Writer-Director Liam Gavin’s A Dark Song (2016) promises its audience horror, delivers creeping unease, and ultimately yields itself up to awe—taking us on a journey from the depths of entropic despair to the heights of spiritual renewal.
The most basic hopefulness present in every autobiographical disaster tale is its very existence. The name of the author on the front cover, together with their picture on the back flap, proclaims to the reader, “I survived.”
Love and Monsters pushes beneath the familiar “unstoppable force of love” trope to unveil our varied attempts at quelling the painful longing that often hangs in the shadows of it: loneliness.
The best ending possible to the Mass Effect trilogy is easiest to achieve with the help of the Quarians and the Geth. It also requires a lot of cooperation from other various peoples around the entire galaxy.
At its heart, Wynd is about our own search for renewal and who we become through the journey.
But what the writers knew that the viewers did not is that history—as Battlestar understood it—was neither linear nor cyclical. Quite surprisingly, and to the consternation of more than a few, it was Jewish.
Throughout Sunderland’ Til I Die, the club burns through new coaches, players, and strategies attempting easy tweaks and quick fixes. But there is no single problem keeping them from winning.
Whereas the world of addictive pleasure teaches us to feel, the world of beauty teaches us to sacrifice: to go beyond attention to the self and give attention toward another.
We’re three months into 2021. Is it everything you hoped? Or nothing like you dreamed? For many of us, the excitement has worn off, and the hard work of renewal has begun.
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Our mental frames can lock us into patterns and ruts, but that doesn’t mean we are stuck with the same thinking for life.
The timelessness of stories reflects our longing for an existence unmarred by death.
