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SOLOS Starring: Morgan Freeman, Anne Hathaway, Anthony Mackie, Helen Mirren, Uzo Aduba, Constance Wu, Nicole Beharie, and Dan Stevens Creator: David Weil QUENTIN Another day, another Black Mirror -influenced anthology show. This one, however, boasts an absolute bonkers cast and is less conceptual than Charlie Brooker’s show. It's still tech-centric, taking place in a recognizable-yet-distant future, but Solos is more of an acting showcase. As the name implies, each episode is essentially a one-person stage show, giving the actors room to simply act and deliver monologues. The quality varies, with Tom and Leah being the standout entries by far, but with runtimes between 20-30 minutes, even the weaker ones never overstay their welcome. A fun little twist in the finale is kinda neat too.

LOOT: SEASON THREE Starring: Maya Rudolph, Ron Funches, Michaela Jaé Rodriguez, Nat Faxon, and Joel Kim Booster Creators: Matt Hubbard and Alan Yang AMARÚ Every time I think Loot has lost me, it finds a way to pull me back in. However, this season takes much too long to abandon the riskily cringy comedic bits for its abundance of character strengths. When it does finally settle in, those strengths are powerfully endearing: Ron Funches’ sincere hilarity with literally every word mixed with Nat Faxon’s wholesome foil to Maya Rudolph’s outlandishness, not to mention MJ Rodriguez’s stoicism and Joel Kim Booster’s cattiness as the cherries on top of the lovable dynamic. Season Three has a rough start, but once we get back to an actual story, you’re reminded why Loot should stick around. Check out our reviews for Season Two HERE .

BLACK MIRROR: SEASON SEVEN Starring: Rashida Jones, Chris O'Dowd, Tracee Ellis Ross, Siena Kelly, Rosy McEwen, Issa Rae, Awkwafina, Emma Corrin, Peter Capaldi, Paul Giamatti, Patsy Ferran, Cristin Milioti, Jimmi Simpson and Jesse Plemons Creator: Charlie Brooker PAIGE The dystopian sci-fi anthology series makes a strong comeback with its seventh season. While it may not be Black Mirror ’s at its best, it at least brings back the thought-provoking stories that viewers have craved and been missing over the past few seasons. There are some shortcomings in a couple of the episodes, but each episode dives into the dark and unsettling effects that these futuristic technologies bring to society. This season certainly reignites the show's trademark blend of horror and mockery, too. Longtime fans will certainly appreciate the return to form of the chilling yet imaginative season that reminds us why Black Mirror is one of the most fascinating series still running. Check out our reviews for Season Six HERE .

Previous Next July 14, 2023 WRITTEN BY: AMARÚ Last year saw the resurgence of two very deserving actors’ careers: Brendan Fraser and Ke Huy Quan. The “Fraser-sance” culminated in a Best Actor Oscar for Fraser’s harrowing performance in The Whale after starting his comeback with turns in the critically acclaimed (series) Trust , Condor , Doom Patrol , and (film) No Sudden Move . Meanwhile, the “Quan-naissance” resulted in a Best Supporting Actor win for Quan’s heartfelt role in 2022’s Best Picture winner, Everything Everywhere All at Once . Both actors seem likely to continue their success with consistent work moving forward too, as Fraser will appear in Martin Scorsese’s Killers of the Flower Moon later this year, while Quan has a reported role in Loki ’s second season after appearing in the Disney+ show American Born Chinese . With all that in mind, their recent success got me thinking about other actors who deserve their flowers for what they’ve accomplished in the past and who should be rewarded with a renaissance of their own. My immediate thought was one of the most hilarious comedic actors of my childhood, Chris Tucker. Although some people may have considered Tucker to be a bit too much, you can’t deny that he was one of the hottest comedians in film during the late 90s, with a clear audience who loved his work. In the span of four years (1995-1998), he appeared in six films, all of which were career milestones, whether it was a financial success ( Rush Hour) , a chance to lead his own film ( Money Talks ), or the opportunity to work with an acclaimed director (Quentin Tarantino in Jackie Brown) . That six-film run not only demonstrated Tucker’s wide-ranging comedic ability, but also instances of dramatic competence. But more than that, he established his commanding screen presence no matter who he was acting alongside. Be it Ice Cube, Larenz Tate, Charlie Sheen, or Jackie Chan, it didn’t matter. Numerous actors benefitted from the chemistry Tucker’s charm and charisma generated in the 90s. Two small roles in The Meteor Man and House Party 3 notwithstanding, it was Friday that introduced us to Tucker’s witty quips and hysterical quotables, and his hilarious role as Smokey contributed to establishing the film as an all-time comedy great. The Fifth Element ’s Ruby Rhod is another of Tucker’s iconic characters, and it proved that his screen-sharing prowess also applied to Hollywood’s elite, stealing scenes away from Bruce Willis before doing so again in his five minutes with Samuel L. Jackson in Jackie Brown . Along with Brown , Dead Presidents showed that his distinctive, high-pitched voice can work in more serious roles. A voice that was most intricately exhibited in the highly underrated Money Talks . People discuss Rush Hour as the height of Tucker’s career, but it was the physical and musical comedy, improvisation, quick-line delivery, and action prowess that he carries throughout Money Talks that was the foundation for Rush Hour ’s success. The fact is that anytime he appeared in a film, his kinetic energy, great comedic timing, and ability to work with anyone on screen made him one of the funniest and most likable actors around the turn of the century. In only six years, he had already been in an all-time comedy classic, had major roles in three films that grossed over $245 million dollars worldwide each, created multiple iconic comedic characters, and starred alongside some of the most famous stars of the time. On top of all that, he carved his own lane to create multiple cult classic films. He accomplished more in that short timeframe than many actors do in their whole career. Recently, he became a trending topic on Twitter when his filmography was put up against that of Martin Lawrence. Black Twitter especially went at it, saying it was a very close match up with supporters on both sides of the argument, but the main argument of Tucker’s supporters was that the quality of his smaller filmography was still able to go toe-to-toe with the decades-long film resume of a comedy legend. The thing is, I agree with them. For some time now, I’ve had what some might call a pretty hot take when it comes to Tucker and his peak filmography. I believe that he has a better 90s resume than Will Smith. Now, before you hit me with a Soulja Boy or Nick Young meme, I am not including box office numbers because we all know why Smith was called “Mr. July” in the 90s. However, with a side-by-side comparison of their best 90s roles, I truly consider Tucker’s run a stronger one. Big Willie may have the best movie of the bunch ( Enemy of the State) , but Chris’s single scene in Jackie Brown is far superior to the entirety of Wild Wild West . In whatever way you decide to compare their six roles, I consider Tucker’s to be comparable or better. Tucker followed this high-flying 1990s by procuring a $20 million dollar payday ($40 million in today’s dollars) for his highest grossing movie to date, 2001’s Rush Hour 2 . Sadly, that is the last time we’ve gotten to see Tucker really flex his comedic brilliance in an authentic way. Even though he was able to capitalize on the franchise’s success to bank a $25 million dollar deal for Rush Hour 3 in 2007, which made him the highest paid actor for a singular movie at that time, he felt that he’d reached an apex that wasn’t as fulfilling for him anymore, stating “The way I kind of stepped back from Hollywood… I felt like, you know, it was a ceiling right there. I wanted more – it wasn’t enough.” This was visible in his lackluster performance in that third outing, which came out five years after the second film. He wasn’t the quick-witted, sharp switchblade of comedy that fans were used to, and it ended up being his last comedic performance to date. Since then, he’s had two smaller roles in Silver Linings Playbook and Billy Lynn’s Long Halftime Walk, but has spent most of his public life working on his stand-up and various humanitarian causes to help children and unhoused people. I’ve always wondered what would have been had he not taken that hiatus after Rush Hour 2. What version of Tucker would have appeared in Rush Hour 3 if they kept the momentum going sooner? What would his acting career have evolved into if he continued to passionately hone his skills? Between Friday and Rush Hour 2, he had grown past the stand-up comedian who can throw one-liners at the screen into something more well-rounded. Yes, he still hit the quips with high efficiency, but he could also sing, dance, do physical comedy, do action, and set up and pay off a clever, long-running bit (ask Black Twitter about Vic Damone Jr.). But most of all, he could carry a movie, and he was beginning to show some dramatic prowess. Could he have followed the trajectory of Jamie Foxx, another actor who transformed past the comedic perspective everyone had of him? If you didn’t know, Tucker was offered the role of Willie Beamen in Any Given Sunday before Jamie Foxx took it. Subsequently, with roles in Ali , Collateral , and Ray , Foxx proved that he was more than just the funny man you saw in Held Up , Booty Call , and The Player’s Club . Maybe Tucker could have built a similar path for himself, or maybe he wouldn’t have been more than what we remember. It’s hard to say, but with the number of opportunities Tucker decided against taking, we will never know what kind of career he could have crafted over that 20-year span. In addition to turning down Any Given Sunday, Tucker opted not to return to the Friday series, was connected to Steve Martin’s The Pink Panther remake, and was working on a ”first Black President role” similar to Chris Rock’s Head of State . Ultimately, Tucker felt that the roles he was being offered weren’t special enough to help him grow as an actor. "I knew I didn't want to just make a whole bunch of money making movies that don't really mean anything… Everything that you've seen that a Black person could be in, they offered it to me first, and I was like, 'Nope, nope, nope, and nope.'” This year, however, sees Tucker’s first film appearance since 2016. His performance as Nike executive Howard White in Air reminded audiences that his mere presence can bring a smile to your face. Unlike the tired execution we see in the final Rush Hour , Tucker seemed rejuvenated being back on screen, easily navigating scenes alongside the powerhouse acting duo of Matt Damon and Ben Affleck. He proved he can still command your attention, making you question whether his lines were scripted or if he improvised everything on the spot. In fact, being a friend of Howard White in real life, Tucker ended up writing much of his own dialogue. “My part wasn’t even in the script. I had to write it. (Howard) had me talk to people – childhood buddies… I put all this information together and wrote my part. That’s the way I like to work, anyway. With the Rush Hour movies, I’ll use a little bit of what the writers do, but most of the time, I want to put it in my own words.” Tucker doesn’t plan on taking another acting hiatus after Air, and with these amazing talents, he is more than deserving of the chance to remind us what he was and prove how much more he can be. Put him in any role in any genre - comedy, sci-fi, drama, animated, whatever - and watch that film’s enjoyability increase tenfold. I’m ready for one of my favorite comedians to return to the big screen, and I think the world should join me in this renaissance campaign. Who’s with me? Photo Credits: Photo 1 - GQ Magazine; Photo 2 - New Line Cinema; Photo 5 - Amazon Studios

Previous Next Spooky season is back and with it, comes a spooky Top Five. So, grab a seat by the campfire and cuddle up under a blanket because the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Ghost Stories. As per usual, each writer ranks their top 15 releases 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. POLTERGEIST (1982) Being one of the defining horror films of the late 20th century, it's hard to overstate the brilliance of Poltergeist . There is a lot to be afraid of in this classic, as this inventive ghost story maintains a consistent eerie dread throughout that's only exacerbated by the mortifying thrills that come, but many ghost movies and horror films share this quality. What makes Poltergeist so special is its focus on the suburban family life being threatened, if not to prove the love the family has for each other, making Poltergeist not just scary but also bizarrely endearing. There is some dispute about how involved Steven Spielberg was in directing this, but either way, Poltergeist has that Spielbergian magic that makes many of his films stand the test of time. Given that it's 2025 and it remains a horror staple, director Tobe Hooper deserves all the credit for this spooky masterpiece. - Adriano 4. GHOSTBUSTERS (1984) Is there a better feel-good ghost story than Ghostbusters ? Usually, the concept portends something harrowing and eerie, possibly dreary, but with this, you get quirkiness, snark, and fun in 105 minutes. Even though it isn't credited as a Saturday Night Live film, it inhabits the spirit of the show with its writing and actors, and Ivan Reitman leaned into an improvisational style to keep it playful. Everyone is at the top of their game, and when linked with special effects that surprisingly hold up and one of the greatest singles ever recorded for film (how it didn't win an Oscar is a crime), you get a cultural phenomenon. Nothing will touch Ghostbusters as a comedy revolving around spectres, but beyond that, it is a touchstone of pop culture with nary a bad word uttered or written about it since busting can only make you feel good. - Robert 3. THE SHINING To me, The Shining is without a doubt the pinnacle of modern ghost stories. The film itself feels haunted and mean-spirited, epitomising everything that’s unsettling about ghosts. It's a matter of interpretation whether the ghostly presence at the Overlook Hotel is a manifestation of Jack’s descent into madness or not, but either way, the terrifying identical twins and horrifying woman in the bathtub spring to mind when speaking about the best of ghosts in film. The impact of The Shining is clear throughout pop culture as it has influenced countless other films, and it's unique in its enduring imagery and strangely unsettling atmosphere. Although it encompasses various genres, including slashers, gothic horror, and haunted house movies, The Shining is the ultimate ghost story. - Katie 2. THE SIXTH SENSE One could make the case that The Sixth Sense was both a blessing and a curse for M. Night Shyamalan. The kind of success it had meant that critics and audiences would, fairly or not, have high expectations for his subsequent projects. While I wouldn’t say this is my absolute favourite in Shyamalan’s filmography (it’s a toss-up between Unbreakable and The Village ), that doesn’t mean that I don’t get why this became such a cultural phenomenon. In embracing some of the tropes associated with studio horror, Shyamalan transcended them in the process, delivering audiences a moody ghost story about learning to find closure in this cruel world. Beyond all his filmmaking tricks, like his impeccable blocking and ability in directing children (Haley Joel Osment really is incredible in this), his unabashed humanity is the real driving force behind this. It’s why the scares hit as hard as they do. It’s why that famous twist ending is as heartbreaking as it is. It’s why the film as a whole endures to this day. - Bode 1. BEETLEJUICE “Daylight come and me wan' go home!” As a horror fan, Tim Burton’s Beetlejuice was a huge staple of my childhood. Danny Elfman’s eerie and whimsical score and the film’s memorable cast pair perfectly with Burton’s strange and stylish direction. I still find it astounding that Michael Keaton, who plays the iconic poltergeist Betelgeuse, only has about 20 minutes of screen time, yet he was still able to deliver one of his most unforgettable and best performances to date. And while the film may not be the scariest ghost movie on this list, there's no denying that it has some chilling visuals and bizarre practical and special effects (the sandworms still haunt me in my dreams from time to time). All in all, this cult classic captures the heart and soul of a haunting ghost story while blending it with humor and a weirdly unique take on the afterlife. - Paige HONORABLE MENTIONS THE OTHERS A GHOST STORY THE FRIGHTENERS THE CONJURING THE HAUNTING OF HILL HOUSE

HACKS: SEASON TWO Starring: Jean Smart, Hannah Einbinder, and Carl Clemons-Hopkins Creators: Lucia Aniello, Paul W. Downs, and Jen Statsky JACOB When a show like Hacks comes along, a second season better than the first can be quite rare, and while I’m still debating whether this season gets there, it undoubtedly stands toe-to-toe with Season One. Truly, this is one of TV’s best comedies. The entire cast has remarkable chemistry, and that chemistry is on full blast, especially between Jean Smart and Hannah Einbinder. Really, the only major change in Season Two (apart from being two episodes shorter) is that Kaitlin Olson’s character – DJ – is barely in it. That said, her absence is hardly a flaw, and what is there continues to work beautifully. ADRIANO In Season Two, Hacks continues its winning streak, bringing the same level of whip-smart comedy and odd sincerity that we saw in Season One. The sweetly hilarious dynamic between Jean Smart and Hannah Einbinder is the core of the show, which they pull off exceptionally. While those two certainly stand out, the entire cast is wonderful. Each performer gets a moment to shine, even the minor cameo roles. Season Two is a fun ride that makes me want more, but I also would be satisfied if the season finale stood as a series finale. Overall, this season tops the already great first one.

MRS. DAVIS Starring: Betty Gilpin, Jake McDorman, and Andy McQueen Creators: Tara Hernandez and Damon Lindelof QUENTIN Mrs. Davis is delightfully bonkers, and if you can attune to its wackadoo sensibilities, there is quite a bit of fun to be found in these eight episodes. *Cue Stefon from SNL impression* It. Has. Everything… a motorcycle riding nun, ninja strike forces, the Holy Grail, British Knight sneakers, Jesus Christ making tacos, Skynet-style AI, whales, “The Resistance,” exploding heads, magicians, cowboys, a giant Excalibur, Margo Martindale. *end impression* But seriously, it’s like a comedic version of Preacher , and while Betty Gilpin is a worthy center point, it’s all the dumb insanity surrounding her…especially the scene-stealing, Australian-accented Chris Diamantopoulos…that will keep you coming back.

61st STREET: SEASON ONE Starring: Courtney B. Vance, Tosin Cole, Bentley Green, Aunjanue Ellis, Holt McCallany, Andrene Ward-Hammond, Jerod Haynes, and Mark O’Brien Creator: Peter Moffat QUENTIN While AMC’s 61st Street isn’t a bad show, it might be one of the more generic “racial messaging” shows I’ve seen in quite some time. Every aspect of it, of which there are too many to mention because the writers legitimately throw every racism-in-the-face-of-a-broken-judicial-system cliché at you, will remind you of similar shows that were more thoughtful, more nuanced, and less heavy-handed. Courtney B. Vance, Aunjanue Ellis, and the always underrated Holt McCallany manage to keep the show from sliding into full blown triteness, even if, despite the story’s relevancy, it doesn’t demand too much of the viewer.

FEAR THE WALKING DEAD: THE COMPLETE FINAL SEASON Starring: Lennie James, Kim Dickens, Zoey Merchant, Jenna Elfman, Maya Eshet, Karen David, Austin Amelio, Christine Evangelista, Danay Garcia, Rubén Blades, Daniel Sharman, Jayla Walton, and Antonella Rose Creators: Dave Erickson and Robert Kirkman NICK PART ONE Although Fear the Walking Dead has been inconsistent in its quality, it's been an enjoyable weekly watch as the campier, more ridiculous sibling of The Walking Dead . But, enough is enough. Part One of this season (it's 12 episodes, and did NOT need to be split) fails to build on the walker advancement The Walking Dead teased, or provide an interesting path to the finale until its dying minutes. Add in bringing Madison Clark (Kim Dickens) back too late and the continued bastardization of Morgan Jones (Lennie James) (though "King County" is admittedly the season’s highlight), and I'm not optimistic Part Two can salvage this series. PART TWO Wow, and I thought Part One was rough... It's genuinely depressing to see how far Fear the Walking Dead has fallen. The series certainly had its challenges, but it was never as nonsensical and unenjoyable as its final six episodes. The characters' motivations and decision-making are all over the place, some of the performances are ROUGH (Kim Dickens, in particular), and any interest I had in anyone's story dissipated with each passing episode. It's time to let this die. There’s no need for any continuation of these characters, just put everything about this series out of its misery and focus on the other spin-offs.

EARTH ABIDES Starring: Alexander Ludwig, Jessica Frances Dukes, Aaron Tveit, Rodrigo Fernandez-Stoll, Elyse Levesque, Luisa d’Oliveira, Birkett Turton, Hilary McCormack, and Jenna Berman Creator: Todd Komarnicki QUENTIN Earth Abides isn’t a bad miniseries, per se, but it’s not necessary viewing either. Its biggest problem is that it feels like so many other movies and series, recalling nearly every post-apocalyptic piece of content you’ve ever seen, from the Fox sitcom The Last Man on Earth to a zombieless The Walking Dead . Plus, the story is incredibly rushed (for reference, the first four episodes span 17 years), which prohibits any sort of meaningful character development, and frankly, there just isn’t much engaging drama or suspense. It’s watchable enough in a “what would I do in this situation?” way, but it’s also very skippable.

Previous Next September 6, 2023 WRITTEN BY: AMARÚ When I was a child, I found reading to be an extremely boring experience. That is until I was grounded for a month because I did something unmistakably stupid, and my mother walked into my room, plopped the first four Harry Potter books in my lap, and said, “read…now.” The look she gave told me that I best do what she said, so I begrudgingly began reading. Four weeks, four books, and more than 1,400 combined pages later (TWICE), I was hooked. Not because I suddenly had a grand appreciation for reading, but because I saw the amazing movies that could be made while plowing through those stories. Ever since, the books I enjoy the most, even as an adult, are usually of the Young Adult (YA) fantasy variety because I can easily see them being adapted into adventurous, mysterious, and entertaining visual spectacles. There was a point in Hollywood history, after the successful adaptation of my first literary fandom, where the rights to every single YA novel on the planet were being picked up. Many of these great book franchises ultimately became haphazard cash grabs instead of the dense, character-driven stories they actually are. While studios today would rather go back to the wells that worked (e.g., Max remaking Harry Potter into a new television series), I have been thinking about mostly untouched series that I’d love to see get adapted in some way, shape, or form. So, with that in mind, here are five YA book series (some of which are already in production) that I think are prime to become the next great YA franchises, assuming they are authentically adapted, on either the small or silver screen. THRONE OF GLASS SERIES Author: Sarah J. Maas Sub-Genre: High-Fantasy Action Thriller Suggested Medium: TV Series Comparisons: Game of Thrones and The Witcher After seeing my comparisons, you might be thinking, “I thought you said YOUNG adult franchises,” but you’d be surprised just how much violence and sensuality are in some of these novels. This series follows the story of a young slave turned king’s assassin, Caelena Sardothian, who is thrust into a competition against the world’s deadliest warriors to earn her freedom from the king’s service. As competitors start turning up dead in the king’s castle, she finds herself embroiled in a treacherous mystery that not only endangers her life, but also unravels secrets from her past. The first book is led by a badass female protagonist (you’ll start to see a trend soon), has multiple intense action sequences, and a roller-coaster mystery that would keep audiences coming back week after week for the next episode. Subsequent entries dive into a much grander fantasy world, featuring deep lore, intriguing characters, and an engaging story teeming with frightening antagonists and exhilarating cliffhangers that could easily fill out multiple seasons. In 2016, it was announced that Throne of Glass , the first of seven novels, was being optioned for a Hulu television series, but the rights have since reverted to Maas with no further production currently in the works. A COURT OF THORNS AND ROSES SERIES Author: Sarah J. Mass Sub-Genre: Fantasy Romance Suggested Medium: Anime TV Series Comparisons: Beauty and the Beast , Outlander , and Battlestar Galactica While the previous series from Sarah J. Maas had an adaptation that fell through, her romantic fantasy series, A Court of Thorns and Roses ( ACOTAR ), is currently in the works (also at Hulu) with Outlander and Battlestar Galactica creator Ronald Moore at the helm. Although current plans are to make a live-action television show, I think this very adult-themed romantic thriller would be interesting as an anime. Similar to Throne of Glass, ACOTAR is led by a female protagonist, Feyre, who, after killing a wolf in the woods, is confronted by a beast-like creature demanding retribution. Dragged to a treacherous magical land she only knows about from legends, Feyre learns that her captor is one of the lethal, immortal faeries who once ruled her world. When the icy hostility she holds for her captor begins to turn into fiery passion, the lies and warnings she had been told of the dangerous faerie lands begin to burn away. ACOTAR is packed with ardent love stories, vibrant settings, and eccentric characters. With a message of self-discovery enveloped in these fervent and passionate tones, an anime style is a perfect fit for some of ACOTAR ’s over-the-top story elements. LORIEN LEGACIES SERIES Author: Pittacus Lore Sub-Genre: Sci-Fi Adventure Thriller Suggested Medium: Movie Franchise Comparisons: Ender’s Game and The Maze Runner I Am Number Four is one of the many YA books whose movie adaptation was sorely underdeveloped, falling vastly short of its source material. The 2011 film was a cheap, trope-filled high school drama with paper-thin characters and flashy action sequences, but the book’s story is filled with so much more heart and heartbreak. It follows John, one of nine child refugees from the planet Lorien, who, along with their nine guardians, are among the last of their race. They are on the run from an evil group trying to kill them before the Lorien children develop their “Legacies,” superpowers that are the only weapons they have to protect their people. Before leaving Lorien, a charm was placed upon them so they can only be killed in a particular order, and it notifies the others when one of them is dead. Three have been killed; John is number four. The story has great fish-out-of-water, coming-of age themes, exciting cat-and-mouse survival motifs, a beautiful father-son dynamic between John and his guardian, and numerous kinetic action sequences. Its subsequent entries delve into the spy-thriller, action-adventure, and political war drama genres to very captivating results. What they did to the first adaptation was shameful, and it deserves another shot to showcase its true strengths. THE GRACELING REALM SERIES Author: Kristin Cashore Sub-Genre: High-Fantasy Political Thriller Suggested Medium: Movie Franchise Comparisons: The Tolkienverse and Shadow and Bon e Katsa has been able to kill with her bare hands since she was eight years old because she is a Graceling, one of the rare people in her land born with an extreme skill, skills that can range from archery to baking. As the king’s niece, she should live a life of privilege, but instead, she is forced to kill on her uncle’s behalf, deposing other realms and elevating his power. Author Kristin Cashore’s opening novel in this series is a fairly straightforward fantasy story with a conflicted female protagonist who doesn’t want to be seen just as the king’s dangerous puppet. It features many elements similar to those seen in other female-led series on this list, but the main reason I have it here is because, while the first book’s characters and world-building are just unique enough to be a better-than-decent starting point, the second and third books are a surprising departure from the original. It’s a series that gets better with each entry, addressing themes of depression, abuse, and mental health by its much more methodical and introspective third book, Bitterblu e. RICK RIORDAN’S MYTHOLOGY UNIVERSE Authors: Rick Riordan, et al. Sub-Genre: Coming-of-Age Adventure Suggested Medium: Multi-platformed Connected Universe Comparisons: Wizarding World and The MCU Honestly, this entry is the whole reason I wrote this article. The absolute hatred I have for the Percy Jackson movie adaptations goes down to the depths of my soul. I loathe, despise, and utterly HATE those bastardizations of one of the most relatable, hilarious, exciting, and culturally competent literary series of my time. To really understand the gravity of my revulsion, go read this absolutely hysterical demolition of the studio by author/creator Rick Riordan HERE , where he explains why he ended up wanting no part of the film adaptations. Not only did 20th Century Fox kill a potential five-movie franchise based on Riordan’s original series, but it also stopped any possibility of creating a massive cinematic universe. Luckily, Disney+ has obtained Riordan’s blessing and, more importantly, his collaborative efforts to move forward with a rebooted television series, with Season One covering the first book, The Lightning Thief (arriving December 2023!). If that is done well, it can lead to so much more than four more seasons of Percy’s story. Riordan’s series was so thoughtful and entertaining that he was able to write multiple demigod stories, including a Roman mythology series that culminates in an Endgame -level crossover with Percy Jackson ’s Greek mythology series, an Egyptian mythology trilogy (with a Netflix movie already in the works), a Norse mythology trilogy, a book series centered around the Greek God Apollo, and several singular spin-offs and novellas, all of which are interconnected to some degree but can stand on their own as well. This universe is so beloved that he now has a publishing company that allows other authors to create demigod stories highlighting their own cultural histories, including Indian, African, Native American, and Chinese mythologies. For years, I never thought that anything could surpass my love for Harry Potter , but this one does it in spades. I am crossing every appendage in hopes that the upcoming series grows to the same heights as its source material.

STICK: SEASON ONE Starring: Owen Wilson, Peter Dager, Marc Maron, Mariana Treviño, Lilli Kay, and Judy Greer Creator: Jason Keller QUENTIN If you mixed The Farrelly Brothers’ Kingpin with Happy Gilmore , then wrapped it all up in the saccharine heartfelt vibe of Shrinking , you’d end up with Stick . If the sweetness of the latter is your thing …and assuming you can get past the initially grating characters on screen (they even out as the show progresses) …and assuming you enjoy Owen Wilson’s and Marc Maron’s schtick …this show is worth a shot. Personally, I don’t particularly like Shrinking and I think Wilson is a better supporting player than a lead, but I like Maron, Timothy Olyphant, and golf, so it balanced out to be a decent binge.