OUR FLAG MEANS DEATH // s01

OR: Rhys Darby & Taika Waititi’s Gay Pirate Show

It’s great. Takes a few episodes to properly reveal the true premise as a warm, ensemble comedy with strong queer undertones that turn to overtones of self-acceptance.

Once it gets going it’s a very sweet sort of romance set against a backdrop of classic pirate hijinks, but one of the captains is foppishly terrible at their job.

The whole cast is excellent, even if they’re slightly overshadowed by the charisma and chemistry of Waititi and Darby.

Highly recommended.

Hope this gets a second season, it’s a breath of fresh sea air. Kinda feels like an inevitability with all the (well deserved) positive buzz, so fingers crossed.

PEACEMAKER // s01 (2021)

James Gunn has an inimitable talent for elevating rejects and burnouts into some of the most compelling, complex characters in modern pulp fiction.

Even indicental characters get more development than half the leads of modern blockbusters, in a mix of deep pathos and hilarious irreverence.

Peacemaker is no different — an anti-hero at his heart, John Cena brings a gravitas to this sad asshole that makes him much more fun than your standard comic fare.

Ultra-violent, frequently disturbing, and leaning into Gunn’s penchant for visceral body horror spliced with dark humour, it’s a wild ride and a tonne of fun.

If you liked the recent (and also excellent) The Suicide Squad, you’ll like this.

Recommended.

SUCCESSION // s01-03

Arrested Development, if it wasn’t a comedy.

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.

Highly, highly recommended.