Pop & Unpop Culture. The best in independent publishing.
JENNIFER WALLIS on Andrew Sinclair’s 1973 film, Blue Blood, its real-life and fictional inspirations, and — more importantly perhaps — an arresting performance by Oliver Reed.
Jennifer Wallis reviews Network’s newly-restored DVD release of Just Like a Woman (1966), and enters a surreal cinematic world where hippies, Nazi architects, and unhappy wives find their place in 1960s London.
Jennifer Wallis reviews Network’s newly-remastered release of Brian Desmond Hurst’s Behind the Mask (1958), a cautionary tale of nepotism and competition in a 1950s hospital.
Tasteless or underrated? Jennifer Wallis makes the case in support of Michael Winner’s supernatural horror The Sentinel.
Part 2 of our interview with A THRILLER in Every Corner author Martin Marshall. The darker side of the Brian Clemens’ anthology series, and novel tie-ins.
MARTIN MARSHALL’s recent book, A THRILLER in Every Corner, is a meticulously researched valentine to the Brian Clemens’ series that captivated TV audiences in the 70s. In the first of two posts, fellow Thriller fan JENNIFER WALLIS speaks to Martin about the book and what it is that gives the series its enduring appeal.
A recent addition to the stable of Netflix docuseries, Crime Scene: The Vanishing at the Cecil Hotel is not the crime the makers had hoped it to be. David Kerekes and Jennifer Wallis look for the abyss.
The pandemic has made the world a quieter place. Jennifer Wallis misses the noise, and writes here about silence and the struggle to fill it.
Jennifer Wallis explores the history of children’s records, and childhood encounters with a sinister talking piano.
Scouring the Headpress shelves, Jennifer Wallis falls down the rabbit hole with probably the only book to bring together Clark Kent, Queen Victoria, and Alice in Wonderland.
Power Snatched artwork by L Jamal Walton
Power Snatched artwork by L Jamal Walton
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