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DARK SIDE OF THE RING: SEASON FOUR Starring: Chris Jericho Creators: Evan Husney and Jason Eisener NICK Now in its fourth season, Dark Side of the Ring is - for my money - the best docuseries running. Vice acknowledged this by expanding into other "Dark Sides," but without the passion that creators Jason Eisener and Evan Husney have for pro-wrestling, they just lack something. Although this season may be its weakest, it's clear the well hasn't run dry as each Dark Side episode is engaging. *Stefon voice* This season has everything: sex, drugs, clowns, grave robbing, contract disputes, murder confessions, car crashes, and Bam Bam Bigelow. I can't stress this enough... DON'T BYPASS THIS SERIES BECAUSE YOU AREN'T A WRESTLING FAN. QUENTIN It’s hard for me to review episodic anthologies because I tend to say the same thing over and over, “some episodes were good, some were bad.” That said, as a guy who was a diehard wrestling fan in the 80s and 90s (R.I.P. Razor Ramon), Dark Side of the Ring knows the way to Q’s heart, using nostalgia to teach him something. And even for those who don’t have the foundational knowledge of, say, The Rockers, the episode “The World According to Marty Jannetty” is just wild. After four seasons, this series continues to provide behind-the-scenes history as colorful as the personalities in the squared circle.

Previous Next July 24, 2024 WRITTEN BY: KATIE The concept of class and status is ingrained in British culture in a unique way. It’s deep-rooted and a defining characteristic of Britain, evidenced in the prevalence of the monarchy, divisive class politics, and our penchant for regal period dramas. We also have a rich history of working-class narratives in film, though, with the emergence of the British New Wave in the 1950s bringing gritty realism and drawing attention to working-class stories. These films have influenced British cinema for decades, including filmmakers such as Ken Loach, Mike Leigh, Andrea Arnold, Shane Meadows, and Francis Lee. However, despite the rich, long history of working-class narratives in British cinema, the state of the industry today is reflective of the fact that people from these backgrounds are growing increasingly disenfranchised and denied opportunity. Let’s talk about why that may be and how bad the problem is... Working-class representation in the UK film and TV industries is its lowest level in a decade, with just 8.4% of creatives coming from working-class backgrounds, whilst over 60% are middle or upper-class. Nearly half of all BAFTA and British Oscar nominees in the last decade were privately educated, yet across the UK, only 5.9% of pupils attend private schools. This is one of the many issues impacting the creative sector in the UK, forming barriers to access for working-class creatives. Other hurdles include, but are not limited to, the lack of creative subjects in schools, the de-funding of the humanities in further education, the disappearance of financially accessible arts education, and people being priced out of areas of opportunity — most notably, London. All of this leads to an issue James McAvoy has raised, addressing it as “the class ceiling.” He called out the dominance of British actors working today who are from “specifically fee-paying, private, expensive schools” such as Harrow (graduates include Benedict Cumberbatch) and Eton (Old Etonians include Eddie Redmayne, Damian Lewis, Tom Hiddleston, and Hugh Laurie). He has also spoken about the lack of working-class kids pursuing careers in the arts as symptomatic of “something wrong with our education system.” I couldn’t agree with this more. Unequal access to subjects like Film, Media Studies, and Drama has had a huge impact on children's ability to access careers in the sector, which has a direct impact on shaping the future of the industry. It prevents those who are most equipped and affected by working-class stories from telling them, and in turn, the public from accessing authentic representation. When the majority of actors are from the same backgrounds and have attended the same schools, it also means success is more often than not reliant on people having an existing network of connections, which prevents others from alternative backgrounds from accessing the same opportunities. These privileged circles are only made smaller by the fact that many good opportunities are restricted to London, which, again, is only accessible for those with the money and support to afford extortionate rental prices and a ridiculously expensive cost of living. Furthermore, one of the most common routes into film or TV is unpaid (or very low-paid) internships that working-class people obviously cannot afford to take alongside the full-time jobs they must keep to afford to live. What’s more, these financial and social issues result in cultural barriers. Research has shown that in recent years, working-class arts students at top universities have faced bullying and harassment due to their accents and regional dialects because they are perceived as indicators of social status, which further dictates whether such individuals are "accepted as ‘one of us’ by those in their chosen industry." Yet, despite current issues of defunding and inaccessibility, so many modern British success stories have come from diverse, working-class backgrounds and have demonstrably benefited from access to both free and subsidised education. There are countless examples: Top Boy director Myriam Raja said film development projects such as Random Acts, which also produced one of Riz Ahmed’s early films, enabled her to get her foot in the door of the industry and “sustain a career.” Daniel Kaluuya heavily relied on free and low-cost arts and youth clubs across North London, and he believes they got him his first jobs, including appearing in and writing for Skins . Riz Ahmed, who has been very outspoken about the lack of diversity in the UK industry, wouldn't have been able to access the high-quality education he had without scholarships, diversity schemes, and other forms of financial support. All that is to say that, clearly, the British working class lacks authentic representation on screen at the moment. With this in mind, I’d like to highlight some films that are not only excellent but also, in my opinion, represent the working class and their life experiences in an authentic way, created by directors or starring actors from working-class backgrounds. FISH TANK (2009) Director Andrea Arnold was raised by a single mother on an Essex council estate (similar to Section 8 housing in America), and her social-realist drama Fish Tank follows young Mia (Katie Jarvis), who lives on a council estate with her single mother and younger sister. Filmed with a gritty, realistic approach and handheld camera, the film follows Mia as she spends her days getting in trouble, starting arguments, and drinking whatever booze she can find. The family is struggling, and social services is threatening to get involved. However, things start to change when Mia’s party-girl mother brings home a nice new boyfriend, played by Michael Fassbender, who immediately forms a bond with Mia. Fish Tank is emotionally devastating. It offers an honest, unflinching portrait of the lives of working-class people on housing estates, and how these pockets of society can be forgotten and neglected. The representation of the estate is also incredibly authentic, with characters who feel so real and so lived-in that it’s like I’ve seen them across the street before. Interestingly, Jarvis was just a year older than her character when the film was shot, she also comes from an Essex council estate, and was a first-time actor in the film, all of which lends itself to her character’s authenticity and powerful presence. BOILING POINT (2021) If you’re a fan of the stressful intensity and frantic energy in The Bear , then you’ll love Philip Barantini’s low-budget drama Boiling Point . Starring the great Stephen Graham as an overwhelmed and overwrought Head Chef, the film follows a chaotic kitchen amid a busy night of service where everything is going wrong. The film is fast-paced and follows many threads, giving the viewer a brief glimpse into the unique emotional, mental, and financial struggles of many members of the culinary workforce. It’s also shot in one single take, which is completely seamless and deeply engaging, drawing you further and further into the nail-biting drama whilst refusing to give you a moment to breathe. The fact that I didn’t even notice this approach until halfway through the film is a testament to just how well this creative choice works. Combined with the rest of the fantastic cast and an amazing sound design that recreates the cacophonous sounds of a busy kitchen, Boiling Point is a technically brilliant and ridiculously entertaining film. HOW TO HAVE SEX (2023) Molly Manning Walker’s debut feature, How to Have Sex , is an incredible coming-of-age drama that follows a group of school friends on a British rite of passage: the post-exam girls’ holiday. Tara (Mia McKenna-Bruce), Em (Enva Lewis), and Skye (Lara Peake) stay at a cheap hotel and hit the party strip in Crete, drinking a profuse number of fish-bowl cocktails with the goal of Tara losing her virginity at the forefront of their minds. The film navigates the intricacies of female friendship, peer pressure, and the fraught nature of consent in a world where women are discouraged from communicating their desires and thoughts. Although it can be uncomfortable, Walker thoughtfully and empathetically handles the trauma and nuances of sexual assault, utilising stark realism alongside dizzying club scenes to juxtapose the rowdy drunken nights with the sobering cold light of day. Walker has an amazing understanding of young, working-class culture, for better and for worse, demonstrated by authentic characters and relatable experiences. THE KITCHEN (2023) Daniel Kaluuya’s social-realist dystopian drama The Kitchen takes place in a neglected London housing estate, and it examines the worst-case scenario in terms of gentrification and the affordable housing crisis in a near-future Britain. The film highlights issues already present in the system, whilst also acting as a cautionary tale about the impact of austerity and the over-policing of disadvantaged communities. Co-directors Kaluuya and Kibwe Tavares have commented that the film is influenced by their experiences of mass gentrification and their wish to represent working-class black British culture on screen. Despite the building tension and volatile situation the protagonists are in, I love that the film also pays attention to the budding relationship between Izi (Kane Robinson) and Benji (Jedaiah Bannerman), who each give compelling performances that act as the heart of the film, drawing attention to the power of community. Much like many close-knit communities that exist in working-class Britain today, The Kitchen represents solidarity, humanity, and compassion. Plus, the world-building is fantastic, with a distinctive setting that juxtaposes against the expensive new builds just beyond the estate.

THE OLD MAN: SEASON TWO Starring: Jeff Bridges, John Lithgow, Alia Shawkat, and Amy Brenneman Creators: Jonathan E. Steinberg and Robert Levine QUENTIN After more than two years, The Old Man is back. Meh. Honestly, if not for the grumpy-old-men dynamic between Chase (Jeff Bridges) and Harper (John Lithgow), not to mention the performances (perhaps unsurprisingly, Bridges is the main draw for me), I might have checked out because the slow-moving and convoluted story just doesn’t grab me, nor am I truly invested in the characters’ fate or confrontation with past transgressions. That said, the plotline revolving around Alia Shawkat’s character is extremely compelling, but it’s little more than a MacGuffin to develop Chase and Harper. After all, the series is called The Old Man , not The Young Woman .

A TEACHER Starring: Nick Robinson, Kate Mara, Ashley Zukerman, Rya Kihlstedt, Shane Harper, Dylan Schmid, and Marielle Scott Creator: Hannah Fidell QUENTIN This miniseries isn't perfect and I could certainly nitpick it to death, but you know...? I kinda dug it. Its biggest fault is that it struggles to let Eric (Nick Robinson) be a vulnerable teenager, which means some of the intimate moments come across as... hot?...instead of off-putting. Don't get me wrong, Robinson is great, but he's too old and cocksure to make the character dynamics as sketchy as they always should be. Otherwise, it fades a bit in the third act and is probably best watched in a binge as the entire season is better than any single episode.

THE BOYS: SEASON THREE Starring: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Dominique McElligott, Laz Alonso, Tomer Capone, Karen Fukuhara, Jessie T. Usher, Chace Crawford, Colby Minifie, Claudia Doumit, Laurie Holden, and Jensen Ackles Creator: Eric Kripke NICK The argument could be made that this season of The Boys is the best yet, which is quite the feat considering it’s the series’ third season. The entire cast is electric. While Antony Starr's Homelander leads the charge as one of the more enthralling characters on television, Karen Fukuhara is the true season MVP for her layered portrayal of Kimiko. The writers ensure the plot never stagnates with their evolution of the racial themes from last year, and the violence and gore remain both creative and unforgettable. Not only is The Boys the best series of the year, it’s showing no signs of slowing down. JACOB As unusual as this is to say about almost any major streaming show past its first outing, The Boys may well have just wrapped its best season yet. While there are some individual issues within specific episodes, Season Three combines the best aspects of the previous two seasons by digging deeper into its characters and elevating its stakes in horrifyingly organic fashion. Everyone dials their performances way up for round three, but the standouts are, without a doubt, Laz Alonso, Antony Starr, and Jensen Ackles (Starr, in particular, is overdue an Emmy nod). Wherever season four wants to go, I’ll be there. ADRIANO After a third consecutive perfect season, I’m starting to think The Boys is a pretty damn good show. The cast is once again top notch, and I will personally become Homelander if Antony Starr misses an Emmy nod again.The show’s bonkers and extreme nature go above and beyond this season, but it never gets in the way of the characters or the brilliant satire at the show's core. That final scene literally scared the bejeezus out of me because of how real it is, not to mention its implications for future seasons. All in all, it was the best and most diabolical season yet. QUENTIN In a media landscape teeming with superheroes, The Boys ’ third season may have cemented the series as the only must-watch in an overstuffed genre. While the very-hard-R-rated shenanigans get most of the press (Herogasm, anyone?), the fact is that it’s an incredibly well-written and hilarious satire on politics, capitalism, and celebrity that features some truly award-worthy performances (Antony Starr, especially). One tiny criticism is that some of the satire could be more subtle, but that’s barely a complaint worth mentioning. And if you don’t care about the razor sharp commentary, it’s also a rowdy action ride that will leave you saying “holy shit!” repeatedly.

ARCANE: SEASON TWO Starring: Ella Purnell, Katie Leung, Hailee Steinfeld, Kevin Alejandro, Harry Lloyd, Toks Olagundoye, Ellen Thomas, Brett Tucker, JB Blanc, Reed Shannon, and Jason Spisak Creators: Christian Linke and Alex Yee PRESTON Yes, I play League of Legends , but I think anyone would enjoy this adult-themed, animated adaptation, even without the easter eggs and character background knowledge of the computer game. Arcane is simply the most visually stunning animated show I have ever seen. The stylized world mixes fantasy with steam-punk aesthetics before punching your ear holes with some seriously rad music and sound design. Season Two gets a little lost with its pacing and storytelling, but it’s still too badass to care! I implore everyone to at least watch Season One, which was even better than this latest batch of episodes.

YOUR FRIENDS AND NEIGHBORS: SEASON ONE Starring: Jon Hamm, Amanda Peet, Olivia Munn, Mark Tallman, Hoon Lee, Lena Hall, Aimee Carrero, Isabel Gravitt, and Donovan Colan Creator: Jonathan Tropper QUENTIN Your Friends and Neighbors is a flawed show that is kept afloat by Jon Hamm's excellent performance and a surprising amount of humor. Yes, stories about affluent white men turning to crime have been done before (and better), several of the characters and subplots are entirely unnecessary and underwritten (Coop's (Hamm) sister, Ali (Lena Hall), in particular), and the family aspects can get a little soapy at times; however, I was fully invested in Coop's situation from the jump because Hamm makes it all so damn compelling, both through his presence on screen and his Dexter -like narration, especially in the back half of the season.

PERRY MASON: SEASON TWO Starring: Matthew Rhys, Juliet Rylance, Chris Chalk, Justin Kirk, Diarra Kilpatrick, Eric Lange, and Katherine Waterston Creators: Rolin Jones and Ron Fitzgerald ADRIANO As much as I enjoyed the first season, Perry Mason’s second season fixes its errors, making for a much more engaging season of television. The first season’s issues were mostly due to the narrative structure and story, which Season Two fixes by becoming tighter and more focused. As a result, I now have a better understanding of Perry, once again played to perfection by Matthew Rhys, and the characters around him. The plotting is more intense too, and it perfectly matches the grimy noir vibe the creators have crafted. If this show continues improving, I can see it becoming must-watch television in the future.

COBRA KAI: SEASON SIX Starring: William Zabka, Ralph Macchio, Courtney Henggeler, Xolo Maridueña, Tanner Buchanan, Mary Mouser, Jacob Bertrand, Gianni DeCenzo, Martin Kove, Vanessa Rubio, Peyton List, and Thomas Ian Griffith Creators: Josh Heald, Jon Hurwitz, and Hayden Schlossberg ROBERT Cobra Kai morphed from an intriguing character piece from an old 1980s villain’s perspective into a teen soap opera built around trying to lend credence to any reference ever made in The Karate Kid film franchise. However, Season Six, despite going completely international, brings us back to the beginning, and especially does so in the final five episodes, where it really shines. If you left by the fourth or fifth seasons given the contrivances, attempt to come back, just as Johnny (William Zabka) and Daniel (Ralph Macchio) do. Even though the show is done, Cobra Kai never dies! BRYAN Cobra Kai should have never worked, yet here we are after a wonderful six-season run. Everything fans could’ve wanted is present in this final season…emotional character moments, epic fights…the whole nine. A beautiful cumulation of not only what this series has built to this point, but also 1984's The Karate Kid . Nothing is more wonderful than when a television show ends on top (and on its own accord), perfectly balanced. The Emmy campaign for William Zabka starts now, ladies and gentlemen. I'm sad to say goodbye, but Cobra Kai never dies.

Previous Next April 24, 2025

Previous Next October 22, 2025 WRITTEN BY: NICK Before I dive into my slate for this year's Toronto After Dark Film Festival, I want to take a second to acknowledge its founder, Adam Lopez. After a public and relentless battle with cancer, Adam passed away earlier this year. He was a man with a level of optimism rarely seen, and someone I always enjoyed speaking with as his energy was infectious. Although he's no longer with us, his spirit lives on through this festival and the newly christened Adam Lopez Audience Award. He will be missed. After a year-long hiatus, Toronto After Dark has returned with a collection of genre titles destined for Shudder, as well as offerings from the likes of Paramount Pictures and Lionsgate. Beyond its features, however, the festival boasts a range of short films from both Canadian and International creators. Although I love short films, I often find them difficult to review because of their brief runtimes. The fact that many aren't available outside of these festivals also makes it a bit less fun because there isn’t a real conversation to be had if I’m the only one who has seen them. That said, this year's standout was Meat Crayon , a film I would love to see turned into a feature at some point. But there was also Clown Song , which plays like an elaborate music video that keeps getting stuck in my head. Overall, I saw 18 shorts, and even though you may have never heard of some of them, they're worth seeking out once they land on YouTube (especially my Top 5). Without further ado, here's my ranking… 18. SEISMIC BRAIN IMPLOSION - Director: Alistair Quak 17. DID YOU KNOW THERE’S A BLACK HOLE IN YOUR REFRIGERATOR? - Director: Leonard Farr 16. CREEPING CHARLIE - Director: Briana Templeton 15. BATH BOMB - Director: Colin G. Cooper 14. GIANT SKELETON - Director: Austin Birtch 13. WINDOW TO THE SKIES - Director: Martin Berthiaume 12. SOMETHING BAD THAT HAPPENED IN MY PAST - Director: Mike Mildon 11. DAMSEL IN GEEKSTRESS - Director: Renaud Parra 10. FOR SALE - Director: Christopher Schrack 9. GHOST THEFT AUTO - Director: Kyle Dunbar 8. PIMPLE (BORBULHA) - Director: Fernando Alle 7. PANDORA, INC. - Director: Joe Lueben 6. STRIP MALL - Director: Andrew Appelle 5. CADABRA - Director: Tiffany Wice 4. LOUD - Director: Adam Azimov 3. OUTSIDE NOISE - Director: Ethan Evans 2. CLOWN SONG - Director: Brady Dowad 1. MEAT CRAYON - Director: Richard Rotter And now for the features… 4. HOLD THE FORT How far can a single run-on joke about Homeowners Associations (HOA) take a film? Just over an hour, apparently, as that happens to be the runtime of Hold the Fort . There are other jokes littered throughout, but the ridiculous premise surrounding an HOA is what carries this thing. It’s just old-fashioned, dumb humour that never tries to be anything more. There’s a bit of a disconnect with Chris Mayers’ portrayal of Lucas, and the budgetary limitations are obvious at times; however, for what it is, Hold the Fort is entertaining. Maybe not in the laugh-out-loud sense, but it made me snicker. It’s just… very, very stupid. 3. SISU: ROAD TO REVENGE Your enjoyment of Sisu: Road to Revenge will be based almost entirely on your ability to suspend disbelief because there are Fast & Furious -levels of ridiculousness here. The sequel strips away some of what made the first film work in exchange for cartoon violence that is uneven yet entertaining, even when it dips into feeling like a live action Looney Tunes episode. I thought the first film was fine, and this one is very similar. Stephen Lang's moustache-twirling villain is a highlight, but otherwise, there isn’t much that separates the two films. I certainly don’t need any more Sisu movies, but I’d watch. 2 . THIS IS NOT A TEST Much like The Walking Dead: World Beyond , This Is Not a Test looks at the zombie apocalypse through the eyes of adolescents. Thankfully, it doesn't pull any punches on the level of blood and guts while also tackling some surprisingly mature themes, but it does tend to feel like a YA film. That said, although it hits a bit of a lull at the midway point (it relies too heavily on melodrama), the characters pull it through. It's like Lord of the Flies but with the undead. If that sounds tonally uneven, it is. But it maintains entertainment value throughout. 1. PRIMATE With all due respect to the creative team, Primate is so much better than it has any right to be. Its influences are clear and prominent throughout the film, but it still offers something new to pair with the homages. There are horror hallmarks, including highly effective jump scares and gruesome kills, but there’s also a story about family and relationships that strengthens both the characters and the film’s foundation. If you’ve been underwhelmed by some of the more recent creature features ( Coyotes , Death of a Unicorn , Dangerous Animals ), Primate is exactly what the doctor ordered.

ABBOTT ELEMENTARY: SEASON FOUR Starring: Quinta Brunson, Tyler James Williams, Sheryl Lee Ralph, Janelle James, Lisa Ann Walter, Chris Perfetti, and William Stanford Davis Creator: Quinta Brunson AMARÚ Y’all keep coming back here like my opinion is going to change on Abbott Elementary . I think it’s officially time to declare what we all already know: this show belongs amongst the all-time great television comedies. Yes, being a Black teacher helps, but isn’t connection what fuels the love for entertainment? I will say, I’m not a big fan of mockumentaries, so the fact that Abbott continues to make me laugh, cry, and feel warm and fuzzy while teaching life lessons along the way is astounding. At this rate, I’m guessing my Season Five review will only be five words. I’ll let you ponder that one. KATIE I loved the first three seasons of Abbott Elementary, but this season is definitely the weakest so far. I still love the characters and the cast is faultless, but the humour was very hit or miss, and I found the focus on guest stars frustrating. It meandered until the last few episodes of the season, which managed to recapture its previous heart-warming charm; however, overall, I can count the episodes I found memorable on one hand. I’m glad that it left things on a high, but I really hope the next season is stronger and more consistent. Check out our reviews for Season Three HERE .