Among The Stars

Big News-TV and Film, movies, Stewart Pink, TV

Coming soon to Disney+ this six part original docuseries series follows Nasa Astronaut Captain Chris Cassidy as he prepares for and embarks on one last space mission.

With intimate footage, personal video diaries and livestream footage — stationed both on Earth and in space — we gain a rare insight into the work of an incredible team of engineers, flight controllers and specialists who take on dangerous and awe-inspiring missions that quite literally push the limits of mankind.

Following the teams’ successes and failures over the course of two years, “Among the Stars” provides raw, behind-the-scenes access to the critically important NASA mission of repairing a $2 billion science experiment, the Alpha Magnetic Spectrometer (AMS), which aims to reveal the origins of the universe. To repair the AMS, Cassidy and his team must undertake a series of complex spacewalks, but the story quickly becomes a tale about the broader team at NASA, their roles on this daring mission and the immense pressure to succeed as the mission becomes uncertain when the world goes into lockdown from COVID-19.

A front row seat on a mission to space blasting off 6th October

Filmed across the globe on location from NASA’s Johnson Space Center in Houston to the European Space Agency in Cologne to the Japanese Aerospace Exploration Agency outside of Tokyo and the Russian Space Agency in Star City, the series captures the true scale of a global effort and goes beyond the spacesuit, as we are transported to meet other astronauts and engineers from around the world.

“Among The Stars” captures the last bastion of the previous era of space travel through shuttle astronauts, gives us a sneak preview into what the future holds with NASA’s plans to return to the moon, and how new commercial partnerships are pushing the agencies and mankind further into space.

“Among The Stars,” from Fulwell 73 premieres on Disney+ on 6th October.

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Secrets of the Whales

Big News-TV and Film, movies, Stewart Pink, TV

Coming soon to Disney+ this stunning new four part original series from National Geographic premieres on Earth Day, 22nd April and is awash with never before seen moments. Produced by legendary filmmaker James Cameron and narrated by Sigourney Weaver the series sees two lifelong conservationists reunited for the first time since Avatar.

Filmed over 3 years in 24 global locations this groundbreaking new series ventures deep into the fascinating world of whales as we witness the extraordinary communication skills and intricate social structures to reveal life and love from their perspective. Throughout this epic journey we learn that whales are far more complex and more like us than we ever imagined.

Secrets of the Whales unveils new science and technology to spotlight whales as they have never been seen before. Featuring the expansive knowledge and skill of acclaimed National Geographic Explorer and Photographer Brian Skerry, we witness how whales make lifelong friendships, teach clan heritage and traditions to their young and even grieve for the loss of loved ones. This is a personal story that very few are lucky enough to witness … until now.

The series includes scientific breakthroughs and never before seen moments such as evidence suggesting that Belugas give themselves names so groups can keep track of each other; baby belugas sharing their moms’ call signs, 30,000 humpbacks charging down the coast of Australia towards Antarctica and using breeches to talk to each other, the first cross-species adoption ever recorded; Beluga pod adopts narwhal as part of the pod and the first ever recording of a baby sperm whale feeding.

A sperm whale calf is recorded feeding for the first time ever.

With a beautiful soundtrack composed, produced and mixed by Raphaelle Thibaut, the three-year project will also be featured in the new National Geographic book, Secrets of the Whales, now on sale, and the May issue of National Geographic magazine, The Ocean Issue. 

“Secrets of the Whales,” from National Geographic begins streaming on Disney+ on April 22.

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What’s On? New To Streaming Guide

movies, Stewart Pink, TV

To save you a few hours of fruitless flicking through the gigantic mountain of options available to stream we’ve compiled a simple list below detailing some of the new, original TV & Films coming to Amazon Prime and Disney+ streaming each month. Enjoy!

Don’t forget, you can submit YOUR review of what you’ve watched too. Click here for more information on submitting your review.


Amazon Prime

American Gods Series 3 

A recently released ex-convict named Shadow meets a mysterious man who calls himself “Wednesday” and who knows more than he first seems to about Shadow’s life and past.

This Is Us Series 5  

A heartwarming and emotional story about a unique set of triplets, their struggles and their wonderful parents.

Invincible Series 1– 26th March

Animated series based on the Skybound/Image comic about a teenager whose father is the most powerful superhero on the planet.

Coming 2 America – 5th March

The African monarch Akeem learns he has a long-lost son in the United States and must return to America to meet this unexpected heir and build a relationship with his son.

War with Grandpa – 19th March

Upset that he has to share the room he loves with his grandfather, Peter decides to declare war in an attempt to get it back.

Made in Italy – 28th March

A bohemian artist travels from London to Italy with his estranged son to sell the house he inherited from his late wife.


Wandavision Finale – 5th March

Blends the style of classic sitcoms with the MCU in which Wanda Maximoff and Vision -two super-powered beings living their ideal suburban lives-begin to suspect that everything is not as it seems.

The Falcon and The Winter Soldier – 19th March

Marvel Studios’ “The Falcon and The Winter Soldier” stars Anthony Mackie as Sam Wilson aka The Falcon, and Sebastian Stan as Bucky Barnes aka The Winter Soldier. The pair, who came together in the final moments of “Avengers: Endgame,” team up on a global adventure that tests their abilities—and their patience. Directed by Kari Skogland with Malcolm Spellman serving as head writer, the series also stars Daniel Brühl as Zemo, Emily VanCamp as Sharon Carter, and Wyatt Russell as John Walker.

The Mighty Ducks: Game Changers – 26th March

In present day Minnesota, the Mighty Ducks have evolved from scrappy underdogs to an ultra-competitive, powerhouse youth hockey team. After 12-year-old Evan Morrow (Brady Noon) is unceremoniously cut from the Ducks, he and his mom, Alex (Lauren Graham), set out to build their own team of misfits to challenge the cutthroat, win-at-all-costs culture of youth sports today. With the help of Gordon Bombay (Emilio Estevez), they rediscover the joys of playing just for love of the game.

Disney+ Star

It’s also well worth another look at Disney’s newly upgraded back catalogue. With Star, Disney+ customers will find a huge and impressively random collection of new content. Click here for the full list.

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Twin Review

movies, Stewart Pink, TV

Kristofer Hivju, Rebekka Nystabakk, Mathilde Holtedahl Cuhra, Gunnar Eriksson

Directed by: Erika Calmeyer, Kristoffer Metcalfe

When Erik, a cash-strapped beach bum loses his home/caravan he turns to his estranged twin brother Adam for refuge. Identical in their appearance but extreme opposites in every other way, their differences soon boil over. After Adam’s wife Ingrid brings a short and violent fight between the twins to an accidental but deadly end, Erik and Ingrid’s lives change forever as they attempt to conceal Adam’s death.

From the synopsis, you’d be forgiven for thinking the story seems a little far-fetched and perhaps the first episode or two may feel a little predictable. But Twin gradually unfolds over 8 episodes into one of the most memorable, twisty and brilliantly executed TV dramas you’ll see.

As Erik and Ingrid suppress the grief of their loss and go to ever increasing lengths to conceal the truth we are taken on an emotional and difficult journey that explores the real challenges of marriage, family life and loss amidst a fictional story that’s even more dramatic than it’s gorgeous setting.

Each character has their relatable and infuriating flaws yet they still command your empathy and you’ll find a bond with each of them. Kristofer Hivju’s portrayal of Erik brings this gentle giant of few words an air of vulnerability and could bring a tear to anyone’s eye in the climactic, heart wrenching church scene. Gunnar Eriksson’s determined and grief-stricken Frank breathes excitement into Twin’s investigative scenes while Rebekka Nystabakk’s Ingrid expertly balances the anger and frustrations of a struggling mother with a loving, take-charge personality.

Twin perfectly encapsulates everything there is to love about the “Nordic Noir” genre, a complex and emotionally charged story with a backdrop that’s as breathtakingly dramatic and stunning as its cast.

Filmed on location amidst the beautiful Norwegian mountains and fjords of northern Norway, Twin is set on the island of Sakrisøy and around the stunning Lofoten archipelago.

You’ll want to go as soon as you’ve seen it – click here to find out more for your travel plans.

Have you seen Twin? What did you think?

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Traces Review

movies, Stewart Pink, TV, Uncategorized

Molly Windsor, Laura Fraser, Jennifer Spence, Martin Compston

Directed by: Mary Nighy & Rebecca Gatward

While attending an online forensic course, a young lab assistant discovers that the fictitious case study has a link to her past. With the help of two professors she works on bringing a killer to justice.

Time passes, life goes on and the past dies… or does it?

Traces takes on the difficult challenge of solving two separate mysteries within the same series. As a fictitious case study unearths the demons of her past, we follow a young forensic lab assistant, Emma, on her quest for truth while we simultaneously examine the forensic investigation into the cause of a deadly fire. Returning to her hometown and reliving the trauma of her past, Emma reconnects with the memories and people from her childhood as she begins to piece together a new and disturbing picture of an unsolved historic murder.

With 7 episodes to fill, a crime drama can often drag its heels or fly through the big reveal. Masterfully, Traces seems to unravel its mystery with forensic precision designed to keep you guessing for just long enough before it drops an unexpected bombshell that practically forces you to watch the next episode.

Set in Dundee it makes for a delightful change to see somewhere other than Glasgow as the backdrop to a Scottish TV series. The dialogue is, at times, a little basic but the writers and actors still succeeded in developing their characters to tell a thoroughly engaging and emotive story with believable, relatable flaws and justifiable motives. Molly Windsor’s Emma goes through just about every emotion you’ve known with a raw vulnerability that suits her character to a tee and she holds her own in the midst of an experienced, familiar and fantastic cast. In particular, Martin Compston’s performance as Daniel has the depth to make you forget you’re watching a work of fiction.

If you’re looking to get your teeth into a murder mystery that’s complex enough to puzzle you, dramatic enough to excite you and engaging enough to move you then you’ve found it.

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Top Movies of 2020

Big News-TV and Film, movies, Stewart Pink

Like a lot of people, I’ve not found the time, tickets or tenacity to have seen anywhere near the usual amount of new movies this year. With release schedules as changeable as my local bus timetable, theatres closed for a large portion of 2020 and purse strings tighter than ever, I’ve relied heavily on the major streaming services for my source of “new” and although that means I haven’t seen a lot of the blockbusters – it also means I’ve still got plenty to look forward to watching while we’re stuck indoors again in 2021! That’s not to say the film industry hasn’t been adapting to accommodate this bizarre landscape – streaming has never been bigger and 2020 has seen some major shakeups in the way movies are released; changes likely to stay with us long after we take our masks off. However, though the pool is a small one, I thought a little about some of my favourite films I’ve seen that were released this year and listed them below; my recommendations.

Eurovision Song Contest: The Story of Fire Saga

This is a film that knows what it is. The performances are about as over the top and ridiculous as the song contest normally is and the storyline is pure silliness. Right from the beginning there’s a party for the Icelandic contestants, our main characters aren’t invited and as the party boat blows up Lars and Sigrid start screaming in horror as arms, legs and body parts fall from the sky; they’re identifying which contestants they belong to as they start to realise they’re the only ones left and start celebrating. It’s horrific yet hilarious and that’s kind of what the film is! I’ve always enjoyed the random cheesiness of Eurovision and this movie captures it perfectly. If you liked Blades Of Glory, this is right up your street.

The Old Guard

Based on a comic book series and released in a year that’s felt a little thin on the ground when it comes to blockbuster fantasy action, this certainly filled the Star Wars, Marvel, DC, James Bond shaped hole. I hadn’t read the comics so I didn’t know the story but I felt they gave enough background to set the scene for a newbie. Charleze Theron was a first class action heroine and although the villain and the final showdown seemed to turn into more of a Johnny English spin-off, ultimately, I liked it. Probably more for the escapism action and lack of options this year but if they make another one – I’ll be there.

The Lovebirds

This was a lot of fun. It’s obviously got a timely message in it’s storyline about racism and police brutality in America but the film doesn’t get overly “messagy”. It fights against the injustice with what it’s good at, punchlines; non-stop laugh to laugh. We’re taken on an increasingly periliess and ridiculous journey as the main characters are on the run whilst trying to solve the case and clear their name whilst also attending a party so that their friends don’t suspect anything unusual. The cast are fantastic and if you want a film that’s relatively short by today’s standards and doesn’t waste any time in getting to the laughs – this is the one. Loved it.

The Personal History of David Copperfield

A fantastic reinvention of a classic story, given a really modern twist and told in a way that I’ve never really seen before; it cleverly blends writing, narrating and shooting a scene all at once. The film portrays a young man with a tragic backstory whose path is continually shaped by the crazy, mad and bizarre characters that come into his life. The cast in this are brilliant, all of them have such off-the-wall and memorable performances that I left with a renewed sense that ultimately life is full of strange characters who make our stories what they are.


Sam Mendes’ epic war film. I thought this was stunning and so immersive in what we can only imagine it must’ve been like to live and be in the trenches of World War One. It brilliantly demonstrates how fragile and thin the margin between winning and losing, surviving and dying really was in war. In the trailer there a some massive show stopping scenes but in the actual film it focuses more on the danger and peril. We follow one soldier’s journey through the film as he creeps around battlefields, abandoned villages and trenches, trying not to be seen by the enemy and I think that might’ve disappointed some people who were expecting another Saving Private Ryan. However, I thought in the same way Valkyrie leaves you with a new perspective on a particular moment in history, for me, 1917 really gives a new insight into being on the ground in war away from the Hollywood battle scenes. It’s pretty intense but wow, what a film.

What have you enjoyed watching this year?

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Finding Netflix’s Hidden Christmas Content

Features, movies, Stewart Pink, TV

With the big C just around the corner and most of us having spent the majority of this year devouring every box set, blockbuster and B-movie on the watch list, 2020 could be a big year for Christmas films. As always, Netflix has you covered with a huge catalogue of options from old classics to new releases and everything in between. However, to manage such a massive library, menus are curated by algorithms that only show you what your Netflix account thinks you usually enjoy… not much good when Christmas only comes around once a year!

So to save you from repetitive strain injury and a fruitless 30 minute scroll through the menus here’s a top secret tip to find some new (and old) festive favourites. All you need to do is log in to your Netflix account on an internet browser (use a computer: not on your TV or app) and copy this address followed by any of the codes below:

Add any of these codes to the end of the address above to start browsing a category. When you find something you like, add it to your list and it’ll be waiting for you next time you fire up your TV or app. You can save next year’s Christmas too if you add this web page to your favourites; we’ll make sure the codes are up to date next year.

British Christmas Children & Family Films – 1527064

Canadian Christmas Children & Family Films – 1721544

Christmas Children & Family Films  – 1474017

Christmas Children & Family Films for ages 5 to 7 – 1477201

Christmas Children & Family Films for ages 8 to 10 – 1477204

Christmas Children & Family Films for ages 11 to 12 – 1477206

Christmas Children & Family Films from the 1990s – 1476024

European Christmas Children & Family Films – 1527063

Feel-good Christmas Children & Family Films – 1475066

Goofy Christmas Children & Family Films – 1475071

Romantic Christmas Films – 1394527

Alternatively, for all of Netflix’s Christmas viewing click here

Don’t forget, if you do watch something that you think everyone should hear about then we’d love for you to share YOUR review with our readers. To find out more and to submit a review click here.

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The Invisible Man

movies, Pink in Ink, Uncategorized

Elizabeth Moss, Oliver Jackson-Cohen, Harriet Dyer, Aldis Hodge

Directed by- Leigh Whannell

When Cecilia’s abusive ex takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see.


First of all, I just want to say that this evoked a lot of emotion in me.

Based on the novel, published in 1897, by the renowned author H. G. Wells. In 2005, his title, War of the Worlds, starring Tom Cruise, which was a success… So successful, while I was in the cinema with Stew and our parents at the ripe age of 10, I had to leave the theatre with my Mum because I was so terrified while Stew and Dad stayed to watch the rest. Not my finest moment…

So when I saw that another page-to-screen of Wells’ The Invisible Man was released, I got quite excited. After hearing and reading a few negative feedbacks, I reserved judgement to make my own opinions… I wish that I’d listened to those who’d already seen it!

The first 30 minutes are good, with our leading lady, Cecelia (Elizabeth Moss) escapes the hold her abusive boyfriend, Adrian (Oliver Jackson-Cohen) has had on her. After her dramatic escape, Cecelia is living with James (Aldis Hodge), a family friend, single parent to his teenage daughter who also just so happens to be a cop. After a while sister visits to tell Cecelia that her ex has died by an apparent suicide. Now, with no reason to fear Adrian, she tells her sister, Emily (Harriet Dyer) and James what abuse she had suffered at the hands of this boyfriend, notably physical and sexual assault and says that she’s been secretly taking birth-control. But then we run into one plot-hole after another.

During a job interview, Cecelia falls unconscious and finds that the drugs she used to sedate her ex with on that dreaded night, have been given to her and, while on the phone to the doctor, sees the bottle with a bloody thumbprint. Then she starts to notice that an invisible force is tormenting her and believes it to be her ex, but despite the evidence of the bloody thumbprint and her bloods show high levels of a sedative that she lost, indicating her being drugged, no one believes her. That’s my first issue.

After receiving a text from Adrian, she calls his number and finds she is led to the attic where his phone, a kitchen-knife in a zip-lock bag and her work, she pours wall-paint down the attic door and finally see’s an invisible man. But then, he vanishes and is able to wash off emulsion in seconds with no remnants of it on the suit. If you’ve ever decorated a room, you know that it takes a long time to wash that stuff off!

Next issue – While on the run from the invisible man suspected to be her ex, she meets with her sister in a restaurant to try and get someone to believe her and help her. Then suddenly, there’s a floating kitchen-knife that kills her sister. Cecelia is immediately arrested and sent to a criminal-psychiatric facility. Surely, since this rendition is based in the modern-day, there would be CCTV of a floating knife! And since this happened in a packed restaurant with other diners surrounding the two, someone would’ve noticed a floating knife! Botched investigation!

After her arrest, admission to the crimanal-psychiatric unit, we finally hear the voice of the invisible man. Shock, horror- it’s Adrian! And she’s pregnant… after Adrian supposedly died. So, she was raped by the invisible man without knowing. You’d notice the dull-ache and most likely notice the seed when you wake up, no one is able to cover-up something like that so forensically! Come on!

Cecelia attacks Adrian, the invisible man, with a pen, the wardens hear a commotion in her cell and run to investigate but are subsequently killed by Adrian. Cecelia makes her escape but is stopped by wardens that come to get control of the situation but is killed by the invisible man. So, each one is killed by a gunshot but they assume that Cecelia did it despite being unarmed and there’s a CCTV camera right in shot! Anyone that see’s the commotion from the control room will see a figure, not only glitching because of the damage it sustained from the pen going through it, but, if they missed that big hint, they’d see a floating gun at least!

When she escaped the psychiatric facility, she doesn’t need to worry about locked doors and key-codes apparently, because she just walks right out of there without the guards noticing the door opening by an invisible force. And he conveniently has rain running right through him so is undetectable, until Hollywood wanted you to see him.

After all these plot-holes and just generally annoying, convenient things, it just becomes too predictable.

Invisible man is killed, but then it’s NOT Adrian and James, the cop, despite all the mounting evidence, and also being attacked by the invisible man, still doesn’t believe Cecelia when she says there’s two suits!

All in all, without completely ruining the ending, I wouldn’t recommend this and am honestly shocked at how highly rated this is! As one user called this on IMDB; “The Invisible Plot” and I couldn’t agree more.

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Rebecca Review

movies, Stewart Pink
 Lily JamesArmie HammerKristin Scott Thomas

Directed by: Ben Wheatley

A young newlywed arrives at her husband’s imposing family estate on a windswept English coast and finds herself battling the shadow of his first wife, Rebecca, whose legacy lives on in the house long after her death.

Every now and then somebody decides to recreate a classic and there’s no denying Daphne Du Maurier’s Rebecca is just that. If you only read one chapter in one book then the first chapter of Rebecca should be it, Du Maurier is the undisputed champion of powerful imagery through descriptive writing and this is a prime example. If you’ve never read the book or you’re unfamiliar with her works then you’re sorely missing out. You’re also unlikely to have a go at turning it into a film but I’d hazard a guess this may well be the case for Ben Wheatley’s remake. 

The film begins with a nod to the book as Lily James narrates the opening few lines. As with many stories, the beginning of Rebecca is incredibly important as it should create a telling forecast of what is to come, leaving us with a sense of excitement and intrigue over what circumstances led our character here. Du Maurier took us on a beautifully captivating journey through her dream and to recreate that, all that needed to be done here was to read what the majority of the audience already know word by word. Instead, as is the case for the whole of this film, the scene is so incredibly brief that we barely even notice it has begun before we’re transported to the next bright and sunny moment. 

The story of Rebecca is a dark one. We follow a plain and shy woman living in the shadow of her rude and aloof husband’s late wife, Rebecca. This movie fails to achieve any of this. Instead, it’s bright and colourful where it should be dark and moody. Armie Hammer’s Maxim de Winter is a stylish and attentive lover where he should be blunt, distant and proper. His early scenes paint his character in such a way that it seems hilarious when he does later try to assert some authority in the role. Less like a man of authority and more like Basil Faulty in charge of Downton Abbey. Lily James’ new Mrs de Winter should be a character intimidated by shadows; Rebecca’s and her own. In this she’s curious, daring and at one point even goes so far as to fire Kristen Scott Thomas’ Mrs Danvers! (I would too; she should be grim, strict and terrifying but with this portrayal of the character in charge at Manderley it’s no wonder everything’s such a mess.)

Believe it or not, those are just the little things. In 1940, Alfred Hitchcock’s screen adaptation of Rebecca was a success. Why? Because Hitchcock’s mastery of creating suspense perfectly matched Du Maurrier’s intentions in the book. Of course, filmed in 1940, it’s a little dated to say the least and watching it now seems as if the cast were paid a bonus for speaking the dialogue as quickly as possible. But, given all the might of modern cinema this latest reincarnation of Rebecca is the exact opposite, seemingly racing through every moment, completely missing any opportunity to create suspense in order to get to the next piece of dialogue as quickly as possible. 

If you can bring yourself to watch the entire movie I suspect you’ll be baffled by much of it because it completely fails to make you feel the emotions you need to understand the twists in the story. The ending differs quite a lot from the book and from Hitchcock’s version too but make no mistake, originality doesn’t improve it. Reading the book, you need no explanation because you absorb the beginning, engage with the middle and love the ending. Hitchcock’s ending, to give it a fairer comparison, is perhaps a little fast but much simpler. This, Wheatley’s version, if you’ll pardon the pun, is completely lost at sea. 

Ironic really, that Rebecca is ultimately a tale of somebody never able to live up to a predecessor. Funnily enough, this film didn’t come close. 

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The Sister Review

movies, Stewart Pink, TV

Russell Tovey, Bertie Carvel, Amrita Acharia

Directed by : Niall MacCormick

Almost a decade into his new devoted married life Nathan is rocked to the core when Bob, an unwelcome face from the past, turns up on his doorstep with shocking news, triggering a series of catastrophic decisions.

As the title of the series suggests, and without any spoilers, the main plot centres around something that happened involving the sister of Holly. We join the story some years later and the crux of the plot centres around her now husband Nathan, and Bob an old friend of Nathan’s who turns up out of the blue. 

Again, without giving too much away, this is intended to be a ghostly story that leans towards the supernatural, a question of redemption over guilt – can the past catch up with the present? In short, none of it really caught up with the build up and the only thing that haunted me was why so much red wine went to waste in so many scenes. Seriously, why so many glasses and so little drinking? 

From the beginning we’re meant to feel that the shadow of Holly’s sister is with her throughout and although the majority of the budget seems to have been spent on a million photographs of her, I never felt particularly moved by their alleged sisterly bond. We’re also supposed to feel a heartbreaking and rising tension between Holly and her husband, Nathan but if anything, we rarely see many signs of a genuinely intimate relationship and if I was a marriage councillor, even in their honeymoon period, I’d have hedged my bets that it wasn’t working out. 

There are a few nicely shot and well performed moments where Russel Tovey’s Nathan lets frustrations get the better of him and we see the potential of his character come through. Often in these scenes, Bertie Carvel supports well as the incredibly and increasingly creepy Bob. 

Ultimately though, you’ll need to excuse the fact that the main event the plot centres around is the consequence of a quite irrational reaction and suspend your common sense when it tells you “he wouldn’t do that” before, with a glass of red wine (if there’s any left) and a few hours to waste you might, possibly, enjoy speculating over how you would’ve written and ended this short series better.

There are some moments of tension, a few slightly creepy scenes and if you’re looking for something that doesn’t require too much concentration this Halloween with a nod to the supernatural that certainly won’t keep you up at night, this might do the trick… though it’s not much of a treat.

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