Press "Enter" to skip to content

I can bear pain myself…

Spoiler-Alert!

This article contains mild spoilers about the first season of Outlander, in particular the episode "The Watch" (S01E13).

We hear, read and tell countless stories in our lives. Our imagination seems immeasurable. And yet we find ourselves returning to some themes again and again, even though one might think we have no need to repeat ourselves. One of these themes, however, that somehow seems to hold a very special place in our hearts, is love. Of course. What else has such power? Love seems to find a way into almost all our stories - in one way or another. As if we could not (or would not) escape it.

Funny if we both got it wrong, eh?

Spoiler-Alert!

This post contains spoilers for the first season of Good Omens.

One cannot really let a story begin earlier than at the beginning. It is therefore fair to say that the connection between Aziraphale and Crowley has lasted longer than anything known to us. Especially when there was supposed to be no "connection" between the two of them at all! They should be arch-enemies, for after all Crowley is a demon and Erziraphael an angel. But an actual biblical matter brought them together, a matter that has to do with nothing less than a very specific apple and a flaming sword.

Star Trek: The not quite omnipotent Q

Spoiler-Alert!

This article contains mild spoilers for almost all Star Trek episodes in which Q appears. These include: "Encounter at Farpoint" (TNG S01E01 and E02), "Hide and Q" (TNG S01E10), "Déjà Q" (TNG S03E13), "Tapestry" (TNG S06E15), "Death Wish" (VOY S02E18), "The Q and the Grey" (VOY S03E11) and "Q2" (VOY S07E19).

Q may be popular with the viewers of the late 20th and early 21st century, but for Jean-Luc Picard and Catherine Janeway and everyone on board the Enterprise and Voyager, he is more of a nuisance - and a very dangerous one at that. Q loves chaos and very rarely reveals his intentions, but that's not even the main problem: Q possesses an extraordinary power that makes him seem almost like a god. But in the end, even he is not omnipotent, as already mentioned in the article "Star Trek: How the encounter at Farpoint changed the fate of humankind". At this point, however, I would like to go into this in more detail.

Not all treasure is silver and gold, mate

Spoiler-Alert!

This article contains spoilers about "Pirates of the Caribbean".

Who would expect words of real wisdom from the mouth of a pirate - an extremely strange one at that? But if anyone is always good for a surprise, it is Captain Jack Sparrow. He truly does not live up to the initial accusation that he is the worst pirate one has ever seen. On the contrary, he proves to be the best of his guild, even if or precisely because his manner is not what one would expect from a pirate.

Sometimes a feeling is all we have

Spoiler-Alert!

This post contains spoilers for the episode "A Taste Of Armageddon" of the series "Star Trek: The Original Series" (TOS S01E23).

It always seems amazing how people in the past - when popular science fiction was still in its infancy, so to speak - thought of humanity's relationship to technology in the future. Sometimes we are dominated by it, it itself becomes our greatest enemy, and sometimes it is an instrument that serves our own progress. The hopes and fears reflected in it are almost as numerous as the stars in our sky. This ambivalence is expressed in a strikingly witty way in the series "Star Trek: The Original Series", if nothing else.

THE UNQUIET DEAD (NW S01E03)

Spoiler-Alert!

This article contains spoilers for the Doctor-Who-Episode "The Unquiet Dead" (NW S01E03).

About the plot

The episode begins in a funeral parlour. We see a grandson mourning at his grandmother's open coffin and the undertaker. When the grandson asks to be alone with the dead woman for a moment, something strange and frightening happens. A blue mist rises, the woman's face begins to glow and she opens her eyes. The completely stunned grandson is grabbed and strangled. The undertaker comes back into the room because of the sounds of fighting and manages to free the man from his grandmother's grip. He tries to lock the supposed dead woman back into the coffin, but is overpowered by her. From his words we can infer that this is not the first such incident. The dead woman leaves the funeral home and as the blue glow grows stronger, she lets out a scream.

In a short cutscene we see the Doctor and Rose trying with some difficulty to steer the TARDIS. The Doctor manoeuvres them into what appears to be the year 1860.

Back at the Undertaker's, he calls his maid Gwyneth and, when she appears, reproaches her for not being there. He orders her to harness the carriage and reports what has happened. Again it becomes clear that this was not the first incident of this kind and Gwyneth, speaks of the house being cursed and that they desperately need help. We also learn that the walking dead's grandson was probably killed by her.

The TARDIS materialises in a side street and we see Rose and the Doctor lying on the ground laughing. The Doctor is convinced he has taken them both to Naples for Christmas Eve in 1860. When Rose just wants to storm out the door, the Doctor reprimands her, as she would probably cause a riot in her current clothes. So Rose is sent to the dressing room.

Meanwhile, we again see the so-far unsuccessful efforts of the undertaker and Gwyneth to find the dead woman. Due to the hopeless search, the undertaker forces his maid to use her gift, which he calls the second sight. After a brief refusal, Gwyneth senses the wandering deceased's thoughts. She realises that shortly before her death, the wanted woman was going to see a very well-known man.

Next we see Charles Dickens sitting in his dressing room, apparently suffering from a headache. A man points out to him that Dickens needs to go on stage. Dickens complains to the man about his discomfort, which is mainly the repetition of the same performance over and over again.

Rose emerges from the dressing room again and her outfit is complimented by the Doctor. The two leave the TARDIS and step out into the snow.

Charles Dickens steps in front of an applauding audience, in which the walking dead can already be seen. She stares at the celebrated author. At the same time, Gwyneth and her employer, as well as the Doctor and Rose, pass by the theatre. Gwyneth is sure that the target of their search is inside. The Doctor buys a newspaper and notices that he has got it a bit wrong. It is not 1860 but 1869 and they are not in Naples but in Cardiff. On stage Charles Dickens is reciting from his well-known Christmas story. In the middle of the recitation, the dead woman's face begins to glow bluish again, but this time the glow leaves her body and flies around the room. The audience panics and against the tide of people Rose, the Doctor, the Undertaker and Gwyneth enter the room. The latter grab the woman's slumped body and carry it out of the room, with Rose in pursuit. The doctor, meanwhile, introduces himself to Dickens and asks him things about the apparition which he thinks are a bad joke.

Outside, Rose confronts Gwyneth, who tries to talk her way out of the matter. However, when Rose realises that the woman is dead, the undertaker is forced to sedate her and lock her in the car, under protest from Gwyneth, as she has already seen too much. Inside, the doctor realises that the apparition is a being made of gas. He runs outside and only sees the carriage driving away. When he hijacks Dickens' carriage to pursue him, he also learns who the man is whose performance has been disrupted. The doctor immediately reveals himself to be an ardent admirer.

The undertaker and Gwyneth bar Rose on a table. When there is a knock at the door, the undertaker instructs his maid to turn away the knockers and hides. Meanwhile, Rose awakens from her stupor, while in the background the grandson also awakens and lunges at Rose with his grandmother. However, the Doctor and Charles Dickens are able to save her and the Doctor talks to the creatures. They ask him to open the rift, as they are weak and cannot exist in their present form.

The protagonists have an animated discussion about what has happened. Dickens does not believe what he has seen and thinks it is an illusion. Gwyneth gives the Doctor pause when she hands him a cup of tea with the words "just the way they like it". The Doctor explains that the cause of the apparitions is a rift in the space-time continuum that is widening.

The Doctor then talks to Dickens about what he thinks must be illusions and gives him something to think about. In addition, Rose converses with Gwyneth and is confronted with the social circumstances and customs of the time she is visiting, throwing Gwyneth into a certain amused consternation. Through a remark about Rose's dead father, she becomes aware of Gwyneth's special ability. When this is revealed to her, the Doctor hears this too, explaining it by saying that she grew up close to the rift.

This gives the Doctor the idea of holding a seánce, which Dickens attends very reluctantly. The blue mist enters the room and the Doctor realises that Gwyneth is controlling the rift, not being controlled by it. Gas beings materialise behind her, astonishing those present and revealing themselves to be Gelth. They ask the doctor for help, as they are the last of their kind. The eternal war has destroyed their bodies and made them refugees. To help the Gelth, Gwyneth is to be taken to the rift and open it so that the Gelth can continue to exist in the bodies of deceased humans.

After the Gelth disappear and Gwyneth wakes up from a faint, everyone debates whether Gwyneth should open the rift and whether it is right to let the Gelth walk the earth in corpses. However, Gwyneth makes this decision herself and decides to help the Gelth.

In the morgue, the Doctor enlightens Rose that time can be rewritten. Then the Gelth show up and are happy to be helped. The Doctor makes the condition that this is only an interim solution and that he will take the Gelth to another place where they can form their own bodies.

After Gwyneth has placed herself in an archway and opened the passageway, however, the Gelth reveal their true colours and it turns out that it is an invasion. Billions of Gelth want to cross over to Earth and they all need corpses as new bodies.

How they want to obtain these bodies is then promptly shown when the undertaker, after trying in vain to get Gwyneth to close the rift, is killed by a resurrected corpse and is promptly "occupied" by a Gelth as well. The Gelth legions take possession of more and more corpses in the morgue and the Doctor and Rose can only barely escape behind an iron barred door. While the Doctor reproaches the Gelth for hoodwinking him, Dickens flees the house but is pursued by the Gelth. As he flees, he has a brilliant idea. He extinguishes the flames of the gas lights and turns on the gas at the same time. When the doctor then also rips the gas pipe out of the wall, the Gelth are drawn out of their bodies into the gas, as it is more like their natural environment.

The Doctor now tries to get Gwyneth to close the rift before the living people present suffocate. But Gwyneth cannot do this. However, she sees an opportunity to sacrifice herself and keep the Gelth in the house. Rose tries to stop her, but the Doctor realises that she was already dead. Dickens gets Rose out of the building and the Doctor makes it out too, just before Gwyneth ignites the gas with a match. At the farewell afterwards, the Doctor gives great comfort to Charles Dickens, who will die in the coming year, by revealing to him that his works will last forever.

Time should actually be linear. Actually, we experience each day only once and also only those days that are actually located in our lifetime and those again only where we are. No human being has the ability to travel to a time and place at will. However, through her newfound friendship with the Doctor, Rose is granted this chance. Having last been to the distant future, the two are about to travel back in time - and meet Charles Dickens!

To turn on the light

Spoiler-Alert!

This article contains mild spoilers about Harry Potter III: The Prisoner of Azkaban.

With a bloodcurdling squeal, the constant "Dadamm-dadamm" of the train comes to a halt. Where there should be the joyful or excited talk and giggles of hundreds of children, there is only tense whispering. Fearful glances roam the grounds. The castle, which is actually home and school in equal measure, seems different today than it usually does. Today the mist hides more than forests and magic. You can almost feel them, the ghosts that can bring the worst memories to light. It is the 1st of September 1993 and a new school year begins at Hogwarts and it brings with it a whole new darkness.

If you live an ordinary life…

Spoiler-Alert!

This article contains slight spoilers about the film "Passengers" (2016) and the novel "Around the World in Eighty Days" by Jules Verne and all adaptations.

What do we dream of? How do we imagine our life, our future? What are our hopes and wishes? Such existential questions have great power to drive or paralyse us. They can make us aware of the responsibility we have while the earth keeps turning. Because no one can make better decisions about our lives than we can. So what on earth do we do with the time we have?

Deeds that move the wheels of the world

My first idea this Wednesday was to write something about the quote "Even the smallest person can change the course of the future", which comes from the Lord of the Rings movies and is spoken by Galadriel. But then I came across a short article by Marcel Aubron-Bülles that reminded me of the quote which can be seen as the inspiration for Galadriel's words, which only occur in the movies:

Why main characters die – or: the rediscovery of self-sacrifice

Spoiler-Alert!

This article will be about the deaths of some of the main characters. Some heavy spoilers about Marvel's Iron Man, Avengers: Infinity War and Endgame, Star Wars Episode VII: The Force Awakens, VIII: The Last Jedi and IX: The Rise of Skywalker, as well as Logan - The Wolverine, Harry Potter and the Deathly Hallows, The Lord of the Rings and the musical Hamilton are therefore unfortunately unavoidable!

When I think back to my last visits to the cinema, many exciting, thrilling and elaborate productions come to mind. No problem, no threat (e.g. the extinction of half of all life?!) is so great that the screen heroes and heroines would not and must not face it. One element, a certain motif, appears very often at the moment - at least in my opinion: important characters die. However, they are not simply killed by a villain, no, they sacrifice themselves to defeat evil and save the day. To save (human) lives.