Ken and Robin Consume Media: Supergirl, Widow’s Bay, Minions & Monsters

July 14th, 2026 | Robin

Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on a little podcast segment we like to call Tell Me More.

Recommended

Killing the Dead: Vampire Epidemics from Mesopotamia to the New World (Nonfiction, John Blair, 2025) Textual treatments of folkloric tradition and archaeological studies of graves whose bodies have been staked, gagged, nailed down and/or decapitated post-burial combine to reveal the development, geographic reach and waxing and waning activity patterns of belief in the undead marauders who would eventually be known as vampires. Rich survey of the unquiet dead recalls Ronald Hutton’s Witches in its sweep and rigorous reluctance to theorize beyond the evidence, as tempting as that may sometimes be.—RDL

Seventh Code (Film, Japan, Kiyoshi Kurosawa, 2013) Off-kilter young woman (Atsuko Maeda) stalks a businessman (Ryohei Suzuki) to Vladivostok, drawing a luckless restaurant owner (Hiroshi Yamamoto) to probe his shady enterprise. Hour-long feature deconstructs the espionage thriller into a cryptic, absurdist fable, with rock video.—RDL

Sword Devil (Film, Japan, Kinji Masumi, 1965) Maligned as a dog child due to the shameful circumstances of his birth, a lowly gardener (Raizo Ichikawa) serves his divided clan with preternatural running speed and mastery of a quick draw sword technique. Doomed samurai destiny served up with high theatricality and vivid sixties color. Aka Kenki.—RDL

Widow’s Bay Season 1 (Television, US, Apple+, Katie Dippold, 2026) Ignoring the warnings of a grizzled fisherman (Stephen Root) who insists their isolated New England island community labors under a dread curse, a skittish mayor (Matthew Rhys) turns  the place into a tourist destination. Achieves a refreshing tone by setting aside the usual broadness of horror comedy for subtle, character-driven gags and scares that play it straight.—RDL

Good

Cheyenne (Film, US, Raoul Walsh, 1947) Pressed into service hunting a doggerel-writing stagecoach bandit, a clever gambler (Dennis Morgan) poses as the husband of his target’s judgmental wife (Jane Wyman). Unexpected mix of rom com and investigative western benefits from Walsh’s snappy pacing.—RDL

The Damned Trilogy (Fiction, Alan Dean Foster, 1991–1993) In A Call to Arms, the hard-pressed alien alliance known as the Weave makes first contact with an impossible species: intelligent and technically capable, but eager to kill. (It’s us. We’re the species.) In The False Mirror, mind-controlling aliens try to build their own Humans to fight off the suddenly-victorious Weave. In The Spoils of War, an alien historian tries to figure out what the Humans are up to. A Humanity Fuck Yeah! series with a twist, Foster’s workmanlike prose conveys most of the events from an alien perspective, which seems disconcerting but eventually becomes one of the best things in the trilogy.—KH

Fruit of Paradise (Film, Czechoslovakia, Věra Chytilová, 1970) Neglected young wife (Jitka Nováková) at a health resort develops a fascination for a red-clad guest (Jan Schmid) the ladies find irresistible. Like most experimental films, this psychedelic feminist Garden of Eden retelling holds its shots too long.—RDL

Minions & Monsters (Film, US, Pierre Coffin, 2026) One tribe of yellow minions accidentally hits it big as stars of the silent film era. When sound ruins them, their most creative member James (Coffin) decides to summon a tentacled monster (Trey Parker) with a salvaged grimoire, to star in a career-restoring monster movie. Everyone involved loved early Hollywood and the Cthulhu Mythos as much as I do, almost, but tying those two threads together with the minions’ trademark idiocy proves a bridge too far: it loses steam in the last half despite great work from Parker and Jesse Eisenberg as an out-of-period alien robot.—KH

Supergirl (Film, US, Craig Gillespie, 2026) When forgettable alien thug Krem (Matthias Schoenaerts) poisons Krypto, it rouses Supergirl (Milly Alcock, delightful in a thankless part) from her interstellar bar crawl to accompany Ruthye (Eve Ridley) on her mission of revenge against him. Pointless, unexplained foes and a script that doesn’t know what it wants to accomplish besides rip off Guardians of the Galaxy 3 weigh down what could have been a cool space Western take on True Grit. Jason Momoa accomplishes the almost impossible task of making me glad to see Lobo.—KH

The Vultures (Film, France, Henri Verneuil, 1984) When his Foreign Legion platoon is all but wiped out wresting a Tunisian bank full of gold bullion from German gunners, an insouciant sergeant (Jean-Paul Belmondo) decides to steal it, over the fist-shaped objections of his bullish superior (Michel Constantine). Jaunty wartime black comedy of reversals and betrayals.—RDL

Ken and Robin Consume Media: Underdog Sumo, a Mythic River Revived, and a Chaotic Chase Through 70s New York

July 7th, 2026 | Robin

Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on a little podcast segment we like to call Tell Me More.

Recommended

Night of the Juggler (Film, US, Robert Butler, 1980) Relentless ex-cop (James Brolin) hurtles through the mean streets of late 70s NYC to rescue his teen daughter from an unhinged kidnapper (Cliff Gorman) who thinks he’s grabbed a rich kid. Juxtaposing careening, chaos-forward story choices with moments of New York new wave realism, this recently restored grindhouse epic made on a studio budget is the sort of trashterpiece that must be seen to be believed.—RDL

Saraswati (Fiction, Gurnaik Johal, 2026) An ultranationalist project to revive a Hindu goddess’ namesake river touches the lives of a legendary couple’s far flung descendants. Sweeping, up-to-the-minute narrative of pseudoarchaeology, eco-sabotage and diaspora maintains momentum over multiple protagonist shifts.—RDL

A Screaming Man (Film, Chad, Mahamat-Saleh Haroun, 2010) Against a backdrop of worsening civil war, a proud hotel pool manager (Youssouf Djaoro) succumbs to despair when management demotes him in favor of his light-hearted son (Diouc Koma). Stripped-down naturalistic drama builds methodically to an anti-war punch.—RDL

Sumo Do, Sumo Don’t (Film, Japan, Masayuki Suō, 1992) To earn the credits needed to graduate, a low-effort student agrees to join his university’s dying sumo club. No genre allows less variation than the misfit sports comedy, and this follows its rules with generous charm.—RDL

Good

The Age of Success (Film, South Korea, Jang Sung-Woo, 1988) Hitler-admiring gung ho sales guy (Ahn Sung-ki) rides his will to power, and his relationship with the bar owner (Lee Hye-young) who has the inside scoop on the competition, to the boardroom of a seasoning mix manufacturer. Slashing satire loses points for a throwaway ending.—RDL

Okay

So Long at the Fair (Film, UK, Anthony Darnborough & Terence Fisher, 1950) A young woman visiting the 1889 Paris Exposition with her tired, stuffy brother (David Tomlinson) investigates with the aid of a handsome painter (Dirk Bogarde) when not only the brother but the room he was staying in vanish from their hotel, whose staff claim he was never there. Despite its apparent relevance to our interests, this Belle Époque mystery thriller can’t pay off the expectations it raises, due to its origins in an oft-adapted 19th century urban legend. Swap in a Carcosan explanation and you can run it as a scenario for your Yellow King: Paris players.—RDL

Ken and Robin Consume Media: The Boroughs, Bone Temple, Good Boy and Patton Oswalt

June 30th, 2026 | Robin

Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on a little podcast segment we like to call Tell Me More.

Recommended

28 Years Later: the Bone Temple (Film, UK/US, Nia DaCosta, 2026) As kid survivor Spike (Alfie Williams) is forcibly inducted into a brutal thrill-kill gang led by track-suited Satanist Sir Lord Jimmy Crystal (Jack O’Donnell), Dr. Kelson (Ralph Fiennes) establishes trust with an Alpha Infected (Chi Lewis-Parry). With its questions of civilization in a depopulated landscape, this post-apocalyptic survival horror continuation at first appears to invoke the western, but ultimately reveals deeper, location-appropriate roots in the Medieval mystery play.—RDL

Babel: Around the World in Twenty Languages (Nonfiction, Gaston Dorren, 2018) A survey of the most spoken tongues uses each as a hook for a different linguistic concept, from difficulty of learning (Vietnamese) to intricacies of grammar (Spanish), with the relationship between language and the imposition of political power the most common theme. Fact-packed, accessible intro to linguistics that had me questioning the role of the standards-defending writer in bolstering reactionary purism.—RDL

The Boroughs Season 1 (Television, US, Netflix, Jeffrey Addiss and Will Matthews, 2026) Stubborn widower (Alfred Molina) discovers that the retirement community he has newly moved into has a monster problem and investigates with the aid of fellow retirees, ex-activists (Alfre Woodard, Clarke Peters), a too-young-to-be-here record exec (Geena Davis) and a dying doctor (Denis Hare). Fun SF horror adventure with an 80s Amblin vibe. Netflix just canceled it despite its high ratings but it completes its storyline and wouldn’t necessarily benefit from years of reiteration, so count that as a point in its favor.—RDL

Fremont (Film, US, Babak Jalali, 2023) Now living in America and working at a fortune cookie factory, a quietly self-possessed former Afghan translator for the US Army (Anaita Wali Zada) resists the efforts of those around her to draw her out of her shell. Academy ratio B&W photography cues the viewer to the poetic understatement of this indie character piece.—RDL

Good Boy (Film, US, Ben Leonberg, 2025) When Indy’s owner Todd (Shane Jensen) moves into his grandfather’s remote house, the loyal dog sees a spectral figure that means Todd harm. The canine viewpoint makes all the difference in this thankfully tight 72-minute film; it’s rare that one weird trick works this well. Leonberg’s camera work and Sam Boase-Miller’s score build a creditably (though not exceptionally) spooky experience around Indy’s performance.—KH

Humint (Film, South Korea, Ryoo Seung-wan, 2026) South Korean agent’s (Zo In-sung) attempt to recruit as an informant a North Korean trafficking victim (Shin Sae-Kyeong) in Vladivostok hits a surprise snag in the form of her ex (Park Jeong-min), a North Korean operative investigating the same bad guys. Tense spy thriller of conflicted motives and omnipresent surveillance upshifts to rattling action in its final act.—RDL

In This Our Life (Film, US, John Huston, 1942) Enthralling sociopath (Bette Davis) rains chaos on her family, stealing a husband from her even-keeled sister (Olivia DeHavilland) and manipulating the blowhard business shark uncle (Charles Coburn) whose affection for her borders on the unseemly. Socially conscious Southern Gothic drama churns toward a noirish conclusion.—RDL

Patton Oswalt: Tea & Scotch (Stand-up, Patton Oswalt, 2026) A small club performance lets Oswalt relax into his string of anecdotes and observations, lightly spangled with jokes per se. However, more than enough of them build to hilarious pitch, and even relaxed Oswalt is still one of the best to do it.—KH

Good

The Lizard War and The Helverti Invasion (Fiction, John Dalmas, 1989 and 2003) Following WWIII, a mysterious force renews Earth’s ecology and reshuffles its now black-powder tech population. Opportunistic aliens try to take over, but in both cases the total-human-potential Order of St. Higuchi sends Brother Luis to stop them. Wild setting is mostly backdrop for well-told infiltration and military adventure. A little draggy and a little more arbitrary, but creative.—KH

Ken and Robin Consume Media: Backrooms, Obsession, Fallout, and The Sleuth of Baghdad

June 23rd, 2026 | Robin

Ken and Robin Consume Media is brought to you by the discriminating and good-looking backers of the Ken and Robin Talk About Stuff Patreon. Each week we provide capsule reviews of the books, movies, TV seasons and more we cram into our hyper-analytical sensoriums. Join the Patreon to help pick the items we’ll talk about in greater depth on a little podcast segment we like to call Tell Me More.

The Pinnacle

Dry Summer (Film, Turkey, Metin Erksan, 1964) Domineering farmer (Erol Tas) bullies his younger brother (Ulvi Dogan) into his plan to deprive neighbors of their property’s spring water, while coveting his strong-willed bride (Hülya Koçyigit). Stark morality tale ratchets up the audience’s desire for its incorrigible bastard protagonist’s comeuppance.—RDL

Recommended

Backrooms (Film, US, Kane Parsons, 2026) Embittered furniture store owner (Chiwetel Ejiofor) stumbles into a labyrinthine otherworld that imperfectly mimics grim, anonymous commercial interior spaces; his tense therapist (Renate Reinsve) goes to look for him. Not since Kiyoshi Kurosawa crept onto the horror scene has deteriorating industrial design provoked as much unease as in this adeptly realized weird fable.—RDL

Fallout Season 1 (Television, US, Prime, Geneva Robertson-Dworet and Graham Wagner, 2025) In a post-apocalyptic wasteland, a sheltered vault-dweller (Ella Purnell) seeks a decapitated head McGuffin to free her kidnapped father (Kyle McLachlan), crossing paths with an ill-treated soldier (Aaron Moten) and mutant revenant gunslinger (Walton Goggins) who want it for their own purposes. Keeps the momentum on the boil and lore revelations coming while threading the actions of multiple protagonists.—RDL

Obsession (Film, US, Curry Barker, 2026) Romantically maladroit music shop employee (Michael Johnston) makes an ill-advised wish for the intense love of a co-worker (Inde Navarette) who probably thinks of him as strictly a friend. Navarette’s calibrated yet jaw-dropping performance as the unfortunate wish object powers a sly riff on a classic horror premise.—RDL

Secret Mall Apartment (Film, US, Jeremy Workman, 2024) In 2004 a group of street-level Providence RI artists find a large dead spot behind the scenes of a high-end shopping mall and for four years covertly transform it into a second living space. Documentary uses footage taken by its subjects on early digital cameras to tell a shaggy dog story exploring the questions around hidden and ephemeral art. The role played in all of this by the weird geometry of the mall, built as it is to hug the rerouted Providence River, remains an exercise for the Mythos-aware viewer.—RDL

The Sleuth of Baghdad (Fiction, Charles B. Child, 2002) This collection assembles fifteen of the 34 stories, published between 1947 and 1969, featuring homicide inspector Chafik J. Chafik of the Baghdad Police. A mix of procedural and pure deduction, with a smattering of terrific impossible murders, the evocation of a thoroughly destroyed milieu is its most interesting feature.—KH

Okay

Sucker Free City (Film, US, Spike Lee, 2013) The paths of an empathetic gangbanger (Anthony Mackie), felonious finance company gopher (Ben Crowley), and impetuous triad debt collector (Ken Leung) cross in San Francisco’s Balkanized criminal underworld. Pilot for unproduced Showtime show, shot on blown-out early oughts digital video, transfers Lee’s concern for clashing local communities out of NYC, with less rounded characterization than his own scripts and a tacked-on ending.—RDL

Ken and Robin Consume Media: Backrooms, The Furious, and One of Korea’s Robin Hoods

June 16th, 2026 | Robin

Recommended

Backrooms (Film, US, Kane Parsons, 2026) Failed architect Clark (Chiwetel Ejiofor) phases into an eerie yellow liminal space beside his furniture store’s basement and the creepery commences. Renate Reinsve enlivens a tricky role as Clark’s baggage-laden therapist, and the “follow these characters’ linear path through a series of increasingly unnerving sets” storyline relies strongly on her and Ejiofor’s sheer believability. You can occasionally sense the script and scope threatening to escape directorial control, but those swerves often bring their own frisson. And hey, it’s Parsons’ first feature film.—KH

The French Conspiracy (Film, France, Yves Boisset, 1972) Burned out activist (Jean-Louis Trintignant) becomes a pawn in a Deuxieme Bureau scheme to lure an exiled Algerian resistance leader (Gian Maria Volonte) onto French soil. Paranoid spy thriller with a stacked cast and more actual geopolitics than the genre usually admits.—RDL

The Furious (Film, Hong Kong/US, Kenji Tanigaki, 2026) Mute repairman Wei (Miao Xie) and investigator Navin (Joe Taslim) team up to rescue loved ones from evil human traffickers in not-Bangkok. Although Taslim’s dogged charm remains intact, and up-and-comer Brian Le stuns in a “biggest henchman” role, the real standout is Tanigaki’s collaboration with action choreographer Kensuke Sonomura. Together, they create a symphony of bone-crunching battles featuring whole new ways to dodge, hit, weave, and climb in combat. Not quite best of breed, but hey, it’s Tanigaki’s first feature film.—KH

The Furious (Film, Hong Kong, Kenji Tanigaki, 2026) In his effort to rescue his preteen daughter from human traffickers, a mute handyman (Miao Xie) teams with an equally fight-capable independent investigator (Joe Taslim) searching for his missing reporter wife. In his first feature as helmer, the most exciting action director working today delivers complex, crunching battles in a style adding MMA moves to restrained wirework. HK cinema fans will remember the lead from his scrappy kung fu kid roles in such 90s classics as My Father Is a Hero and The New Legend of Shaolin.—RDL

Lim Kkeok-jeong (Film, South Korea, Yu Hyun-mok, 1961) While ass-kicking the minions of a corrupt mayor, a heroic bandit discovers the righteousness of his daughter. Period adventure epic about Korea’s real-life 16th century Robin Hood equivalent was considered a lost film until a print was found in the Library of Congress and restored by the Korean Film Archive.—RDL

One of Them Days (Film, US, Lawrence Lamont, 2025) When the latter’s sponging boyfriend absconds with their rent money, together Dreux (Keke Palmer) and flaky Alyssa (SZA) quest through South L.A. to replace it. Affirming portrait of a community built around a chaotic buddy comedy.—RDL

Okay

The Law According to Lidia Poët Season 3 (Television, Italy, Netflix, Guido Iuculano and Davide Orsini, 2026) Lidia puts her brother’s political career in jeopardy by browbeating him into defending a friend who killed her abusive husband. To its detriment the show’s final season adopts a serialized structure, giving perfunctory treatment to its cases of the week.—RDL