As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.
Tonight, for #ScarySocial, I will be hosting 2002’s Resident Evil!
If you want to join us on Saturday night, just hop onto twitter, start the film at 9 pm et, and use the #ScarySocial hashtag! The film is available on Prime! I’ll be there co-hosting and I imagine some other members of the TSL Crew will be there as well. It’s a friendly group and welcoming of newcomers so don’t be shy!
Chuck Norris was there for me at the very beginning. When I fell in love with action movies, it was primarily because of three men, first Charles Bronson, followed by Clint Eastwood and Chuck Norris. Back in the 80’s when I was too young to drive, I couldn’t just pull a movie up on my phone or TV anytime I wanted. I had to rely on certain TV channels, like Fox 16 out of Little Rock, and the occasional trip to the video store. Chuck Norris was a megastar on Fox 16 and on the shelves of the video store. Fox 16 would have movie weeks filled with movies like SILENT RAGE, LONE WOLF MCQUADE, MISSING IN ACTION, and CODE OF SILENCE. These movies are just a part of who I am, and Chuck Norris always came across as a fundamentally decent and courageous man on screen.
Chuck may not have been a critical darling, but he had a presence and charisma about him that drew me in from the very beginning. Even today, Norris has his own unique section in my massive collection of physical media. Up to this point, only the loss of my hero Charles Bronson back in 2003 has stirred up these same kinds of feelings that I’m feeling today. I remember when my son discovered the “Chuck Norris Facts” when he was about 10 years old or so. He loved them so much and would tell me his favorites constantly. It made me happy that my own son knew who Chuck Norris was, even if it was through extreme comedic myth making! I was so happy when Norris cameo’d in THE EXPENDABLES 2 and even told one of this Chuck Norris facts. We loved it and it’s definitely my favorite EXPENDABLES movie.
A little part of me is gone tonight knowing that Norris has passed away. From this point forward, anytime I think of Norris or watch his movies, it will be from a perspective that he’s know longer alive. But one of the great things about movies is that whenever I want to see a young, vibrant Norris, I just have to go to my movie shelves and I can be watching THE DELTA FORCE in a matter of moments. I had to learn how to deal with it for Charles Bronson. Now I’ll do the same with Chuck Norris.
What really nudges Interspecies Reviewers into “guilty pleasure” territory is the production’s split personality. On one hand, it’s shamelessly explicit for a late‑night TV anime; on the other, it’s structurally tight and surprisingly imaginative with its worldbuilding. The fantasy ecosystem is treated almost like a handbook of interspecies compatibility: differences in mana, lifespan, physiology, and even perception of age all factor into how each reviewer scores their night out. You’ll get a gag about the dragon girl’s overwhelming presence right next to a mini‑lecture on why fairies have extremely strict size limitations for their patrons. That blend of horny premise and nerdy specificity makes it feel like your group chat’s “what if” jokes got adapted into a full production.
There’s also the whole meta layer: Interspecies Reviewers was so out there that major distributors and broadcasters backed away from it, dropping or canceling its run because of how far it pushed explicit content for television. For a modern TV anime to get pulled partway through its broadcast is rare, and that notoriety quickly became part of the show’s identity. Just knowing that multiple networks balked at it adds to the sense that you’re watching something you’re not “supposed” to be watching—always a potent ingredient in guilty pleasure status.
The humor, crucially, is broader than just “look, boobs.” A lot of the jokes revolve around how absurdly bureaucratic and normalized sex work is in this world, from porter guilds hauling review sheets across the land to rival reviewers trying to torpedo or inflate ratings. There’s even an incubus critic who takes offense at the main crew’s negative scores and starts leaving his own glowing reviews, only for his swagger to be cut short by a vengeful lover. Moments like that reframe the series as a raunchy workplace comedy disguised as fantasy porn: everyone has opinions, everyone’s hustling, and nobody’s as objective as they pretend.
None of this magically elevates Interspecies Reviewers into high art, but it does make the show a lot more watchable than its reputation suggests. The episodic structure gives it a breezy, “one more episode” pacing; you always want to see what weird race or gimmick they’ll tackle next. The scoring boards at the end of each brothel visit become their own running joke, with wildly varying ratings, petty commentary, and the occasional self‑own when a character realizes their kink is not shared by anyone else in the party. It’s almost like a fantasy version of Anthony Bourdain crossed with late‑night cable: travel to a new spot, experience the local flavor, then sit around and compare notes over drinks.
All that said, this is exactly the sort of series most people will feel weird admitting they enjoyed. The explicit content isn’t a light garnish; it’s the central axis of every single episode. There’s no serious emotional through‑line to hide behind, no grand plot twist, no lofty theme you can trot out to justify the time investment. It’s just well‑executed trash: unapologetically focused on sex, gleefully juvenile in its punchlines, and willing to go places that many “edgy” shows only flirt with. Even fans who praise it often do so with qualifiers, acknowledging that it’s “kind of weird” while admitting it’s hot, funny, or unexpectedly creative.
That tension—between embarrassment and enjoyment—is the core of why Interspecies Reviewers works as a guilty pleasure. One side of you rolls your eyes at how lowbrow the premise is, yet the other side recognizes that the show is actually doing some clever things with subjectivity, fantasy biology, and the review culture we live in. You can’t really defend it in polite company, and you probably won’t see it on anyone’s “Top 10 Must‑Watch Anime for Beginners” list, but you also might find yourself remembering specific gags, species breakdowns, or character reactions long after you’ve finished it.
So, is Interspecies Reviewers good? In a conventional sense, maybe not. In the “I had more fun with this than with half the safe, respectable shows in its season” sense, absolutely. It’s crude, controversial, and brazenly fixated on its own niche, but it’s also surprisingly consistent, inventive with its setups, and genuinely funny if you’re on its wavelength. That combination of shame and amusement, of “I really shouldn’t be enjoying this” tangled up with “but I kind of am,” is exactly what makes Interspecies Reviewers one of anime’s purest modern guilty pleasures.
I honestly never thought I’d write those words. Chuck Norris has passed away at the age of 86. Chuck inspired generation of martial artists. He won the respect of Bruce Lee. He choreographed some of the best fight scenes of the early 70s. He never claimed to be a great actor but he still starred in some of the most entertaining films ever made. He is survived by five children and 13 grandchildren. By all accounts, he was a genuinely good guy who took his position as a role model seriously. He will be missed. It’s hard to know what else to say right now so I’ll let Chuck do the talking:
Today is Spike Lee’s birthday so today’s scene that I love is the rather random ending of Lee’s 1991 film, Jungle Fever. I’ve seen this referred to as being the best worst ending of a movie and I don’t now if I’d go quite that far but it’s definitely in contention.
4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
Today, we pay tribute to Hollywood with 4 shots from 4 films!
4 Shots From 4 Films About Hollywood
Beyond The Valley Of The Dolls (1970, dir by Russ Meyer, DP: Fred J. Koenekamp)
Hollywood Boulevard (1976, dir by Allan Arkush and Joe Dante, DP: Jamie Anderson)
Mulholland Drive (2001, dir by David Lynch, DP: Peter Deming)
Once Upon A Time In Hollywood (2019, dir by Quentin Tarantino, DP: Robert Richardson)
As some of our regular readers undoubtedly know, I am involved in a few weekly watch parties. On Twitter, I host #FridayNightFlix every Friday and I co-host #ScarySocial on Saturday. On Mastodon, I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.
Tonight, at 10 pm et, I will be hosting #FridayNightFlix! The movie? 1984’s Fear City!
If you want to join us this Friday, just hop onto twitter, find Fear City on Prime or Tubi, start the movie at 10 pm et, and use the #FridayNightFlix hashtag! I’ll be there happily tweeting. It’s a friendly group and welcoming of newcomers so don’t be shy.
Through the Shattered Lens 