Search Results

AHSOKA: SEASON ONE Starring: Rosario Dawson, Natasha Liu Bordizzo, Mary Elizabeth Winstead, Ray Stevenson, Ivanna Sakhno, Diana Lee Inosanto, David Tennant, Eman Esfandi, Genevieve O’Reilly, Lars Mikkelsen, Paul Sun-Hyung Lee, and Hayden Christensen Creator: Dave Filoni AMARÚ While some might say it’s too stoic for their liking, I found that Ahsoka ’s combination of Western aesthetics and Star Wars mysticism created an entertaining balance of weight and wonder. Alongside lively chase sequences, tense lightsaber duels, and Kevin Kiner’s exceptional score, the show also finds time to sit with its characters and breathe in the compelling performances, especially from David Tennant, Ray Stevenson, and Rosario Dawson, with the latter’s character arc exemplifying both her and the show’s gradual rebirth from Ahsoka’s (Dawson) dark Original Trilogy connections to what is looking to be wondrously adventurous future seasons. NICK With all due respect to The Mandalorian , Ahsoka is the most Star Wars -like a live-action series has felt. Yes, it often feels like fan service, and as someone who hasn't seen Rebels , a better job could've been done investing me in certain characters. That said, there are lightsabers a plenty, the cast is solid (especially the late Ray Stevenson in a grounded role for the franchise), and the series never stalls. Where the sequel trilogy did a disservice to Luke Skywalker (Mark Hamill), Obi-Wan Kenobi and Ahsoka seem set to redeem the once poorly written character of Anakin Skywalker (Hayden Christensen), which is a welcome direction. QUENTIN Although I can’t point to any one thing as terrible, Ahsoka , a mostly lifeless and hollow affair built on the back of total fan service, might be the thing that has officially turned me off Star Wars for good. Maybe it’s because I never watched Rebels , but I can’t be bothered with any of these wooden characters or their storylines. I admit there are a few energetic lightsaber battles, but I just. don’t. care…like, at all…about any of it…lightsabers, The Force, Jedis…I’m just done. Once Andor ends, that’s it for me on Disney+’s Star Wars shows, most of which have been very blah, anyway. PAIGE As a Rebels watcher, I can say that I felt rewarded after watching Ahsoka . Show creator Dave Filoni seemed to understand the assignment, as he did a fantastic job of delivering a more fantasy-like element to the Star Wars universe, as well as successfully transitioning these characters to live-action. With that said, the show does have its flaws. There are muddled storylines and an over-reliance on the Volume Stage, but mainly, it’s the structure that Disney+ has in place for these shows. This series lacked emotional weight and stakes due to the streaming platform’s limited episode model. CALEB After watching Ahsoka , it seems to me as though series creator Dave Filoni has learned all the wrong lessons from past Star Wars projects. Ahsoka lacks the creativity of the original trilogy, but it excels at capturing the stiff performances and wooden dialogue that made the prequels so unbearable. The series also adopts the worst Disney-era hallmarks, including annoying fake-out deaths, flavorless cinematography, and obnoxious fan-service. Worse still, Ahsoka is practically inaccessible for audiences unfamiliar with Rebels (2014). Lucasfilm has taken a gamble by using one relatively obscure cartoon as the foundation for their expanding universe, and so far, it isn't paying off. PRESTON Ahsoka pays tribute to the vast Star Wars canon, tipping its hat to its loyal devotees with extraordinary visuals, as usual. The dialogue and script are, unfortunately, less successful. The series is plagued by long and boring monologues followed by stilted fight scenes featuring watered down and confusing uses of “The Force.” Plus, there is little in the way of humor or charisma to offset the ever-present use of stoicism to portray the supremely confident Jedi. Although the first half of the series comes across very flat, we are otherwise placated with a satisfactory second half and conclusion. R.I.P. Ray Stevenson. PHILL Following her live-action appearances in The Mandalorian and The Book of Boba Fett, Ahsoka Tano (Rosario Dawson) returns in her own self-titled series, but if you haven’t seen the animated series Rebels , you may find yourself feeling like you’re missing important context. That said, Ahsoka stands well enough on its own that Rebels is not compulsory viewing. However, although filled with fun cameos and well-executed fan service, Ahsoka occasionally falls a little flat with some questionable plot decisions and uninspired action sequences whilst doing a lot of heavy lifting for future Star Wars shows and sequel series.

Previous Next October 31, 2023 WRITTEN BY: PAIGE While horror movie sequels are often guaranteed in this day and age, especially when a film is a box office success, what about those underrated and under-appreciated gems that fail to move past the initial offering? The fan favorites that never get the sequels (or prequels) they deserve to continue their stories and overall world building? More so than any other genre, horror sequels come in all different shapes and sizes, be it through shared universes, legacy sequels, or requels. But even with so many horror movies getting sequels across a variety of approaches, plenty of titles have been overlooked. So, I’ve come up with a list of personal favorites that I feel deserve a second go ‘round, along with ideas of what I’d love to see happen with these particular titles. NIGHTBREED (1990) Clive Barker’s Nightbreed , which is based on a novella he wrote titled Cabal , was initially planned as a trilogy, but unfortunately, the planned sequels never got to see the light of day. Yes, this film is a wee bit cheesy and is definitely a mess, but it’s got such killer creature designs that I’d love to see more of it. This horror fantasy may not have been critically loved, but you’ve got to admire the scope of what Barker tried to accomplish here. If nothing else, the story warrants more attention just from what it accomplished with its world building. Plus, it frustratingly ends on a cliffhanger. With a film that is 33 years old, the obvious answer of what we need is a legacy sequel! Bring us back to the world of the Nightbreed, continuing what was started. With a proper fix to the overall story and a better script, it could be really fun to revisit these creatures and build on the lore. I actually think that by bringing this story back to the modern day, audiences would sympathize with the monsters a lot more this time around, which is what Barker wanted. If recent things like The Walking Dead and District 9 have taught us anything, it’s that audiences likely would better understand what Barker was getting at, mainly that mankind is the true monster. Plus, if you make it a story about “monster” outsiders simply trying to build a new home for themselves, there are some very obvious and timely parallels that could be made to immigration. Otherwise, just bring Danny Elfman back for the score and keep the title simple… Nightbreed 2 . FREDDY VS. JASON (2003) It has been 20 years since we got to witness one of the most iconic face-offs in horror history, and while Freddy vs. Jason was not critically acclaimed, there is no denying that this campy horror flick was epic as hell and killed at the box office. We got to see a legendary showdown between two of the greatest slashers in movie history while also watching them do what they do best, which is, of course, haunting, slicing, and dicing their victims. However, could another mashup of the A Nightmare on Elm Street and Friday the 13th franchise work? Since the ending of Freddy vs. Jason is left open ended, the answer is…of course, it could work. We are left with so many possibilities for where the story could go next, and let’s be honest, it’s not like these franchises’ sequels ever rested on logic or necessity. Plus, I think I’ve got the perfect direction of where to take it… Since both franchises have been in shambles for several years now, there has been no push for these characters to return on the big screen. Why not kill two birds with one stone? Give me the ultimate slasher movie, one-upping Freddy vs. Jason with a sequel where they team up to face off against some of the other classic horror villains. Yep, I’m talking about Pinhead and Michael Myers in the craziest ring of them all, HELL. Why not bring all these different fandoms together to create one of the most chaotic horror movies of all time, featuring a team of virtually unstoppable killers against another team of virtually unstoppable killers, all of them doing what they do best…killing! Now, the reality of it is that we’d need a studio willing to buy the rights to all these characters, or beg the studios to work together to make the nightmare Freddy and Jason vs. Pinhead and Michael come true. It seems worth the effort to try. BEHIND THE MASK: THE RISE OF LESLIE VERNON (2006) Behind the Mask: The Rise of Leslie Vernon is probably the most underrated flick on this list. As moviegoers and horror fans, we haven’t really gotten many great slasher villains in recent decades, so it was a pleasant surprise when we received this gem in 2006. Behind the Mask takes a unique approach to the slasher genre creating a mockumentary about an aspiring serial killer. Leslie Vernon (Nathan Baesel) allows a documentary crew to follow him as he plans to commit his first act as a serial killer, which is just mind boggling to me but also such a brilliant way to learn the ins and outs of what drives these people and their planning process. Now, do we need a continuation of Leslie Vernon’s story? No, because if you’ve seen the film, you know our killer’s fate. What we do need, however, is a series of anthology films, each one following a different aspiring killer. Call me crazy, but I think this could really grab the slasher-loving audience, resulting in something that horror fans would look forward to every year. The title is already set up for it, anyway: Behind the Mask: [insert serial killer name ]. TRICK ‘R TREAT (2007) Trick ’r Treat was a little-seen hidden gem that has become a major staple during the Halloween season. While there have been rumors circling for many years that director Michael Dougherty would make a sequel to this anthology, there hasn’t been any movement except for a recent announcement from Dougherty that it is “inching along.” With that said, I’ve decided to take matters into my own hands, declaring that Sam, the trick-or-treating demon in orange footie pajamas and a burlap sack over his head, needs to return for another round of scares! Since the anthology format allows for a wide variety of stories to be told, here is what I’m thinking to make a sequel really fascinating. We continue to have Sam as our connective tissue throughout the different stories being told, but each story focuses on a different holiday, such as Christmas, Easter, and Valentine’s Day. This approach also could bring out the possibility of introducing new terrifying characters that make up Sam’s gang, like a devilish elf, a creepy Easter Bunny, or a crazy Cupid. Just think of all the possibilities that this terrifying gang could get into in the sequel, Trick ’r Trick: Holidaze . THE CABIN IN THE WOODS (2011) The Cabin in the Woods has become a modern horror classic, so how the hell did we never get more of this story? The satirical horror flick was critically acclaimed, a commercial success, and it seems to be one of the most memorable horror comedies of all time; so, the question remains… does this story warrant more movies? The answer is YES! While some may think a second The Cabin in the Woods may not have the same impact as the original since we already know the twist, let’s not forget that said twist actually leads to more questions that need answering. With that in mind, my thought is that we don’t need a sequel , we need a prequel. (NOTE: mild spoilers ahead) To me (and given the ending), a prequel makes the most logistical sense. Perhaps it depicts one of the first rituals? I’m only assuming that the rituals would have become more complicated as time went on, and showing how we figured out how to please the Gods would be an interesting way to see how the rituals have evolved over time. At the same time, it would allow us to dive deeper into “The Ancient Ones,” explaining why we need to satisfy them through sacrifice in the first place. Why do they need, or even want , this? The evolution of it all could be a very intriguing take in Knocking Down the Cabin . I’m so in. IT FOLLOWS (2014) It Follows is perhaps my favorite movie on this list, and one that I think deserves more love and appreciation. While this gem stands so tall on its own, I can’t help but want more because, man… I fucking love this movie. It leaves me begging for more. With The Entity being a metaphor for the paranoia around contracting an STD, there is so much more you can do to explore this idea. “Why did it all start? Why won’t it stop?” are just a couple of the questions I can’t get out of my head. In an effort to get answers to these questions and more, the perfect approach to continuing the story of The Entity is to craft the flick as a movie that is both a prequel and sequel. What does that mean exactly? Let me explain… move the story forward by telling the story backwards. While that may sound confusing as hell, I promise you it’s a genius way of furthering this kind of story. Netflix’s Fear Street trilogy is a perfect example of what I’m talking about. This is the exact approach that film series took, and it was such a brilliant way to flesh out the history of the world the movies are set in while also furthering the story at the same time. So, in present day, Jay (the highly underrated Maika Monroe returning in the lead role) is trying to understand The Entity, tracking down how it started so that she can stop it from continuing. In the flashbacks, we get to witness how, why, and where The Entity came to be. Interweave these timelines to create additional depth and understanding as Jay transitions from victim to hero, with all the great commentary that comes with that. And I already have the perfect title: Follow It. Photo Credits: Photo 1 - 20th Century Studios; Photo 2 - New Line Cinema; Photo 3 - Anchor Bay Entertainment; Photo 4 - Warner Bros. Pictures; Photo 5 - Lionsgate

Previous August 25, 2025 Next A BITESIZE CHAT WITH ROBBIE AMELL The Code 8 franchise spawned from an Indiegogo campaign, and Robbie Amell joins Nick to talk about going back to those roots to create the graphic novel Code 8: Tales of Lincoln City . He also touches on the upcoming finale of Upload and other future projects. Make sure to check out the campaign HERE and watch the final season of Upload on Prime Video. Interview conducted on August 23rd, 2025 by Nick van Dinther.

OUR FLAG MEANS DEATH: SEASON TWO Starring: Rhys Darby, Ewen Bremner, Joel Fry, Samson Kayo, Nathan Foad, Vico Ortiz, Matthew Maher, Kristian Nairn, Con O’Neill, David Fane, Taika Waititi, and Samba Schutte Creator: David Jenkins ADRIANO If you were to tell me that one of television's most endearing “will they-won't they” storylines would be Rhys Darby and Taika Waititi as pirates, I wouldn't believe a word coming out of your mouth, yet here we are. Our Flag Means Death continues to be one of the most entertaining and charming shows out there. While this season is not without its faults in the narrative, the entire ensemble is hysterical, and there is enough swashbuckling comfort television and generally compelling story that I can, once again, easily suggest it to just about anybody.

BEFORE Starring: Billy Crystal, Jacobi Jupe, Rosie Perez, Judith Light, Maria Dizzia, and Ava Lalezarzadeh Creator: Sarah Thorp QUENTIN Apple TV+’s Before does a great job at setting atmosphere, stewing in moodiness, and raising questions about the ways in which everything connects. However, in mostly focusing on the vibe of it all, it sacrifices character development. Despite my general intrigue in the mystery, I was never invested in Noah (Jacobi Jupe) or Eli (a somewhat miscast Billy Crystal) as people, which makes for a hollow viewing experience, since they are merely blank pawns to get to the next unexplained apparition and half-hearted “revelation” that rarely offers answers to the questions posed. On the plus side, the episodes are only 30 minutes each.

Previous Next June 25, 2025 WRITTEN BY: BODE If you happen to see Mike Flanagan’s latest Stephen King adaptation, The Life of Chuck , I would suggest you sit through the end credits. This isn’t because there’s a big post-credits stinger setting up more adventures in the aforementioned life of its titular character, but rather because you’ll want to hear indie folk artist Gregory Alan Isakov’s version of the traditional ballad “The Parting Glass.” A beloved farewell song in Scotland (where it originated) and in Ireland (for whom you could arguably credit for its enduring popularity), there have been many modern interpretations of that song, from artists as mainstream as Ed Sheeran, to as indie as boygenius. But it’s Isakov’s version that immediately stood out to me as one of the more memorable ones when I first saw the film at TIFF last year, what with his warm vocals, intimate guitar playing, subtle piano, and a rousing harmonica in between the verses for good measure. It fits the mood quite perfectly for Flanagan’s film, and considering its themes of time and mortality, enhances the film’s meaning in many respects. It had me thinking back to some of my favourite film covers, and specifically how they strengthen the themes of their respective films, regardless of the latter’s quality. So, here’s four in particular that I want to highlight in honour of Chuck Krantz and his 39 great years! Broken Social Scene - Love Will Tear Us Apart (originally performed by Joy Division) [ The Time Traveler’s Wife ] So, let’s just get the standard music snob line about Joy Division’s “Love Will Tear Us Apart” out of the way: it’s undoubtedly one of the greatest songs of all time. It’s the indie “Stairway to Heaven”. It’s a masterpiece in juxtaposition, between utterly devastating lyrics and one of the catchiest melodies ever put to record. There’s a reason it’s not just one of the most frequently used songs in film and TV (especially for anything that takes place during the ‘80s, Donnie Darko , or 24 Hour Party People for example), but additionally one of the most covered songs in music history. I’ve heard plenty of good ones here and there; though admittedly, even some of those are perhaps a little too faithful (understandably so) to the original composition. Broken Social Scene’s underrated cover, which was appended to the soundtrack of the 2009 film adaptation of The Time Traveler’s Wife , plays things a little differently. While still faithful, the Toronto indie rock collective (which I should mention is one of my personal favourite bands) brings the song down at half-speed, turning it into a ballad suited for a slow dance, and fittingly enough, the cover soundtracks a scene where its lovelorn protagonists are doing exactly that at their wedding (a scene where the band actually cameos). Some would argue that the juxtaposition of the original is the point, the band delivers it with such earnestness and with such a rich atmosphere (from the lilting pianos to front-man Kevin Drew’s pitched-down vocals) that it sneaks up on you when you least expect it. And given the heartbreak that’s already at the centre of the song, it fits within the context of the film, where time travel literally tears love apart. I couldn’t tell you much about the film itself (other than watching it due to my everlasting crush on Rachel McAdams), but the fact I can tell you a lot about BSS’s cover speaks to how well it works on its own merits, even if it doesn’t surpass the quality of the original. Nine Inch Nails - Dead Souls (originally performed by Joy Division) [ The Crow ] Continuing on the topic of Joy Division covers, “underrated” is probably the last word to use when talking about Nine Inch Nails’ take on “Dead Souls.” Recorded and released in 1994 as part of the soundtrack to The Crow , the one-off cover is such a fan favourite not only due to its appearance in that film, but additionally to its frequent appearances at their live shows. In fact, one could very well see it as sort of a precursor to the soundtrack work that Reznor would embark on later in his career, initially on his own (in the same year, he would produce the soundtrack for Oliver Stone’s Natural Born Killers ), and later with future NIN member Atticus Ross (where film scoring became a specialty). While Reznor and company don’t stray away from the structure of the original track (note for note, even down to its iconic bass line, it’s pretty faithful), they opt for a somewhat slower tempo and moodier, heavier atmosphere, in contrast to the fast-moving, jittery vibe of the original. Reznor never tries to imitate the late Ian Curtis vocally either, especially near the end of the tune, where he screams the chorus “they keep calling me” with such intensity it almost brings forth the image of a person possessed by the voices in his head (lyrically, the song has often been interpreted to be about someone struggling with schizophrenia or some other type of mental disorientation). While the original track is tense and haunting enough, I think the cover accentuates that inherent nature with a fuller sound. It’s especially complimentary to Alex Proyas’ take on the beloved comic, which is already dark and gritty in tone and atmosphere. If you want a picture of the influence Joy Division and other bands in their particular genre left on those in the industrial music scene in the ‘90s, look no further than this. The Venus in Furs - 2HB (originally performed by Roxy Music) [ Velvet Goldmine ] It’s legend at this point that David Bowie, whose influence is all over Todd Haynes’ 1998 cult classic Velvet Goldmine (right down to the film’s title, named after his 1975 track, often called an underrated classic), disapproved of the film and refused to grant the filmmaker the rights to his song catalogue. Those creative restrictions were probably the best thing that could’ve happened to Haynes, as it ended up allowing him to focus more on the elegant and anarchic soul of the 1970's glam rock era. I love the film, and would argue it’s pretty underrated in the context of Haynes’ filmography. Part of its greatness lies in its coupled soundtrack, curated by Haynes, music supervisor Randall Poster, and R.E.M front-man Michael Stipe, as it’s filled with licensed music from the period (Brian Eno’s “Needle in the Camel's Eye” and Lou Reed’s “Satellite of Love” are memorably used), as well as originals (by bands such as Pulp and Shudder to Think) and covers. Two in particular are of Roxy Music tracks “2HB” and “Ladytron,” both which are credited to fictional band The Venus in Furs, led by the Bowie-esque character Brian Slade in the film. In reality however, it’s a bit of a British supergroup, led by Radiohead frontman Thom Yorke, with fellow bandmate Jonny Greenwood, Suede’s Bernard Butler, David Gray band member Craig McClune, and even Roxy Music saxophonist Andy Mackay among some of the other members. “2HB” is probably my favourite cover of theirs, and because my exposure to Roxy Music was relatively thin at the time, it was my first exposure to the song for the most part. Note for note, it’s pretty faithful to the original, but this is one of those cases where I mostly prefer the cover, since the production feels a lot fuller, and Yorke’s always emotive vocals, which mimic Bryan Ferry in some ways, give the lyrics (originally written as a loving tribute to screen actor Humphrey Bogart) an extra oomph in regards to its sincerity. The song’s instrumental break is especially a highlight, as Mackay reprises his wonderful saxophone solo, mixed in beautifully with the rest of the instrumentation, which includes a warm keyboard, relaxed drumming, and as the song reaches its end, guitars that get fuzzier. All together, the impact it leaves, to quote the song’s final verse, “fades away…never.” Beck - Everybody’s Got to Learn Sometime (originally performed by The Korgis) [ Eternal Sunshine of the Spotless Mind ] Even 20-something years removed from its release, Eternal Sunshine of the Spotless Mind , the multilayered second collaboration between director Michel Gondry and writer Charlie Kaufman, remains as poignant in its exploration of love, heartbreak, and memory as ever, and though some have certainly tried, it’s a difficult and almost thankless task to even try and replicate its magic. Some of that comes down to the film’s soundtrack, from the always underrated Jon Brion’s hypnotic score (blending strings, acoustics, and electronics), to the variety of tunes ranging from the Polyphonic Spree to the Electric Light Orchestra classic “Mr. Blue Sky” (which was actually not featured in the movie, but played a major part in the trailers and advertisements). One of the major highlights, however, is Beck’s cover of The Korgis’ “Everybody's Got to Learn Sometime.” Appearing three times in the film, including its final scene to great effect, the Brion-produced cover is perhaps the most definitive version of the song in my eyes, as it swaps out some of the brightness the original had for devastating melancholy, both vocally (Beck goes for a lower register in comparison to Korgis frontman James Warren) and instrumentally (where the string arrangements add an extra layer to the track). Had Beck recorded it earlier for his 2002 album Sea Change (which, much like Eternal Sunshine , reflects on a breakup), it would’ve been a perfect fit, as it feels like a natural progression of that particular era. So, add this to your list of breakup anthems if you feel like compiling a list of them.

TERMINATOR ZERO: SEASON ONE Starring: André Holland, Sonoya Mizuno, Timothy Olyphant, Rosario Dawson, Ann Dowd, Sumalee Montano, Armani Jackson, Gideon Adlon, Carter Rockwood, and Julie Nathanson Creator: Mattson Tomlin QUENTIN I should have known better, but I figured I’d give Terminator Zero a shot, hoping that familiarity with the brand would carry me through my usual aversions to anime. Alas, no success. While I appreciate a fresh take on the Terminator mythos, Zero falls victim to the same cliché aspects that contribute to my dislike of the genre. The animation is fine but visually unappealing, lacking vibrancy as it relies on muted and matte colors, and the extremely generic looking characters are mostly annoying as the story unfolds very slowly. Ugly, slow, and annoying isn’t a great mix. That’s it…I’m officially done with anime.

WYATT EARP AND THE COWBOY WAR Starring: Ed Harris, Tim Fellingham, Jack Gordon, Ariel Eliaz, Shane Penhale, Edward Franklin, Alex Price, Peter O’Meara, and Christina Leonardi Creator: Patrick Reams QUENTIN If, like me, your only knowledge of Wyatt Earp, The Cowboy War, and The Vendetta Ride stems from 1993’s Tombstone , there is a lot you don’t know and what you think you know is probably incorrect. Netflix’s new docuseries Wyatt Earp and the Cowboy War does a terrific job of filling in the gaps through a mix of surprisingly well-acted reenactments, just enough historian soundbites to make it scholarly, and Ed Harris delivering some of the most engaging narration I’ve heard in quite some time. Plus, at six short episodes, it never overstays its welcome. Overall, a pleasant and educational surprise.

BEACON 23: SEASON ONE Starring: Lena Headey, Stephan James, Natasha Mumba, and Marnie McPhail Creator: Zak Penn QUENTIN As far as sci-fi shows go, Beacon 23 isn’t the worst thing I’ve ever seen, but its slow burn, uninteresting characters, single setting, and meandering storyline don’t give viewers any reason to be invested. Maybe it’s all world-building for the seasons to come (Seasons One and Two were filmed back-to-back), but if everyone checks out before you get to those Season Two payoffs, what’s the point? It’s possible that the most dedicated sci-fans out there will have the patience to sit through the so-far-empty mythology and poorly developed exposition, but I’m not that dude. Instead, I’d watch Silo , based on a book from the same author.

HOUSE OF THE DRAGON: SEASON TWO Starring: Emma D’Arcy, Olivia Cooke, Matt Smith, Ewan Mitchell, Harry Collett, Tom Glynn-Carney, Bethany Antonia, Sonoya Mizuno, Matthew Needham, Fabien Frankel, Eve Best, Steve Toussaint, Phoebe Campbell, Abubakar Salim, Gayle Rankin, and Rhys Ifans Creators: Ryan J. Condal and George R.R. Martin PAIGE Although Season Two of House of the Dragon may not have been as thrilling or action-packed as fans anticipated, this season was nonetheless phenomenal. Though it mishandles its pacing a little bit with its eight episodes, it’s a somber and thought-provoking show that exudes confidence and elegance. As a character-driven season, this series soars high thanks to its captivating plot, flawless writing, and fierce performances, which set the stage for what is to come. If you haven’t already, you should jump on the House of the Dragon bandwagon because next season is going to be an all out bloodbath. QUENTIN In my review of Season One, I called House of the Dragon “a worthy successor to Game of Thrones .” After Season Two, I take it back. Dragon has become an absolute slog, with the action, twists, sex, and intrigue of Thrones mostly replaced by hours of too many uninteresting and underdeveloped characters rarely doing more than having council meetings around a large table. Plus, arguably the best character from last season, Daemon (Matt Smith), is flat-out wasted, isolated in his own hallucinatory subplot. I’m happy to hear this series will end with Season Four because that means I only have to hate-watch for two more seasons. KATIE The second season of House of the Dragon is definitely more slow burn than fiery action, but I still enjoyed every minute. Although the pacing falters at times, especially in comparison to the previous season, and Daemon’s (Matt Smith) subplot is not as engaging as it had the potential to be, I loved the politics, tension, heated conversations, and rich character development, all of which are highlighted by the phenomenal performances. This season effectively sets the board for the next, delving into the central characters' inner motivations and struggles whilst positioning itself for even more conflict and exciting drama. PRESTON The excitement derived from House of the Dragon ’s first season is what bolstered my resolve to push through the slower portions of this newest season. However, those portions, unfortunately, make up the majority of the show. Side plots and characters galore are haphazardly included, as if almost no care was given for me to be invested enough to know who is even being talked about. The dragon fights are still the best part of this disappointing season, whose overarching story makes for a watchable series, even if mishandled this go-round. AMARÚ House of the Dragon Season Two continues the great political machinations, plot twists, and long character arcs that Game of Thrones is known for. The long wait between seasons was rewarded with some amazing episodes and meme-worthy Twitter timelines, but more times than not, this season felt like a continuation of that extended break due to a ton of set up that hopefully is paid off ten-fold in Season Three. The acting, visuals, and music is still top notch television, but the finale solidified that Season Two is a well-executed, if slow, stepping stone that may leave audiences a tad bit disappointed.

SHINING GIRLS Starring: Elisabeth Moss, Wagner Moura, Phillipa Soo, Chris Chalk, Amy Brenneman, Jamie Bell, and Christopher Denham Creator: Silka Luisa QUENTIN Although boasting solid performances, an interesting serial killer hook (at least early on), and the right atmosphere for this kind of show, Shining Girls eventually buckles under the weight of its supernatural elements. It’s not that those aspects are silly (I mean, they are definitely silly, but you roll with it for the most part), but more so that the writers do a piss poor job of explaining the how and why of it all. It’s hard to talk about without getting spoilery, but the constant reality shifts minus those explanations make for a mostly confusing, nonsensical, and frustrating narrative. Perhaps the book is better.

Previous May 23, 2025 Next A BITESIZE CHAT WITH FIGHT OR FLIGHT TEAM Director James Madigan and Katee Sackhoff (The Mandalorian , Battlestar Galactica ) join Nick to talk about their love of action films and the potential of a Fight or Flight sequel. Make sure to check out Fight or Flight now in theatres. Interview conducted on May 6th, 2025 by Nick van Dinther.