Kicking off with one of the strongest pilots in recent memory, Yellowjackets splits a narrative between a girls’ soccer team whose plane goes down in the mountains during the 90s, and the lives of the survivors in the present day.
It’s ominous, foreboding, and gives you enough information upfront to know that things are going to get bad, before expertly dancing back and forth between the time periods.
The soundtrack is fantastic, the production value is top-notch, the editing is masterful.
The performances too deserve special mention — the cast are excellent, but Juliette Lewis and Christina Ricci are bringing career-best character work to their roles.
There’s a tonne more intrigue left, with plenty of clever misdirects and setups. Some of the gore is not for the faint of heart.
An absolutely stellar first season, here’s hoping it can maintain.
It’s long been held that Isaac Asimov’s titanic science fiction book series Foundation could not be adapted. As it stands, it still hasn’t been.
There are ten fairly short novels comprising Foundation, the bulk of which are made up of anthologised tales of men in rooms discussing historical events in extraordinarily dry fashion. They’re fascinating reads, absolutely, but they don’t make for exciting television.
The Apple+ series counterbalances this by altering the characters and the narratives to focus on some of the action of the various conflicts, however in doing so it fundamentally alters what Foundation is.
The problems come when the cold, clinical narratives about predictive models of mathematics and “psycho-history” from the novels are adapted somehow into storylines that border on mysticism and the supernatural, while handwaving away what should be hard explanations as simply fatalism cloaked in “very fancy maths”.
In the novels, the moral is that individual actions are essentially meaningless against the tide of culture and time. Humanity as a large-scale movement in eminently predictable in its behaviours, and individuals are not be able to alter this course, only adapt and prepare for its eventualities.
In the show, individuals shift and alter events, and talk of mathematical predetermination on granular scale. They have visions and talk about fate and higher individual purpose. It’s a complete inversion of the point and emphasis of the books, and as such, Foundation still cannot be said to have been adapted.
There is certainly some fantastic work going into this. The cast are excellent, the effects and designs are extremely well executed. Some of the concepts presented are fascinating.
As an original, standalone sci-fi series, it’s pretty decent for the most part. But as an adaptation, it fails, and it fails hardest when it deviates furthest from the source material.
Of course, Succession is still actually billed as a comedy, though it’s so massively steeped in its satire while it plays totally straight. The humour comes from just how nightmarishly awful this family is—doubled again because it feels like it could be a biopic series about the Murdochs or the Packers. Even the Trumps are more comical in real life than the fictional Roy family.
We follow the Roys during a time of upheaval at their massive media conglomerate. It’s a family affair, so the question is: which of the three children (the fourth is so blissfully useless as to be entirely out of the question) will come to take over the top job.
Problem is, Logan Roy is an absolute c***, and nobody is more aware of this than Logan Roy. Each season becomes an exercise in seeing him psychologically twist and ruin each of his children in turn as they vie for his favour and position.
The real masterwork is in seeing how the writing can make you loathe each of them, but then come to pity them, until it wants you to remember that not a single one of them actually has any redeeming qualities they wouldn’t sell out in an instant.
And they frequently. It’s non-stop scheming, manipulation and power plays. In three seasons it has never once been made clear what any of them actually does in their job.
It’s absolutely compelling, fascinating, and blackly hilarious.
Starts out as a prestigiously cast Scandinavian Noir mystery before taking a left turn into body horror, then another left turn into a supernatural conspiracy thriller, and then running right through the wall of credulity and off a cliff into the sea.
By the end of the third season it’s lost its plot so thoroughly and bafflingly that it’s hard to know exactly what the overarching intention had been. Was it always going to devolve into Twin Peaks wannabe territory, without the coherence of vision at David Lynch can manage?
The sudden third act introduction of de-aging billionaire strangers, BDSM jokes, absurd changes in characterisation across the board and a saxophone score that feels ripped right from the hammiest 80’s soap opera all stands in stark contrast to the self-serious dramatic tone of the first season.
Thing is, that first season is an absolute banger. It’s got all the atmophere and mystique you want in a small town murder mystery, propped up by the likes of Stanley Tucci, Christopher Eccleston, Michael Gambon and The Killing’s Sofie Gråbøl.
Season two sees Dennis Quaid, Michelle Fairley and Robert Sheehan join the cast, but things start losing their way. You’ll probably be able to ride the goodwill from the first season’s execution right through to the end of part two—a bizzare conclusion involving weird swings at both shamanism and Russian life-extension experiments.
Still sounds kind of fun, right?
Problem is, none of this is leading anywhere. Season three is mercifully short at only four episodes. Half of the primary cast is dead or moved on by now, and those who remain are trapped in a bizzare exercise in removing any likeability from their personas and having everyone behave entirely out of character for no reason.
At least Richard Dormer looks to be enjoying himself, chewing scenery as he goes from grizzled sheriff to reindeer-juice tripping madman to utterly unhinged, monologuing murderous lunatic.
Shame it’s not nearly as much fun for the audience as it clearly was for him.
So different to the usual Marvel fare that it’s understandable the audience reaction is so mixed.
I really enjoyed it though! Don’t believe the haters, there is really something distinct here.
A cosmic epic spanning millennia, centering on a group of immortal beings sent as caretakers for humanity to gently guide their development.
Yes, it’s very slow and often dense with exposition. I would argue it might have been better served as a prestige series to allow it more time to breathe, but it does a lot with the time its given even if the pacing is uneven. Even at two and a half hours it feels like some decent sized chunks were lost in the edit.
The characters are great and their “family” dynamic is full of well executed moments and humour. Their powers are all distinct and visually striking, some of the most interesting in the MCU. The visual design is on a whole other level, there’s a kind of scope and scale here that’s wonderful to behold. The lore, while heavyhanded, is fascinating and rich.
Not without its problems, but I’m willing to forgive a lot for the sake of ambition on display. Doesn’t require any pre-existing knowledge of Marvel stuff to get into it, this is actually impressively standalone for the most part. It’s taking chances I want to see more blockbusters take.
Not for everyone, but certainly not the disaster some are hyperbolically painting is as.
We actually let the season mostly play out before binging it all in the week leading up to the finale — it’s the kind of show that brings such a good mood with it that you want to savour its short run but also hook as much into your veins as you can manage at once.
How to adequately describe Ted Lasso? From the outside it looks like a fairly boilerplate sports dramedy, but it very quickly reveals itself to be fundamentally about caring, support and growth. Season one was such an absolute burst of sunshine for 2020, and earned all the praise it received for its smart, brilliant character work while retaining a wonderfully high degree of emotional intelligence and a refreshingly blunt approach to conflict.
And this season doesn’t disappoint.
Interestingly, this actually marks something of a slightly darker tone than season one. Jason Sudeikis has described this as the Empire Strikes Back before we get to Return of the Ted–i for the third and final season next year.
The infectious sincerity and kindness is still present, but it’s not trying to sell you something saccharine or hollow. There are plenty of big emotional moments and they always feel true and genuine, even to a bitter old cynic such as myself.
Honestly, if you haven’t gotten on board I can’t push it on you strongly enough. From someone who couldn’t give two shits about football, I am incredibly invested in this wholesome show.
A little late to the party on this one, sure, but better late than never.
The sort of prestige crime drama usually reserved for HBO, it marks a period of Netflix when they were trying especially hard to establish themselves as a viable rival. It really shows.
Usually I avoid discussing plot since I often prefer myself to be able to start watching something without knowing where it’s going, but that approach is kind if moot here since Narcos is explicitly about the burgeoning cocaine trade in Medellín, Colombia during the 1980s and 90s — most notably charting the rise and fall of legendary cartel kingpin Pablo Escobar.
Performances are fantastic. Story is tense, engaging and frequently horrifying as the drug war escalates and corruption seeps into everything. Interests become conflicted, power shifts, lots of innocent people get caught in the crossfire.
A dark and depressing tale, the effects of which are still being felt to this day.
A cinematic Arthurian heroic poem, complete with knights, woodland creatures, saints, spirits and mythic quests.
Run all of that through the sort of slow-burn style and striking visuals that A24 is known for and you’ve got The Green Knight.
Incredibly well crafted, the sort of tone that the fantasy genre is sorely missing more of.
Dev Patel brings exactly the right blend of gravitas and arrogance, the scenery and production design are gorgeous, the tale weaves and meanders perfectly as fables should.
The sense of world and myth is huge and dense — it chooses contemplation and symbolism over action and succeeds massively in presenting something thoughtful and strange. More akin to Pan’s Labyrinth than The Lord of the Rings.
It’s slow and mostly ambiguous, but if that’s your thing then this comes highly recommended.
A tremendously sweet and strange tale about a human/deer hybrid boy traversing a post-apocalyptic world.
Each episode feels like a chapter from a storybook. The characters are endearing and the cast is great. The connection between the hybrids and The Sick which has ravaged the world is a solid, dark mystery.
Production values are excellent too — it was a good move to handle the hybrid elements with a mix of CGI and prosthetics/animatronics, as it really grounds the fantastical elements.
Deceptively sinister, but infectiously heartwarming.