns Alderaan and Order 66 from spectacle into the genocide a billion children already understood as wrong. JB Minton's real argument is the distinction between a rebellion and a revolution: a rebellion is people finally standing up, but a revolution is what happens when that anger gets organized into something that can actually replace what it's fighting. Everything that ends in a Death Star exploding starts here, with a prison break, a funeral, and Maarva Andor's holographic order to a planet that's been asleep too long: fight.