Hey Nightwalkers!
If you’ve been hanging around here for a while, you’ll know I’ve thrown the door open for questions, thoughts, and movies you want to dig into. Quietly (and not-so-quietly), I’ve been collecting them—emails, DMs, offhand comments that turned into proper conversations. Turns out, I’ve got enough to justify their own little corner of the blog.
So… enter Midweek Musings.
This is where the extra thoughts go—the stuff that pops up after I’ve already hit publish, or doesn’t really fit with the usual chaos of my Sunday Brew posts. It’s also the perfect spot for a cheeky rant, a random tangent, or a quick “oh, one more thing” before I sign off.
Will this land every Wednesday like clockwork? Jury’s still out. I’m not promising religious devotion just yet. For now, think of this as the overflow tray—where the extra thoughts, questions, and half-formed rants end up.
What I can promise is this: if it’s your question, you’ll know it’s yours—identity safely intact, of course. Alright. Let’s get cracking, shall we?
“Why do this here instead of a bigger site?
And honestly… freedom over money?”
I’ve written for other sites before, and anything I’ve published elsewhere is up in the press/portfolio section.
Honestly, writing for other outlets was fun and genuinely interesting—and the thing I probably miss the most is having an editor. That part? Underrated. But overall, it’s not really worth it for me. You’re limited in what you can say, you’re expected to constantly pitch ideas, and let’s kill the fantasy now: most sites either don’t pay at all or pay next to nothing. We’re talking five cents a word, if you’re lucky.
I started this space years ago as somewhere to rant about movies, and it’s taken a long time to get to a point where I’m posting consistently. Every writer starts somewhere, and sometimes it takes a while to actually find your voice.
I don’t earn anything from this site either. It’s a passion project, built around my love of cinema, without having to churn out soulless lists, trend-chasing fluff, or whatever the fuck most big sites are pushing this week. I did start adding Amazon affiliate links for some of the films I mention, mainly because—even with every streaming service under the sun—it can still be stupidly hard to track down certain movies. If there’s a way for you to own it and I get a tiny kickback, that’s us helping each other.
I’ve been pretty upfront about not chasing bigger platforms or stuffing this space with ads or paywalls. It needs to stay genuine—something for people who are actually interested, not just passing through. So yeah. Freedom matters. Being able to write whatever the fuck I want, whenever I want, without a deadline breathing down my neck? That’s the whole point.
“Loved the piece on Go Fish, but I’m surprised you didn’t bring up Blue Is the Warmest Colour — Did you leave that out intentionally?”
Ohhhhh… Blue Is the Warmest Colour… uffffff.
When I wrote the article on Go Fish, I wasn’t thinking about this one at all—I was just trying to make a point about representation. But let’s be real: for the most part, I’m a queer woman who dislikes the vast majority of queer films. Sounds nuts, I know—but there’s a method to my madness.
All I’ll say about Blue Is the Warmest Colour? The best thing to come out of it for me was Lykke Li’s song, “I Follow Rivers.” The film itself? Nah. I really didn’t enjoy it. And that’s putting it mildly. Aside from the laughably unrealistic scenes—you know the one, the so-called “acrobatic” scissoring? About as believable as a sunbathing seal mowing your lawn—the characters didn’t click for me at all. Turns out it’s based on a novel, which, full confession, I haven’t read yet.
That said, I do plan to dig into some queer films properly down the track, and this one’s on the list. I’ll give it the attention it deserves when I finally sit down to actually pen my thoughts.
“Would you ever let readers vote on what you cover next, or is that asking for trouble?”
Absolutely!
As the saying goes, opinions are like assholes—we all have them, some stink more than others, but we all have them. If there’s a film you’re dying for me to take apart, a random cinema-related thought that won’t leave your head, or even just a hot take that makes you twitchy, hit me up as chances are I will actually forget to put up a poll!
You can send me a message right here on the site, or slide into the DMs on the Instagram or Facebook page. Don’t worry about being “polite” or “proper”—throw your weird, wild, passionate, or completely ridiculous questions at me. I promise I’ll read them, I’ll consider them, and I might even roast them a little before giving you my honest thoughts. Ha!
Basically, nothing is off-limits. I’m here for it all!
“What’s one film you reckon everyone misunderstands?”
Without a doubt…
The Platform!
I actually wrote about this one a while back for Infamous Horror, and the article is still up on the blog. It’s even hanging out proudly in the Linktree link on Instagram, if you want to check it out.
Honestly, this is one of those films that sticks with you—equal parts brilliant and “what the actual fuck?” I dug deep into it and tried to be as objective as possible. Even with my epic Sherlock-Holmes-level sleuthing, there’s a good chance I could be off—because the director says very little about it outside of surface level, which makes me ask, what the fuck were you thinking, mate? There’s a lot of visuals and dialogue we need to tie together just to make sense of it. What I sometimes like to call artistic masturbation: all style, all ego, very little clarity.
And then there’s the layers of social commentary and allegory—there’s so much packed in there that it can seriously make your head hurt. It’s also one of those movies that leaves you wondering… the ending, the panna cotta scene, was argued like hell all over internet forums, and people are still sitting there thinking, what the fuck?
I’m always keen to chat and debate about it, and hear different thoughts.
“What’s your favourite all time movie?”
Alright, let’s get this out of the way: Fritz Lang’s Metropolis (1927) is my all-time favourite film. Hands down. No contest.
I first saw it when I was 15, in my high school studio arts class. I was completely mesmerised. The visuals, the scale, the audacity of it all—it hit me like a tonne of bricks. But it also woke me up to how the world actually works. Up until then, I was blissfully oblivious. Watching those workers grind away underground while the elites floated in luxury above? Yeah… suddenly I could see the divide, the hierarchy, the grind—it all hit me. Silent, black-and-white, and somehow screaming truth.
I know people these days struggle with silent films. I get it. But part of my DNA must just love German Expressionist cinema, because sometimes words mean fuck all. Metropolis didn’t need them for me—you just had to be present and take it all in. Let the visuals and the movement do all the talking.
And then there’s Maria—the robot. Honestly, she’s iconic. The design, the way she moves, the way she embodies chaos and seduction at the same time—it’s unforgettable. She’s more than a robot; she’s a symbol, a nightmare, and a statement that still gives me goosebumps.
And the themes—the rich vs. the poor, technology vs. humanity, power vs. survival—they’re still terrifyingly relevant today. And don’t get me started on the symbolism. Every time I watch it, I spot something new, some little detail that makes me go wow, Lang was insane. The scale, the ambition, the balls… it’s unmatched. If you love cinema even a little, you owe yourself a dive into this wild, silent, dystopian masterpiece.
Honestly, I could talk about this film forever.
Anyways…
That’s it for this week’s batch of questions.
Next week, expect more answers… and maybe a bit of a rant if something ridiculous pops into my head.
See you then.
~S.
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