THE BOYS: SEASON FIVE Starring: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Laz Alonso, Jessie T. Usher, Tomer Capone, Karen Fukahara, Chace Crawford, Nathan Mitchell, Cameron Crovetti, Susan Heyward, Valorie Curry, Colby Minifie, Daveed Diggs, Jensen Ackles, and Giancarlo Esposito Creator: Eric Kripke AMARÚ The Boys ’ fifth season being written before November 2024 is simultaneously hilarious and scary. Showrunner Eric Kripke has clearly been disgruntled with reality because this final season is even less subtle than its already idiocratic reputation, but that doesn’t make it any less poignant. This season continues its consistently excellent run since its 2019 release, the action still bombastic, the acting on point, the storyline relevant, the surprises refreshing, and the satire as outlandishly gory as ever. Kripke’s send-off landed the plane with predictable but well-played endings that surprisingly felt more abrupt than rushed. It was a good run to a great show that I felt satisfied with through its finale. NICK If you take away the superhero aspects, The Boys is a frightening look into the possibilities an unstable and maniacal leader can introduce. Apt. The final season looks at good and evil on a spectrum as it questions how far is too far while maintaining the series' signature violence and humour. After an underwhelming role in Season Four, Jensen Ackles' Soldier Boy is better utilized here while Karen Fukuhara's Kimiko finally gains her voice to great results. That said, it was clear it was time to end things as the season showed some diminishing returns as it made its way to a somewhat lacklustre finale. ADRIANO I adore The Boys , but I have to admit, they’re ending at a good time. Not only has reality lapped this series, but its initial novelty might have worn off. Honestly, for the first few episodes of the final season, I feared it had run out of steam as it went in narrative circles, but it was still entertaining and sporting its reliably great cast (Antony Starr NEEDS that Emmy). Thankfully, it eventually got on track, getting me both excited and scared for the finale. So while I’m sad to see it go, I’m glad it’s going at the right time. PAIGE Oi, I’d be lying if I said this final season of The Boys wasn’t a bit rocky. The storytelling felt messy and unfocused, as at times it seemed more set on building momentum for the upcoming spinoff series, Vought Rising , than serving as a grand finale to the central conflict between Homelander and The Boys that the series had been building towards. That said, at its core, it still delivered the brutality and sadistic humor fans have come to expect and love. Overall, the final season was somewhat predictable and underwhelming, but at least the show gave its characters a proper send-off. ROBERT I remember when the narrative on Eric Kripke’s Supernatural was that it was intended for a five-season arc, which was perfect. Its popularity portended many, many more seasons, and that show overstayed its welcome. When it was announced The Boys would end after five, I figured Kripke and Amazon had learned a lesson, but they didn’t, since three seasons were the plan. This final go-round was not without charm and laughs, and the conclusion was satisfying enough, but it buckled under the weight of expectation. I wish some characters and threads weren’t given short shrift, but it happened enough to elicit one common reaction: oy vey! KATIE The impact of this season of The Boys is accidentally exacerbated by its worrying proximity to reality. It confronts the danger of unquestioned authority and highlights the insidious way fascist ideals can slowly infect and then maintain a grip on a society, whilst still maintaining its signature dark satire and comically intense violence. Antony Starr is thrilling as Homelander, especially in those terrifying moments where he is pushing the limits of barely suppressed insanity. However, I found the last few episodes oddly paced and slightly dull, as if they were just going through the motions of setting up the finale, which was unsatisfying and predictable. Check out our reviews for Season Four HERE . Want to hear even more of our thoughts? Paige and Adriano join Nick to take A Bigger Bite out of The Boys: Season Five HERE .

HEARTSTOPPER: SEASON TWO Starring: Joe Locke, Kit Connor, William Gao, Yasmin Finney, Tobie Donovan, Sebastian Croft, Corinna Brown, Kizzy Edgell, and Olivia Colman Creator: Alice Oseman PHILL Heartstopper : Season Two continues to go from strength to strength, remaining a beacon of affirmation for LGBTQ+ people and one of the most important shows in queer culture. The representation remains incredibly authentic as Alice Oseman’s exceptional writing balances positivity and light-heartedness whilst the show tackles mental health issues in a delicate, realistic manner. Nick (Kit Connor) and Charlie (Joe Locke) continue to have some of the best on screen chemistry in terrific performances, and they are supported by an equally outstanding cast. However, Tobie Donovan’s performance as Isaac, who discovers what his own sexuality means, is the real standout this season.

Previous Next May 21, 2025 The Studio is the latest (and strongest) collaboration between Apple and Seth Rogen. So, we're doing a collaboration of our own as Matt's WAT Reel partner Geoff Alterman joins the discussion. Let us all dive into all the cameos and anxieties of this debut season. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

SHE-HULK: ATTORNEY AT LAW Starring: Tatiana Maslany, Ginger Gonzaga, Jameela Jamil, Steve Coulter, Renée Elise Goldsberry, Josh Segarra, Tim Roth, Mark Linn-Baker, Mark Ruffalo, and Charlie Cox Creator: Jessica Gao AMARÚ She-Hulk: Attorney at Law is the most consistently inconsistent MCU show to date. It fully embraces its light-hearted, courtroom procedural comedy vibe, but where one episode makes you laugh, the next leaves you bored. Its hit-or-miss comedy ranges from cackling to cringeworthy. That said, with Tatiana Maslany bodying the Jennifer Walters/She-Hulk role; great supporting performances from Ginger Gonzaga, Renée Elise Goldsberry, and Josh Segarra; and a much better executed latter half, She-Hulk ’s potential gives hope to a future that surpasses this lackluster debut. NICK She-Hulk : Attorney at Law is difficult to review because it isn't just one thing. It's a buddy story with Jennifer (Tatiana Maslany) and Bruce (Mark Ruffalo), that becomes a legal comedy, that kinda becomes a Daredevil soft reboot…and that's without even mentioning that finale. That said, I had a ton of fun watching it thanks to Maslany, who absolutely smashes this role. Her blend of humour, sympathy, and badassery proves this was pitch perfect casting. Even when the show doesn’t work, she always does. I don’t know what’s next, but feel free to add her into any upcoming MCU project. Madisynn (Patty Guggenheim) too. QUENTIN As a whole, She-Hulk: Attorney at Law isn’t great, finishing just above Ms. Marvel as the second worst MCU series overall. That said, some scenes demonstrate a potential for what could have been if the series had been more focused and nuanced than the overly broad “can Jennifer Walters (Tatiana Maslany) really have it all?” narrative. The scattershot approach isn’t helped by some questionable CGI, a breaking-the-fourth-wall-angle that wasn’t integrated well enough, and the huge gamble of an uber-meta finale that didn’t work at all. But we did get MCU Daredevil (Charlie Cox) and another exciting (if half-hearted) character reveal, so not a total loss.

Previous Next With the latest adventure of Hercule Poirot hitting theaters this month, we figured it was a good time to rank some of the top investigators through films and series. Each writer ranks his or her top 15 characters in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. HOLLAND MARCH AND JACKSON HEALY It’s a crime that we still haven’t gotten a sequel to 2016’s The Nice Guys featuring my favorite dysfunctional private investigators, Holland March and Jackson Healy. This buddy-cop duo is extremely underappreciated, and while they may be considered the world’s worst detectives, the slapstick performances that Ryan Gosling (March) and Russell Crowe (Healy) bring to film are something special. Their comedy is spot-on and will leave you laughing throughout while also having you root for this trainwreck team of detectives to solve the mystery in front of them. - Paige 4. BATMAN There is a reason one of Bruce Wayne’s many monikers is “The World’s Greatest Detective.” Between the awesome ‘90s animated series and the first real cinematic look at the Bat’s detective work in Matt Reeves’ The Batman, we all can see how having the superpower of money can enhance the deduction skills of an already brilliant mind. And without a doubt, Bruce Wayne is a brilliant mind. Sorry if you’re tired of seeing his name pop up on these lists. - Amarú 3. MYSTERY INC. Whether it's the trope of unmasking the "creature" to find the person behind the mystery, Velma looking for her glasses, or Scooby Snacks, everyone knows Mystery Inc. Through both television and film, both live-action and animated, Fred Jones, Daphne Blake, Velma Dinkley, Shaggy Rogers, and Scooby-Doo have been solving mysteries together since 1969, and they show no signs of stopping. Their inclusion on this list is a no-brainer. - Nick 2. BENOIT BLANC What other gentleman sleuth can perfectly solve a murder-mystery game before the game even begins? The lead player of Rian Johnson’s Knives Out franchise, that’s who. Benoit Blanc is a charming, brilliant detective who can effortlessly solve whatever case gets thrown his way, and Daniel Craig’s portrayal of him is instantly iconic, from his fun clothing to his thick southern drawl. I can’t think of a more entertaining murder-mystery reveal than Benoit’s, especially as he exposes all the small things we didn’t notice, making him a no-brainer as one of entertainment’s best detectives. - Adriano 1. SHERLOCK HOLMES AND JOHN WATSON What else is there to say about Sherlock Holmes? The most iconic, well-known investigator of all time is such an ubiquitous influence on the very idea of detective work that he always comes to mind first, presiding over London from his 221 Baker Street flat with the sharpest mind on earth and the greatest partner he’s ever had in John Watson. BBC’s Sherlock (at least its first two seasons) boasts the most engaging version of the super sleuthing pair yet, with Benedict Cumberbatch and Martin Freeman a perfect match against each other’s respective quirks. - Jacob HONORABLE MENTIONS CLARICE STARLING EDDIE VALIANT HERCULE POIROT ACE VENTURA JOHN MCCLANE Photo Credits: Photo 1, 2, 3, 5 - Warner Bros. Pictures; Photo 4 - Netflix

DREAM PRODUCTIONS Starring: Paula Pell, Richard Ayoade, Ally Maki, Kensington Tallman, and Maya Rudolph Creator: Mike Jones NICK On the film side, Pixar has knocked it out of the park with its Inside Out efforts. So, it only makes sense to expand into the Disney+ series library. Dream Productions is the first foray into that realm and it’s… fine. At four half-hour episodes, it’s an easy watch, but the lead character Paula Persimmon (Paula Pell) really feels like a retread of Joy (Amy Poehler). She’s another arrogant character who is adverse to change, and stuck in her old ways. Even her journey of growth is the same thing we’ve seen in Inside Out . It all makes for a harmless, yet unnecessary watch. AMARÚ I was initially worried that Dream Productions was going to tread the same territory Joy (Amy Poehler) did in the first Inside Out ; however, in four concise, tightly written, character-driven episodes, Pixar was able to take the established strengths of workplace mockumentaries and solidly combine them with the ever-expanding world of Riley’s (Kensington Tallman) imagination. Messy drama, stubborn characters, and great voicework, especially from Richard Ayoade and Paula Pell, set up invigorating surprises in a short and sweet package to prove Inside Out has a vast well of unique ideas to create from. PRESTON Borrowing from the successful, documentary style of The Office , Dream Productions continues to reveal the inner workings of Riley’s (Kensington Tallman) mind. The Inside Out mini-series doesn’t take on too much, focusing solely on dreams, as the title suggests, and is a cute and very digestible little series. The characters don’t elicit the same inherent connection that we feel when compared to the emotions, but the mystery of dreams in our own lives makes the overarching story quite compelling. The result is a breezy, smile-on-your-face watch that you can enjoy by yourself or with the whole family.

LUCKY Starring: Anya Taylor-Joy, Timothy Olyphant, Annette Bening, Drew Starkey, Aunjanue Ellis-Taylor, Clifton Collins Jr., Mo McRae, and William Fichtner Creator: Jonathan Tropper NICK With its high stakes and strong casting, Lucky is another solid entry into the Apple TV library. Anya Taylor-Joy is given an opportunity for a more grounded performance, and she thrives with it. She’s surrounded by a great supporting cast, including the likes of Timothy Olyphant and Annette Bening, but she remains the key reason this show works. With a focus on different parental relationships woven throughout a fast-paced, seven-episode heist, I was entertained throughout. I know Apple loves extending their limited series, but this is a complete and satisfying story that they don’t need to expand on. QUENTIN While Lucky may have been better as a movie, for most of its seven episodes, it’s a fast-paced thriller built on cliffhangers, twists, chases, and devilish charm. Although it certainly has flaws, including a weak villain in Priscilla (Annette Bening) and a very predictable finale despite subverting expectations for most of the season, Taylor-Joy’s layered performance as she outsmarts everyone in the room keeps the viewer enthusiastically entertained and engaged as the story zips along. Granted, I also could have used more Timothy Olyphant (as always), William Fichtner, and Clifton Collins Jr., but to co-opt the famous saying: it’s better to be Lucky than good.

INVINCIBLE: THE COMPLETE SECOND SEASON Starring: Steven Yeun, Sandra Oh, J.K. Simmons, Gillian Jacobs, Andrew Rannells, Walton Goggins, Chris Diamantopoulos, Zazie Beetz, Kevin Michael Richardson, and Sterling K. Brown Creators: Robert Kirkman, Ryan Ottley, and Cory Walker KATIE PART ONE Invincible feels like the perfect antidote to the recent prevalence of superhero fatigue. It’s compelling and bold, with sensationally gory violence, nuanced characters, and genuine emotion driven by a voice cast that brings deeply expressive performances to underscore the provoking themes of trauma and grief. However, it unfortunately suffers as a result of the season being split, losing some momentum and rushing through several subplots that kept getting forgotten, particularly Atom Eve’s (Gillian Jacobs) familial drama and Mark’s (Steven Yeun) relationship. Despite lacking some focus, I’m excited to delve deeper into Mark’s journey in the next half of the season. PART TWO Part Two of Invincible ’s second season hits just as hard as the first, delving deeper into Mark’s journey and his internal struggle with identity and purpose, while featuring plenty of action, witty humour, and dramatic twists. Similarly to the first half of the season, some side characters and their subplots are a little underdeveloped simply because there are so many of them and not very many episodes. Nonetheless, Yeun’s performance as Mark is phenomenal, and the dynamic between Mark’s “normal” life and his responsibilities as a superhero is the beating heart of the show. QUENTIN PART ONE I don’t know what Invincible is doing. Season One was mostly made up of filler episodes, with only the premiere and finale being truly necessary to the core narrative. In Season Two: Part One, the series has leaned into that approach even more. There are just four episodes, and you only need Episode Four for Mark’s (Steven Yeun) story. Between the voice cast, vibrant Saturday Morning Cartoon animation, and interesting storyline of Mark coming to terms with his heritage, there is so much potential here, but the writers seem content focusing on poorly developed subplots. Guys, the show is called Invincible . Let’s focus on his story… PART TWO To its credit, Part Two of Invincible ’s second season does focus a bit more on Mark’s story; however, not so much that it has retained me as a viewer. I’m officially done with this series. The only storyline I care about revolves around Mark and the Viltrumites, but the writers keep tripping over themselves to give me side stories about the Guardians, Mark’s girlfriend, and other frustratingly wheel-spinning dalliances. Interestingly, this is a Robert Kirkman series. The Walking Dead – a show I hate-watched for several seasons before giving up – also was a Kirkman series. They have the same “sprawl” issues. I’m not falling for it again. AMARÚ PART ONE Invincible continues to be one of the best comic book adaptations out today because it takes both its comic and grounded aspects seriously. There is fun and action and gore and tropes, but that never gets in the way of telling authentic stories to which people can connect. Season Two: Part One tackles themes of grief, guilt, and responsibility through multiple storylines, but still keeps its sights on Mark Grayson’s (Steven Yeun) main journey. This is all uplifted by a tremendous voice cast who brings every emotion to life in this true comic series. PART TWO Part Two of Invincible ’s second season gives Part One’s disparate-yet-entertaining aspects a focused and intriguing finish. Yes, you might be here for the title character, but I greatly appreciate how much purpose the writers give to every side character. Only having eight episodes does make the parallel plots feel slightly thin, but this second half does an amazing job of pointing themes of grief, trauma, and personal choice all towards Mark’s direction. As brutal, funny, and self-aware as ever, the totality of Invincible : Season Two continues to buck whatever superhero fatigue y’all are talking about. PAIGE PART ONE Although the first four episodes of Invincible ‘s second season are packed with action, drama, and violence, not to mention being a solid continuation of the stellar first season, the overall structure of these episodes doesn’t pack a big enough punch storywise. Following a rocky start, it eventually finds its footing with a shocking reveal in the mid-season finale, but it takes too long to get what we were all longing for. With that said, this series is still as bold as they come, and it remains one of the better superhero shows on TV. PART TWO While the last few episodes feel a little rushed, there is no denying that the second half of Invincible ‘s second season is far more engaging than the first. The latest batch of episodes contain some of the most compelling character development of the entire series, and they do a fantastic job of balancing action with subdued, heartfelt exchanges between the show's numerous characters. For me, though, the most intriguing aspect of this season is Mark’s (Steven Yeun), aka Invincible’s, internal struggle throughout this coming-of-age comic book tale.

SHRINKING: SEASON TWO Starring: Jason Segel, Harrison Ford, Jessica Williams, Michael Urie, Luke Tennie, Lukita Maxwell, Christa Miller, Ted McGinley, Devin Kawaoka, Wendie Malick, and Brett Goldstein Creators: Bill Lawrence, Brett Goldstein, and Jason Segel NICK After a wonderful debut season last year, Shrinking : Season Two takes everything that worked and builds on it. Jason Segel and Harrison Ford may be the names on the marquee, but it's truly an ensemble where everyone shines. This sophomore season does an excellent job giving each storyline equal time to grow, making sure that no character remains stagnant. It also explores some darker themes, and by doing so, allows the series to evolve while maintaining its relatability. Season One was great, don’t get me wrong, but Season Two is an improvement in every sense of the word. This is my kinda therapy. AMARÚ I’ve been asked several times, “could such-and-such not-so-politically-correct movie/show from my childhood be made today?” My answer is always the same: yes, if it’s funny. Shrinking ’s second season proves my theory true because, shit, this show is dark. PTSD, drunk driving, dead wives, debilitating diseases, and domestic violence only scratch the surface of what this season tackles, and I can’t help but laugh every time I think about it. Season Two takes the hilarious dialogue, amazing performances, and bountiful humanity from the first season, tightens the script, and makes it even more relatable, cementing Shrinking as my favorite show on television.

MR. & MRS. SMITH: SEASON ONE Starring: Donald Glover and Maya Erskine Creators: Francesca Sloane and Donald Glover QUENTIN Fair warning, Mr. & Mrs. Smith is not a straight adaptation of the 2005 film of the same name, so if you’re hoping for glossy romance and stylized action sequences, you’ll be sorely disappointed. However, this (relatively) grounded series is all the better for having paved its own way. Yes, it has spy movie and rom-com elements (alongside strong Atlanta vibes), but they are mostly window dressing for the compelling relationship drama at the forefront, which is driven by the palpable and off-kilter chemistry between Donald Glover and Maya Erskine. Admittedly, the pacing and plotting are wonky, but it's otherwise funny, smart, relatable, sophisticated, and inspired. KATIE Donald Glover’s Mr. & Mrs. Smith is completely different from the film, and is all the better for it. The show is driven by the compelling and refreshingly authentic relationship between Jane (Maya Erskine) and John (Donald Glover), who are both very likable and share a genuine chemistry. My favourite parts of the show involve the new couple just talking and navigating the realities of their situation, which is a testament to their fantastic performances. Glover injects each scene with his distinctive brand of weird, much like Atlanta , and effortlessly moves the show between drama, romance, comedy, mystery, and fast-paced thrills. AMARÚ I had certain expectations going into a Donald Glover-created Mr. & Mrs. Smith television show, but I was quickly reminded that Glover doesn’t really do the “expected.” This show is nothing like the 2005 film and unlike anything currently on television. It seamlessly cycles from spy thriller to comedy to action to romance as effortlessly as it takes to believe the chemistry between Glover and Maya Erskine. Their natural charisma breathes energetic life into a stylish script, sleek music and far-off locations propel the show’s sexiness, and every well-placed cameo adds to a mystique that makes Mr. & Mrs. Smith the first must-see show of 2024. CALEB As someone who wasn’t a fan of the original film, Prime’s Mr. & Mrs. Smith is a welcome change of pace. I found the 2005 film corny, but this adaptation takes a much more grounded approach to the relationship between the titular spies. John (Donald Glover) and Jane (Maya Erskine) feel like a real couple with genuine insecurities. They have impeccable on-screen chemistry, and even in the show's slower moments, it’s a joy watching them interact. With amazing performances, stylish direction, and an energetic soundtrack, this new version of Mr. & Mrs. Smith is a total blast.

Previous January 13, 2025 Next A BITESIZE CHAT WITH BRADY CORBET There is a genuine argument to be made that there wasn't a single premiere more buzzed about this festival season than Brady Corbet's The Brutalist . The three-and-a-half-hour epic chronicles the life of an immigrant architect named László Tóth, played by a never-better Adrien Brody. Corbet used VistaVision technology to bring his vision to life, and the results are extraordinary, with the film recently winning Best Motion Picture – Drama and Corbet winning Best Director at the Golden Globes (not to mention Brody winning Best Actor – Drama). The film is currently projected to perform similarly at the Oscars this year. BB: Thanks for taking the time to speak with us today. It is extraordinary how many different themes, metaphors, thoughts, and ideas are present in this film. Deciding you're going to do four hours is tough enough as a filmmaker right now, but to put such depth and complexity into a story is, I imagine, a massive challenge. Was there an organizing principle…for you as you were writing it to create the story so that you could layer that in, [and] how did that happen for you? BC:  I think that the film is primarily about post-traumatic stress and the way that post-war architecture and post-war psychology are intrinsically linked. I always start a project with themes as opposed to starting with characters. And for me, each character is emblematic of something, of an idea, and is a mouthpiece for that idea. I think that my wife and I write intuitively, we usually have spoken about a project for at least a year, if not two years, before sitting down to execute a draft, so we know it very well. Before we put pen to paper, I'm constantly thinking about the defining events of an epoch. BC: All of my films are virtual histories. They're concerned primarily with American culpability. My first film, The Childhood of a Leader , is about how Woodrow Wilson and his team inadvertently paved the way for fascist uprising with their participation in the Paris Peace Conference and the signing of the Treaty of Versailles. Of course, Vox Lux is a film that is about 9/11 and Columbine being the sort of jumping-off point for the new millennium. The last 25 years have really been defined by those two events. And then this is a film about the post-war generation, which is a period of time that conservatives in the U.S. really romanticize. This 1950s Americana when, of course, everyone was processing the events of the 1940s that almost everyone in the world was affected by one way or another. I think that I struggle a lot with biographies, I certainly struggle with most biopics, because they often represent history as being something linear. It's a series of dates and figures. It's cause and effect. Whereas I think I'm more interested in a sort of ambient tyranny -- what is in the air, what's in the water, what's in the atmosphere -- that is all contributing to these defining historical events and happenings. BB: Knowing that the film has been in development for so many years, since 2020, has anything actually changed, or is the final product that we ended up seeing the actual film that you envisioned so many years ago? BC:  Yeah, it's exactly the same. There's not a single scene that didn't end up in the film. There's not even a shot that didn't end up in the film. We were working on such a tight schedule that we had to use everything that we had because we really didn't have enough. So we had to find ways of… even in montages and stuff, I'm flipping shots, I'm flopping them, I'm reusing them, I'm reframing them… just because we didn't have that much raw material. BC: I think that there are about three sentences from the monologue at the Christmas party that were omitted. It was just for a pacing reason, something felt off about keeping them. And other than that, the film is really the screenplay just executed. I mean, the screenplay’s now available online and you can see that there's a way that they're formatted, where it says ultra-wide on this, long lens on that. When you read them, you have a sense of where the camera is in relation to the subject. And I think that's very helpful. It was very helpful for my production designer because what we had to do is, we could never really afford to design sets that we could shoot 360°, so we would sort of have to choose between “we're going to do the floor” or “we're going to do the ceiling,” but we couldn't afford to do both. BC: The screenplay sort of allowed for us to operate that way because everyone had a sense of the sort of frame that they were working within. And then we also prepped on the ground together for about 11 weeks. Which, for me, was actually quite a long pre-production. I'm accustomed to having more like five or six weeks before starting a film. So that was actually the one thing that our extraordinary producer on the ground in Hungary, Viktória Petrányi… she was, like, “You know, we can do the movie in 30-something days.” We ended up with 33, but it was sort of in flux for a while. But she was like, “we need the prep, we can't rush the prep.” So she really protected that and found sort of clever ways of making that work with our very kind of modest means. BC: I think that in a way, those limitations forge a very unique cinematic form. It gives it something as well. Maybe that's like looking at the glass half full, but I do think that something comes from not being able to do just anything. Because when you can do anything, somehow it frequently just turns into nothing. If we look at a movie like Metropolis or something, for example, it’s there, just so many clever solutions. And I felt like, you know, if we could do it a hundred years ago, we sure as hell should be able to do it now. Because it's mostly practical effects. We built massive models and the building was achieved through a few different methods but now we have visual effects that can digitally extend something if you combine it with something real. BC: The problem is that too many people nowadays use visual effects in a way where they create something from nothing. And that tends to look quite bad. So what we did is, we built a massive facade of the building and it was real concrete, real scale. And then it was just digitally extended. So when you have the real scale, you have real light, real shadow, real minerality from the concrete, then it just becomes about duplicating the pattern. And that's something that obviously people couldn't do back when F.W. Murnau was making movies. So for me, it feels like we should be able to do almost anything at this point. BB: In the film's first act, when László is asked why he chose architecture as his trade, he replies, “is there a better description of a cube than its own construction?” Do you feel that same statement encapsulates your approach to The Brutalist ? How do you feel the film's construction, using the outdated 70-millimetre format with the classical presentation and the overture intermission, informed the film's meditation on the American myth-making of the American dream? BC:  Absolutely. I think that the sentiment that there's no better description of a cube than that of its own construction… I, of course, feel the same way about the film because if you could tell a film, then why make a film? It's hard to even qualify what drives me . When I think about why I do what I do, I really don't know. I really don't know. It comes from a place of obsession. It comes from a place of real stubbornness. You know, I never start something that I don't finish. That's of course a blessing and a curse. BC: It can be extremely productive, but it's not a very easy way to be. I'm probably not a very easy person to live with. My wife and daughter are very patient. And I think that in the Venn diagram, I think that there's a lot of overlap between architecture, building a building, and making a movie. It is something I can relate to, and that my wife that wrote the film with me, Mona [Fastvold], she absolutely relates to as well. BB:  What drew you to tackling the idea of this broken promise of the American dream and the immigrant experience specifically through the eyes of an architect or an artist? BC:  Well, I think the characters were mostly written to their circumstance. It was predominantly Central and Eastern European Jews that were at the Bauhaus. So for me, the characters were always from that part of the world because it's a film that chronicles the life of a Bauhaus architect. For me, the artistic experience and the immigrant experience have a lot in common because an immigrant is fighting for their right to exist, and an artist is fighting for the right for their project to exist. BC: We were looking a lot at the life of Marcel Broyer, Paul Rudolph, Mies van der Rohe, Vláclav Moholy Neuge, you name it. And the character is sort of an amalgamation of all of these real-life characters. They all had something in common. With maybe the exception of Paul Rudolph, they were all coming from Europe. And it was such a big deal. The radical style of architecture in the era that gave us I Love Lucy , you know, and so I sort of just had this vision of that 1950s aesthetic being interrupted by these designs that they must have looked like a spaceship at the time when Breuer was doing St. John's Abbey or something like that. It was written long enough ago at this point that it's hard for me to pinpoint what drove each of our decisions and choices, but we always start with real life. And then once you start writing, it becomes fiction. BB:  There's a lot of sexual content in the film, especially compared to other mainstream American films that are generally sexless right now. Was it important for you to include that? And has there been any pushback to remove it or condense it since the festival run? BC:  Yeah. I mean, the film was finally rated R, but I think it was kind of on the bubble for an NC-17. I just think it's preposterous. This puritanism, I don't know where it comes from. It's 2024, for Christ's sake. I find it odd to condemn the human body. You walk around a museum and everyone's fucking in every single painting. I just think there are a few things that are very important for this film in particular, which is that this movie is about a character that is trying to reclaim his body of work and about him reclaiming his body. We understand in the first 10 minutes that [László’s] impotent following the war, and that even when he and his wife reconnect, it takes them a long time to physically reconnect. Which after 10 years, of course, it's like touching a stranger. You don't know how to interface anymore. BC: It was very important to me to portray a survivor, two survivors, that are trying to reclaim their bodies for themselves again. Because they've been used and abused for over a decade at that point in the story. So yeah, I don't know. My wife is Norwegian and my in-laws are, like, always skinny dipping and stuff at the holidays. I don't think anything of it. It didn't even occur to me that this film might get an NC-17. And I'm very glad that finally it didn't because I never would have changed anything anyway. I don't give a fuck. BB:  Nor should you. During this press tour, you've made many references to how challenging it was to bring The Brutalist , and many films in general, to the big screen. How do you feel about that complicated relationship that an artist has with themselves, their vision, and maybe the commercial nature of the business? And how do you think that relationship informs your storytelling? BC:  I think this film happens to be about exactly that. I remember when we finished the screenplay with this line from Zsófia as an adult (Ariane Labed) saying, “in fact, it is the destination, not the journey.” It dawned on us back in 2017 or whenever it was when we first started this project that it would probably be a long road. It was longer than we expected, mostly because of COVID and the shutdowns, because we were originally meant to shoot the film in Poland. The very day that my crew was supposed to arrive in Poland to start pre-production, Poland shut their borders. And then the tax credit for a period of time became unstable a year later because of Russia's invasion of Ukraine. And so we had to pivot and shoot the film in Hungary. Part of the reason that I decided on Hungary was that I had shot my first film there, and I had scouted the country, and I kind of knew what was available, so I was able to scout virtually in Hungary because it was still a tricky time for travelling in 2021 because of COVID. I knew it was the only place that I felt I knew well enough to plan remotely, which is what we did. And then finally, we arrived at the top of 2022 and shot the film in March. Then I was in post-production for two years, primarily because of the length of the picture. BC: Also, for financial reasons, we were continuing to raise money throughout the entire process because we actually started the film with a budget of closer to $8 million. And it really didn't fit inside of that box. $10 million was really the minimum and the maximum that the market would allow it to be made for. The good thing is that there's a budgetary restriction. That mostly just affected our quality of life while we were making the film, so I believe it would have been the same film if we had an additional $1.5 or $2 million. I really do. But we wouldn't have had to work seven days a week. We wouldn't have had to work 20-hour days. There was literally one day in the mix that was like 23 hours long. It's because we could only afford the studio for X amount of days. And when we got to the last day, we just weren't finished yet. We were moving very quickly, but we just weren't finished. BC: What's very tricky is that filmmakers are frequently exploited because filmmakers are treated, not as if they're someone doing a job, but that it's a privilege to be able to make your film. So frequently, the powers that be sort of lean on the filmmaker who are so desperate to get their project off the ground that they're willing to do it for free, which becomes increasingly difficult as you get older. I've got a 10-year-old daughter and we live pretty modestly. But as we get older, of course, life is becoming more and more expensive, not less. Every single filmmaker I know is grappling with this. You'd be surprised how many people are currently campaigning their movie for Best Picture right now that can't pay their rent. BC: It's ultimately not acceptable. I mean, I've done three movies this way. And when I make the next one, I just need to be able to pay my rent while I'm working on the project because a lot of distributors and exhibitors and producers and studios benefit because of the filmmaker's work. Not always, but frequently. So, I think that the magic number for this movie would’ve been $12 million, but I wouldn't have wanted more because with more money would have come more voices. More checks. More people, you know, more cooks in the kitchen. And for me, when I pick up a novel, I don't want to read a book that was written by 24 people. I certainly don't want to read a book that was written by 24 executives at a streaming [service]. I think that a singular vision, a singular point of view, matters. And it's something that we should encourage and foster, culturally. Audiences actually do speak up. It seems to happen a lot in the world of these superhero films where people hear about a director's cut and start beating on a drum about it. But in fact, everyone should be beating on a drum for the director's cut of absolutely every film because even if a film is imperfect, there's a consistency and continuity of vision. It will always make for a better film. Otherwise, it ends up looking something like an exquisite corpse. BB:  And when you talk about the time constraints, the budget constraints, the scheduling, all of this stuff. It's no secret that The Brutalist took many, many years to come to fruition. Now, it’s being regarded as a massive American epic masterpiece and something that we just haven't seen the likes of in a very, very long time. When you sit with this movie, being made, getting released, and hitting IMAX in a few weeks nationwide. Is there a particular scene that you look back on in fondness and think, you know, “Wow, that's really cool that that made it from my mind, to the paper, to the screen”? BC:  Oh, yeah. Honestly, I'm just so grateful to my team on the movie. Even as recently as last summer, I had just started to run out of gas because I'd been working so relentlessly for so many years in a row and really without a break. We'd run out of money, and I was like, “You know what? it's fine. We'll do a 35-millimetre print and maybe eventually down the line, let's just save and enter negative so that we can make a 70-millimetre print, which is the only way to appreciate the full resolution of VistaVision,” My producing partner, Andrew Morrison, said, “um, absolutely not. We're going to do it. We're going to figure it out.” And he went out and he raised more money. BC: You know, when Ingmar Bergman was directing Fanny and Alexander - the iconic funeral sequence in the film, the beautiful winter sequence - Ingmar Bergman got sick. And his crew had been working with him for such a long time that they continued on shooting without him. And it's funny because it's very much a Bergmanian sequence. But they'd worked together for so many years that when he was struggling, his team got him through to the finish line. And so, my composer [Daniel Blumberg] who we made this film with… I mean, it's 110 minutes of original music, and he made it truly on a shoestring budget. Or my production designer, Judy Becker, who really managed to do so much with next to nothing. I’m just so grateful. I'm very proud. I'm very proud of all our films that we've done together. Every movie is a miracle. Even a bad movie is kind of a miracle that it gets made. But with this, we certainly fought the good fight for many years, so I'm just really touched that they are all being recognized because that doesn't always happen that every member of the team sort of gets their due. For the most part, on this one, everyone's been acknowledged. BB: Well thank you for taking the time and I wish you and your team all the best of luck in the award season, I hope to see you guys up on the stage in March. BC:  Appreciate it. Thank you. Well, we've already made it this far and just being a part of the conversation, in all seriousness, that's actually what matters. More than anything, because just being in the conversation has a real impact on the film's box office. And if the film performs okay, then it means that more movies like this get made. Make sure to check out The Brutalist now in theatres. Interview conducted on December 17th, 2024 by Adriano Caporusso.

CONSTELLATION: SEASON ONE Starring: Noomi Rapace, Jonathan Banks, James D’Arcy, Julian Looman, Lenn Kudrjawizki, William Catlett, Barbara Sukowa, Carole Weyers, Rebecca Scroggs, Henry David, Joshua Spriggs, Michel Diercks, Sandra Teles, Clare-Hope Ashitey, Davina Coleman, Rosie Coleman, and Chipo Chung Creator: Peter Harness QUENTIN Constellation , which Apple is calling an “action-packed space adventure,” has very little action and zero adventure. This series is a pure psychological thriller, and a bad one at that. It’s a slow burn that piles mysteries on top of mysteries without ever giving the viewer enough bait to become curious about the answers. Sure, things come into focus eventually, but the slog to get there simply isn’t worth it. It’s a confusing and convoluted mess that will often leave you questioning if you missed something…and I say that as someone who binged the entire season in one sitting. I can’t imagine watching this on a week-to-week basis. PRESTON Constellation , Apple TV+’s new psychological thriller features a recognizable cast in Noomi Rapace and Jonathan Banks, and while the acting, cinematography, and score are fantastic, the series, as a whole, is not. The absolute lack of action and ridiculously drawn-out scenes seem to be its attempt at suspenseful intensity, yet they fail to thrill on almost every (but not quite all) occasion. There is complete confusion in the first half of the series, followed by annoyance in the second half with its repetitive nature. There is potential for any possible seasons to come, but this first outing was just too damn slow.