“Buddy” and Analogue Horror
Upon first watch, Buddy feels like it should have been aired on Adult Swim at four in the morning.

It’s the year 2023. Unnoticed by the rest of the world, a small group of artists, enthusiasts and academics celebrate a 100 years of 16mm film. Meanwhile, the TV tube, the eponym for YouTube, but now incapable to receive even a single frame of moving image, has become a mere fetish for retro fans. Gone are the days when one could be lulled to sleep at night by the soothing white noise. But the echoes of neoliberal wisdom from the 80s and 90s will continue to reverberate in the ether forever...
Upon first watch, Buddy feels like it should have been aired on Adult Swim at four in the morning.
Few movies deal with aging (particularly aging women) with as much compassion as Relic does. Yet it’s not sickly sweet and not a soapbox rant against ageism. Relic simply is, allowing the horror to seep in quietly and carefully.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
A consumed-by-rage woman travels from universe to universe to avenge the death of her daughter by brutally killing her murderer over and over again. And that's all that she does.
By undermining the appeal and credibility of black characters, the show compromises the very idea of diversity and representation it sets to promote.