Shannon Campe, Author at The Spool | The Spool

Shannon Campe, Author at The Spool

Shannon Campe is a writer, performer, and producer living in Chicago, Illinois. Her work includes the series “Little Women: a Modern Audio Drama.” Visit her online at Shannon-Campe.com.

The Ballad of Songbirds and Snakes proves itself in the arena

Despite a challenging premise and an overlong runtime, the Hunger Games prequel makes the most of the hand it’s been dealt.

The Marvels is a confounding crossover

The MCU’s latest entry throws the unfamiliar into a murderer’s row of crossovers and Easter eggs, with only a charming Iman Vellani coming out on..

Shawn Levy’s All the Light We Cannot See fumbles in darkness

Netflix's attempt to adapt the well-received novel will make viewers wonder why they bothered.

Unraveling pop-culture one thread at a time

The Spool is an irreverent, informative source for film and television coverage, focused on diverse, thoughtful opinions that seek out a greater understanding of the media we love.

Dicks: The Musical is all too flaccid

"A24's first musical" fails to justify its transition from UCB sketch to full-length film.

Rebecca proves a pale imitator of its predecessor and the source material

Wheatley's adaptation of the classic gothic novel frequently looks lush, but can't back up its visuals

Strays isn’t fit for human nor beast

Homeward Bound but raunchy squanders the writer and the director's talents.

With Barbie, Greta Gerwig shows how well she can play with dolls

Margot Robbie fills the plastic heels of the iconic girls' doll in Gerwig's bubbly, socially-conscious comedy.

No Hard Feelings provides a breath of fresh air

Jennifer Lawrence's return to theatres proves a welcome, raunchy reminder of how much she was missed.

Elemental finds Pixar soggy and without a spark

The latest offering suggests the company needs to break new ground if it wants to remain America's first name in innovative animation.

Filmmaker of the Month

Traversing Baz Lurhmann’s sonic landscapes

Even when he's not making musical movies, the Aussie auteur's movies are always musical.

Halle Bailey aside, The Little Mermaid sinks under its own weight

Rob Marshall's murky remake of the Disney classic drowns in plodding scripting and terrifying character designs, taking away from its luminous lead performance.

You Season 4 Part 2 reaffirms Joe’s monstrousness

After flirting with justifying its unreliable narrator, the show reminds viewers of exactly who he is once again.

A study of adaptation: Daisy Jones & The Six

Exploring how Prime Video's band on the run drama captures and strays from the novel's charms.

You Season 4 reinvents itself abroad

Netflix's dark stalker dramedy heads across the pond to encounter a new strain of awful rich people.

Accused proves a good break from the true crime churn

FOX's new drama offers a more thoughtful take on the crime and punishment procedural.

Don’t Worry Darling is all surface, no substance

While not as bad as gossip columns would have you believe, Olivia's Wilde's feminist nightmare is aesthetically pleasing, but not much else.

The Woman King brings back the old-fashioned historical epic with style

Viola Davis heads an excellent cast in Gina Prince-Bythewood's exhilarating action movie.

A League of Their Own plays its game with skill and wit

Abbi Jacobson's take on wartime women's baseball teams isn't quite pitching a no-hitter, but its character work—especially from Chanté Adams—and comedy are quite strong.

Bodies, Bodies, Bodies Drops In Final Third

A24's latest succumbs to excess as the body count and Twitter speak rise.

Netflix presents the complete idiot’s guide to Persuasion

Dumbed down doesn't even begin to describe this disastrous treatment of arguably one of Jane Austen's best novels.

Pachinko is lush, moving & far too short

Apple TV+'s extravagant adaptation of the best selling novel suffers from a condensed storyline & underdeveloped characters

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