THE IDOL Starring: Lily-Rose Depp, The Weeknd, Suzanna Son, Troye Sivan, Moses Sumney, Jane Adams, Jennie Ruby Jane, Eli Roth, Rachel Sennott, Hari Nef, Da’Vine Joy Randolph, Ramsey, and Hank Azaria Creators: Sam Levinson, Abel Tesfaye, and Reza Fahim ADRIANO I say this with no hyperbole, exaggeration, or doubt in my mind: The Idol is the worst show I’ve ever seen. After its mediocre-at-best pilot, the show turns into a disturbing and sleazy fantasy from co-creator Sam Levinson. Levinson thinks he’s making a smart satire on the industry, but in reality, he’s embodying everything he thinks he's commenting on. Not to mention, the direction is pretentious, and the writing is an embarrassment. Lily-Rose Depp is a rare bright light, but Abel "The Weeknd" Tesfaye’s performance is distractingly horrendous. Believe everything you’ve heard and avoid this show at all costs. PAIGE Where do I begin with this show? Yes, it’s a dumpster fire, but one you can’t look away from. The Idol is a pretentious art project, painting a picture of manipulation and finding inspiration in the darkest places, but it fails miserably in its execution. I’m probably one of the few that actually admired the show for what it was trying to pull off, but in its final moments, it ultimately left a sour taste in my mouth. In the end, my biggest takeaway from the series was that Abel "The Weeknd" Tesfaye should never act again. QUENTIN While I admit The Idol isn’t particularly good, I don’t think it is, as one reviewer from The Guardian described it, “one of the worst programs ever made” either. Maybe that comes down to expectation management because I expected an absolute trainwreck; however, what I got was a stylish, sometimes sexy, bore of a show that features both above average performances (Lily-Rose Depp, Jane Adams) and a few less than stellar ones (notably, Abel "The Weeknd" Tesfaye, lacking the charisma his cult-leader character sorely needs to be believable). Do with this comparison what you will, but The Idol plays like Showgirls for the Euphoria crowd.

SIDE QUEST: SEASON ONE Starring: Derek Waters, Anna Konkle, Shalita Grant, Rome Flynn, William Stanford Davis, Bria Henderson, Ramon Reed, Leonard Robinson, Gary Kraus, Annamarie Kasper, Esai Morales, Asjha Cooper, Van Crosby, Melanie Brook, Alice Wen, David Andrew Calvillo, Justin Jarzombek, and Dash McCloud Creators: Ashly Burch, John Harris, and Katie McElhenney QUENTIN For fans of Mythic Quest , especially the terrific bottle episodes “A Dark Quiet Death” and “Backstory!,” the perfectly titled Side Quest is a delightful miniseries that expands on the humor and themes of the mothership series without being overly reliant on it. With a four-episode anthology approach, some episodes are better than others, which is to be expected, but none are so much better or worse that a clear winner or loser emerge. Frankly, it's a testament to Mythic 's world-building and writing that Side is so endearingly effective on the whole. Fans of the original series won't be disappointed, except maybe by the super short season.

Previous January 19, 2026 Next A BITESIZE CHAT WITH CHARLOTTE NICADO, DAVID HORNSBY, DANNY PUDI, IMANI HAKIM, ASHLY BURCH, JESSIE ENNIS, & NAOMI EKPERIGIN In the lead-up to Mythic Quest’s anticipated third season, Bitesize Breakdown held a roundtable discussion with the cast of Apple’s hit series (Charlotte Nicdao, David Hornsby, Danny Pudi, Imani Hakim, Ashly Burch, Jessie Ennis, Naomi Ekperigin) to talk about their characters, experiences on set, and what to expect in the coming season and beyond. BB : I want to thank everyone for taking the time to sit down with Bitesize Breakdown today. I know we don’t have a ton of time, so I’d like to jump right in if that’s okay… The video game industry, and video game community in general, has a notorious reputation for being quite misogynistic. With that in mind, as writers and actors in such a diverse ensemble, can you discuss some of the reactions you've had to your characters and their arcs? What kind of steps have you taken to throw that reputation on its head a bit? CN : I'm ashamed to say that, before I started working on this show, I had a really limited understanding of what the gaming community looked like. I know that there are definitely parts of that world that are maybe not the way that I like to operate, but I think that's true of almost every community. One thing I loved learning about the video game community, especially from Ashly (Burch), who really taught us a lot about what that community looks like, is it's extremely diverse. There are so many different kinds of games and so many different kinds of fandom within this world. Personally, my experience in making this show has been nothing but positive, and I think that's really a reflection of what my experience of that community has been. IH : Yeah, and I'm grateful to be able to play a character that isn't necessarily represented or that we don't see very often. It's nice even to have a majority of my scenes take place with another woman who's in that gaming space as well. So, it’s nice to represent the voices that aren’t really heard and, you know, bring humor to it. AB: I've had people say that they were triggered by it. Actually, in particular, there is a moment in the first season where Ian (Rob McElhenney) comes in and knocks a bunch of stuff off of a desk because he's having a tantrum, basically. And I had a creative director say, “that was a little bit too close to home.” *laughs* JE : Triggering in a fun way *laughs* AB : *laughs* yeah, triggering in a fun way. We're re-traumatizing the games industry, as is our want. *laughs* Um, yeah, it's fun. I think it's actually very fun for people in the games industry to have this show because it's both accurate to their experience and it's also a love letter to that industry. So, it's a combination of being both “Oh, God, this is cringy. I can't believe this is so close to how my life is,” but then also…I mean, for me, as someone that comes from the games industry, it's so fun to see it represented in a show with all these amazing people portraying these characters. It just feels like it gives us legitimacy. And it feels like we're a real industry, which, often, people don't really see games that way. It's been a really good experience for that. DH : I think…we're not looking to necessarily throw any reputation on its head, but I think we're looking just to use what's out there and maybe shine a light on the hypocrisy of certain things, both sides of things. The struggles… the “Oh, what do we do? These are obviously well-intentioned people, yet there's a culture here that we need to… you know, none of us want to be culpable to that, so how do we react?” You know, with women in the workplace…they don't have many women or, like you said, the misogyny. Or dealing with a big social issue that pops up in your video game. It's literally like a game…you have these big issues that are popping up, and how do you deal with that? So, I think for us, it's that the video game world felt a little unexplored in the TV space, and this was a chance to not just make a show about funny characters interacting in a workplace, but the specific stories you can tell that maybe haven't been as explored, stories that bring in some real-world issues and how they deal with it. That was appealing to us. BB : You mention specific stories…I think some of the best episodes have been the breakaway episodes. You know, the backstory of C.W. Longbottom (F. Murray Abraham), the Season One episode “A Dark Quiet Death.” You kind of pull yourself out of the serialized storyline to bring in new actors and characters to make a little mini-movie, so to speak. How are you so successful at making those so impactful, especially with only 30 minutes? DH : Oh, well, thank you. I think we lead with “what does the story of the season need?” because, obviously, there are a million topics you could choose to do for a breakaway episode. What do we want to reveal to the audience about which characters and why? And how does it connect with our present-day season? So, that's always the place we start from. Do we even want to do one this season? You know, I think we look at what's different and what's repeating ourselves. We want to not repeat ourselves, so artistically, I think we're looking for that challenge and the thing that's going to feel new…but not just for new’s sake, but what's going to make an impact. And how do they make an impact? I think it’s because we're trying to ultimately dig underneath the characters and connect, have our audience connect with the emotion of the characters in those specific episodes. If they are impactful, I think it's because we focus on the base desires that these characters are dealing with. And, you know, people find that accessible. BB: Absolutely, they've been fantastic. Can we expect to see more backstory or breakaway episodes for other characters as we go forward? DH : In season three, we do another breakaway episode because we felt it was important to shine a light on Ian and Poppy’s (Charlotte Nicdao) relationship to understand our characters better, to understand where they came from. We look at what their lives were before they met. That seemed like a ripe area and fertile ground to help understand our main characters better. CN : We got to make a Christmas episode this season, which was really fun. I'm really excited for people to see that because it's such a tradition of our medium, and it was the first time I've ever made a Christmas episode. IH: Yeah, you watch your favorite shows on tv, and you hope you get to experience that same [holiday] magic because Christmas episodes are so fun! CN : I think Mythic Quest knows how to do a special episode. I feel confident [in saying that], so I'm very excited for people to see the Christmas episode. BB : Speaking of Ian and Poppy, my read is that you've kind of gone out of your way to make sure it's more of a sibling dynamic than a “will they, won't they” relationship like in typical sitcoms. Can you talk a little about their dynamic? CN : Poppy and Ian are really trying to navigate a new space, which is one where Ian doesn't automatically have more power than [Poppy] does, and I think Ian certainly struggles with that. Although, when we come into Season Three, we see him really doing his best to be a good support for Poppy. But the thing that I found most interesting about the new dynamic is that Poppy has already proven in Season Two that she hasn't really developed the skills to be a boss, you know, to run things. She crumbles under that pressure in Season Two, and in Season Three, it's like she's determined to prove that she can really do it, often to her own detriment. I do think that she makes some strides in creating something that she's proud of, but I think that she does it at a high cost to herself and to very funny results. DH : You know, I don't know if the audience wants a “will they, won't they.” I don't know. We do what we think works for the story. I think, just speaking for myself, I think that it’s more powerful to have a relationship that doesn't necessarily turn to romance but shows the complicated dynamic of both a creative artistic partnership and a friendship. That in itself feels like it could use the respect it deserves as a storyline to tell, and that, in a sense to me, could be more powerful than a “will they, won't they.” BB: I absolutely agree, and I think Mythic Quest is better for that, not falling down the rabbit hole of typical tropes. DH : No, totally. And a 14-year-old might disagree, wanting to see them make out *laughs*, but I don't know. We feel it's more powerful to see them as, you know, that push and pull of the respect they have for each other, but also the sort of deep, intrinsic difference that they have too. BB: Switching gears if I may…Danny, I recently described your character, Brad Bakshi, as being like Abed [from Community ] via Bret Easton Ellis…kind of like American Psycho Abed. Was that a decision you made or just something you kind of fell into because you played Abed for so long? DP : *laughs* I've never heard that, so I will say that's new. But I like it, I think it's interesting. I don't know. I mean, I think there's something fun about playing a character who is hyper-focused and has a plan. You know, there's this plan, this meticulousness that I think maybe has some of that American Psycho feel there with Brad. I think that's just something that I talked over with [show co-creator] Megan Ganz, who also worked on Community so she was familiar with me as a performer and I think we have a little bit of a shorthand, when we were kind of developing this role and working in this world together. And I think some of that stuff is just, you know, reading what the writers write, then kind of putting it into my body. Personally, my visualization isn't American Psycho , it's Wile E. Coyote. *laughs* That was the first image that popped in my head when reading and thinking about this role, but I'm glad it's resonating in that way too. *laughs* BB: Jessie…I have a question for you from one of our readers. Who do you think your character, Jo, enjoyed working for the most? And, dead or alive, who do you think would be her dream mentor? JE : Hmm, probably the Dean at the all-boys military academy she went to, I think that would be her dream mentor. And who did she like working for the most? I think she really wanted to work for Ian in the first season. I mean, she did some work for him. Was it requested of her? Was she technically working for him? Was she being paid to work for him? Absolutely not. I think she loved working for Brad, but she was so full of herself and a little too big for her britches there. So, she kind of scorched that Earth. Now, she's really channeling her energy into working for David (David Hornsby), who she recognizes is not a very powerful man, but she has tricked herself into caring. BB : David… a lot of people know you as Rickety Cricket on It's Always Sunny in Philadelphia . For me, when I look at Always Sunny , it feels kind of like a raw rock band playing in a small, one room-venue…you know, a more visceral feeling…whereas Mythic Quest feels like the polished arena tour. As executive producer and writer for both shows, how is your approach different for each show? DH : Good question. I mean, Sunny and Mythic Quest are very different shows. I think they're going to retain some similarities, right? How we interact with each other; in some ways, how we work together behind the scenes. But Sunny is, you know, in a sense, a live action cartoon. It's very broad characters, very satirizing. Characters, who never learn, satirizing, you know, the American experience in different ways. I think with this show… if anything, it might be a reaction to the other. So, over there, we're writing that kind of show, then with Mythic Quest , we want to craft something with more pathos that is very funny but tries not to go to the same wells of comedy or dynamics. And for me, just having my face without a prosthetic on it is always a bonus. *laughs* BB : Also, speaking of Cricket, I think your character in Mythic Quest , David Brittlesbee, is almost like a white-collar Cricket, where the world hasn’t really been his friend so much. What draws you to that kind of character? DH : *Laughs* I think every project has a little doorway that you kind of open up, and you don't quite know what's behind it. There's just something that attracts you to open that door. So, for one, I think it's working with the people that I work with. On Sunny , in a slightly different tone of show, I can also still do something that's maybe close to my area of comedy. But, in the beginning [of this show], we explored, “Oh, should I play Brad? Should I play David? Have we seen me do something too much like David in some aspect of Cricket, etc.” I think for this, I wanted to explore a character that is in a similar realm to something in my wheelhouse. But we will reveal more things as the seasons go, right? So you can kind of play within that new sandbox and still not do something completely different. I think looking ahead, it would be fun, not just in this show to do something different, but in a different [role] to do something that feels very different. I mean, Good Girls was a chance to do that, but I think that's always the challenge. You want to stretch yourself, but sometimes you don't want to go too far afield because you want to just take it step-by-step in a way. It's always fun to challenge yourself with new things. BB: Naomi… on screen, you're often the only sane one in the madhouse. Does it feel that way when you're on set? Do you sometimes look over and wish you were having as much fun as the clowns? *laughs* DP : *Raises a fist in fake anger* Careful!! *laughs* BB: *laughs* With all due respect! NE: *laughs* When we're shooting, I’m the craziest one, okay? When the cameras aren't rolling, I'm like, “Is it good? Did you like it? Is everyone okay?” So, you know, what I'm telling you, Quentin, is that I am ACT-ING, okay? *laughs* I am truly mad, and it is so fun to play a character who has it together. Oh my god, what fun to pretend to have your -ish together. DP: Yeah, she's only vocalizing what we're all feeling on the inside. We know each of us are unraveling quickly. *laughs* Check out Season Three of Mythic Quest, premiering November 11th on Apple TV+. Interview conducted on November 2nd, 2022 by Quentin Lester. Photo Credits: Apple TV+

PARADISE: SEASON TWO Starring: Sterling K. Brown, Julianne Nicholson, Nicole Brydon Bloom, Sarah Shahi, Krys Marshall, Charlie Evans, Aliyah Mastin, Enuka Okuma, Shailene Woodley, Thomas Doherty, and James Marsden Creator: Dan Fogelman NICK Although the soundtrack isn't as good this time around (the score remains one of my favourites), I was fully engaged with the second season of Paradise . With uncertainty as to how things would continue, creator Dan Fogelman presented many new wrinkles to this story, with mixed results. By following the Walking Dead model of splitting episodes into character centric pieces, the narrative stumbles more than it needs to, but the performances once again carry the series. It may not be as good as Season One, but Paradise does more than enough to justify furthering this story, and keep me watching. AMARÚ When a science-fiction show expands on its unique lore, that expansion often leads to depreciating return. With some slightly silly plot reveals, I can see that being the case for some with Paradise : Season Two. But for me, the world outside the bunker was surprisingly more intriguing than the one within it. That is, until a certain backstory episode I was certain I wouldn’t care for surprised me with how it intriguingly brought everything together. That’s this season in a nutshell: being surprised at how many flaws I gladly forgave due to constant tension, fascinating characters, and propulsive music that never stops. Like ever. Check out our reviews for Season One HERE .

Previous Next December 11, 2025 WRITTEN BY: KATIE I’ve recently emerged from a reading slump. Whilst films are a constant in my life, I often easily forget how much I enjoy reading. But then I get absorbed by a new book. Then I’m reading every day. Then I’m searching for a new novel every week. I’m sure my fellow readers can relate. For my fellow film fans, I’d bet many of your favourite films are book adaptations. I’d even say the best films usually are based on novels, and recently, I have read several that I believe would make fantastic films. They span a range of genres and forms, but all of them are well-written and compelling enough that I could imagine them as feature-length stories. I tend to gravitate towards books that feel somewhat realistic, even if there are supernatural elements, because I like authentic-feeling characters and reading about the human experience. Max Porter’s Grief is the Thing with Feathers is a perfect example. In hindsight, I would have loved to write this article earlier because I was shocked when I learned a film adaptation of Porter’s debut novella was releasing. This story, specifically, is one I thought had potential to be an amazing film. Dylan Southern’s film shortens the title to The Thing with Feathers and stars Benedict Cumberbatch as a grieving father (happily, I loved it, but you can read more about that in my review HERE ). Despite only having read it recently, the book is very close to my heart, and it struck me in the same way that I’m moved by horror films about grief and loss. The story’s imagery is rich and distinctive, and the writing is completely unique. It reminded me a lot of Jennifer Kent’s The Babadook, conceptualising grief in a way that’s brutal yet poignant, speaking to the real-life experience of losing someone close to you. So, before any other adaptations beat me to the punch, let's talk about some books that would make terrific films, and the reasons I think they would translate so beautifully to the screen. HEART-SHAPED BOX , JOE HILL Joe Hill’s Heart-Shaped Box absolutely gripped me from the first few pages. Recommended by a colleague who described Joe Hill aptly as “Stephen King (Hill’s father), if he got to the point quicker,” Heart-Shaped Box follows Judas Coyne, a rock star who collects occult and horribly niche items only for the sake of maintaining his hardcore public persona. Eventually, he purchases a dead man’s suit, which results in him and his loved ones being horrendously tormented by its malicious spirit. The descriptions of the ghost are deeply creepy and visually compelling, particularly in the ways it's described while moving and its terrible eyes: “Then he saw the dead man in the hallway behind her. His skin was pulled tight across the knobs of his cheekbones, and he was grinning to show his nicotine-stained teeth.” “Craddock McDermott moved in stop motion, a series of life-size still photographs. In one moment, his arms were at his sides. In the next, one of his gaunt hands was on Georgia’s shoulder. His fingernails were yellowed and long and curled at the end. The black marks jumped and quivered in front of his eyes.” In addition to the spine-chilling descriptions, the story and characters are engaging and interesting. Judas is cynical, self-centred, and not very likeable, but a victim of abuse that you empathise with. His reaction to the situation feels realistic and relatable, and he deals with it the best he can whilst battling his pre-existing issues and trauma. Like my favourite horror films, Heart-Shaped Box explores these themes by terrifying the audience. It’s a strong contender for my favourite horror novel, threatening the place of Pet Sematary as the scariest book I’ve ever read, and would make an excellent horror film. THE TENDERNESS OF WOLVES , STEF PENNEY The Tenderness of Wolves is a novel that I could see making an incredible adventure epic with a Western feel. Stef Penney’s murder mystery is set in Canada, 1867, told from Mrs. Ross’s grounded perspective. Mrs. Ross discovers her neighbour, trapper Laurent Jammet, with his throat slashed in his cabin. On the same day, her son, prone to being withdrawn, goes missing. From there, a Native American tracker, considered a suspect himself, helps Mrs. Ross search for her son. They set out into the wilderness, with the only thing between her and death is the trust she places in the tracker. Despite how she is perceived as a woman, Mrs. Ross is pragmatic, capable, and driven, and she’s a character I would love to see brought to life on the screen alongside her quietly romantic relationship with the tracker. Every side character is well-developed and compelling too, and there’s a surprising same-sex relationship storyline that is unexpected but feels authentic. More importantly, Penney’s descriptions of life in the small frontier town in mid-19th-century Canada and the desolate, freezing landscape paint a clear picture. The sense of place is very distinctive and visually realised. Even though I read The Tenderness of Wolves for the first time by a pool in sunny Albufeira, Portugal, I could almost feel the icy winds and numbing cold, so I wasn't surprised to learn that Penney is a visually driven author who could also see her stories as films: “I always wanted to be a filmmaker, but I never distinguished between writing a story and imagining the way that story would look.” THE LAST CHILDREN OF TOKYO , YOKO TAWADA The Last Children of Tokyo is a very interesting read. Yoko Tawada’s speculative fiction mostly follows Yoshiro and his grandson, Mumei. Due to some kind of unspecified ecological disaster caused by pollution and damage mankind has done to the environment, old people seemingly live forever whilst younger generations live with a myriad of health issues and often die before adulthood. Tawada presents a compelling premise that I could see as an off-kilter, dystopian satire — Japan has isolated itself from the rest of the world, foreign languages and colloquial phrases have been phased out, odd laws are randomly enforced, common technology no longer exists, and people experience random changes in their sex. In the story, Yoshiro adores his grandson and occupies his long lifespan by caring for him however he can. As an older person, he’s energetic, physically fit, and remembers a world before his generation poisoned it, but he feels immense guilt that Mumei doesn’t know life without pain and can only read about wild animals and foreign countries. Ultimately, a secret organisation is at work to remedy the issues, and Mumei may be destined to be part of the cure, but the dreamlike narrative focuses more on Yoshiro and Mumei’s relationship and experience in the dystopian world. STONER , JOHN WILLIAMS Stoner is my favourite book. It’s a fairly straightforward story, but it has stuck with me like no other because its profundity sneaks up and devastates you by its end. It’s about William Stoner, born 1891 in Central Missouri, and his ordinary, largely insignificant life; from childhood on his parents’ farm through his University life, academic career, and marriage. Stoner is a successful man in many ways, and not so much in many more. Stoner is about the quiet struggles, regrets, and joys of everyday life, and how one man searches for meaning and purpose with no assurance he’ll ever find it. As a character, Stoner is incredibly frustrating. He falls in love with literature and philosophy but can't find it in himself to express his passion in any impactful way. He marries the wrong woman, and after meeting the right one, cannot find the courage to do anything about it. He loves his daughter but doesn’t save her from his overbearing wife’s parenting. He knows what he wants but feels too disengaged from his own life to get it. Thankfully, the faultless storytelling and compelling prose save the story from being simply depressing, instead creating profound and, in some ways, heartbreaking complexities. Author John Williams described the novel as “an escape into reality.” In this sense, Stoner would make an amazing film about one man’s life, with a similar tone to The Holdovers , in the way that it's bittersweet and moving. This sentence on the opening page sums up the vibe I’m imagining for the film, starting off with a disarming bluntness before immersing the reader in the whole of Stoner’s life: “Stoner’s colleagues, who held him in no particular esteem when he was alive, speak of him rarely now; to the older ones, his name is a reminder of the end that awaits them all, and to the younger ones, it is merely a sound that evokes no sense of the past and no identity with which they can associate themselves or their careers.”

ONLY MURDERS IN THE BUILDING: SEASON FOUR Starring: Steve Martin, Martin Short, Selena Gomez, and Michael Cyril Creighton Creators: Steve Martin and John Hoffman AMARÚ I previously stated that Only Murders in the Building ’s Season Three finale left me hopeful for something new after its first half worried me that the refrain had run its course. Well, Season Four fulfilled my prophetic hope. The movie adaptation B-plot breathes new life into the mystery while simultaneously reconfirming that Steve-Martin-Short (we’re back!!!) and their Old Hollywood charm will never be stale as long as there’s heart behind the guffaws. No wonder damn near everybody is joining their ever-expanding guest cast ensemble. And it’s about damn time Selena Gomez got that Emmy nod, right as they release their best season yet. QUENTIN In its fourth season, Only Murders in the Building does what it can to freshen up the core concept to decent enough results, but the real reason to stick around is for the characters. The whodunnit? takes something of a backseat as the core trio (Steve Martin, Martin Short, Selena Gomez) are further developed as a makeshift family of oddballs, especially as they are confronted with their own flaws and insecurities. Much like before, red herrings and guest stars come fast and furious, and while I certainly enjoyed Season Four, I can see we are in the diminishing returns phase. This show can’t have much left. PAIGE Just when I thought Only Murders in the Building was waning, Season Four helps revitalize the show on the endearing chemistry between our favorite podcasters, played by Selena Gomez, Steve Martin, and Martin Short. Additionally, Season Four brings back the element that I felt was missing from last season…The Arconia! This season delves further into the lives of the Arconia’s tenants, introducing a slew of new characters and fun cameos to help recapture the essence of the apartment building's community, which is what initially drew me to this series. However, it's becoming increasingly clear that the whodunnit element is lacking, so I'm not sure how much longer this show can go without getting repetitive.

OUTER RANGE: SEASON TWO Starring: Josh Brolin, Imogen Poots, Lewis Pullman, Lili Taylor, Tom Pelphrey, Will Patton, Shaun Sipos, Tamara Podemski, Noah Reid, Isabel Arraiza, Olive Abercrombie, and Christian James Creator: Brian Watkins NICK When Outer Range debuted back in 2022, I quickly became engrossed by it. It featured great performances, an intriguing mystery, and it moved at a breakneck speed. Now, two years later, Season Two has arrived and the series hasn't lost a step. The central mystery is expanded on in many interesting ways, while a stronger focus has been put on character development, taking full advantage of the (once again) terrific cast. Let’s hope this season doesn’t take as long as the first to earn a renewal because I can’t wait to see where the story continues to go! PAIGE The second season of Outer Range is every bit as captivating as the first. While the turmoil inside the Abbott family is the main focus of Season One, Season Two ups the sci-fi element for a more enigmatic tone. Rich world-building and nuanced character development drive this compelling drama, which features a cast of solid actors, led by Josh Brolin. Overall, this Yellowstone meets Dark tale is engrossing from start to finish despite moments of feeling slow and unclear, so I'm eagerly awaiting another season even though it left me with more questions than answers. QUENTIN Despite generally solid performances, Outer Range has become the worst kind of sci-fi puzzle box show in its second season. It seemingly has no idea where it’s ultimately headed, content to simply create new questions while only providing information over actual answers. On top of that, the character stories are sewn together in a way that keep them from being consistently engaging, with some characters and subplots disappearing for episodes at a time. I may not even return for Season Three of Yellowstone Twin Peaks despite a promise of “this is just the beginning,” especially if there is another two-year gap between seasons.

PRIME TARGET: SEASON ONE Starring: Leo Woodall, Quintessa Swindell, Stephen Rea, David Morrissey, Martha Plimpton, Sidse Babett Knudsen, Jason Flemyng, Harry Lloyd, Ali Suliman, Fra Fee, and Joseph Mydell Creator: Steve Thompson QUENTIN While I’m sure there is an audience for Prime Target , I ain’t it. It’s not that it’s even a bad show, necessarily; it’s just such a nothing burger. The action sequences don’t really get the blood pumping, the conspiracy isn’t all that mysterious or engaging, and the performances are blandly vanilla with very little in the way of charisma or screen presence coming from most of the cast. Maybe that’s all due to its inherent British-ness (full disclosure: I don’t care for Slow Horses either), or maybe it’s because it’s a “thriller” about math…either way, I struggled to stay awake for this show.

Previous Next With the upcoming release of Beast, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Man v. Wild Films. Each writer ranks his or her top 15 films 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. THE MARTIAN One may not consider The Martian a man v. wild movie at first, but from where I sit, Ridley Scott’s brilliant adaptation of the famous novel fits the mold as much as anything else. Left with only the tools that remain, Matt Damon churns out one of his best performances ever as Mark Watney, an astronaut left to brave the Martian elements with only his wits and some disco music. Almost every moment of this movie works perfectly, both dramatic and comedic. - Jacob 4. 127 HOURS Director Danny Boyle uses 127 Hours ‘ real-life, man v. wild story to craft one of his best films yet…maybe even his absolute best, full stop. It’s tough to watch at times due to some of its more graphic moments, but it remains an inspiring story anyway, as it explores a man's will and struggle to survive. Quite frankly, that is as man v. wild as you can get. - Adriano 3. CAST AWAY A modern-day Robinson Crusoe , Cast Away is still, in my opinion, one of Tom Hanks’ best and most memorable roles. It’s probably the most perfect depiction of not just someone trapped in isolation, but of a man fighting to survive nature. It's inspirational, beautiful, and surprisingly funny. The fact that Cast Away can make you care about a volleyball proves just how good this film is. It’s an underappreciated classic. - Joseph 2. JAWS “You're gonna need a bigger boat” to understand how much I love this film! Steven Spielberg’s Jaws is a classic blockbuster masterpiece. It’s a well-crafted film that still brings terror to my eyes every time I watch it, and let’s not forget about the iconic score from John Williams. Once you hear that theme, you just know it’s shark time and somebody’s about to get eaten. That’s enough to keep me out of the deep blue sea. - Paige 1. JURASSIC PARK Jurassic Park should be headlining a lot of “Top” lists, and for good reason. The characters are interesting, the pacing is great, the story is tight, and it does what every blockbuster is supposed to do - entertain you. But probably the most amazing thing is that the “wild” aspect still holds up almost 30 years later. The dinosaurs look real, feel real, act real, and most importantly, give you a reason to care about the movie. It’ll hold up for another 30 years too. - Amarú HONORABLE MENTIONS INTO THE WILD THE SHALLOWS TWISTER THE REVENANT THE PERFECT STORM Photo Credits: Photo 1, 3 - 20th Century Studios; Photo 2 - Warner Bros; Photo 4, 5 - Universal Pictures

THE TERMINAL LIST: SEASON ONE Starring: Chris Pratt, Taylor Kitsch, Constance Wu, Riley Keough, Arlo Mertz, and Jeanne Tripplehorn Creator: David DiGilio QUENTIN The Terminal List is wholly unremarkable. But, even if you ignore the overly serious tone, generic and convoluted plot, and general predictability, it could have been an okay enough, Tom Clancy-style distraction had they cast someone other than Chris Pratt as the lead. Pratt’s main appeal is his goofy charm, so forcing him to play a brooding silent type kills any chance this show might have had at being watchable. Pratt just doesn’t have it in him (it really needs a Liev Schreiber type of guy), making this series further evidence that “The Worst Chris” isn’t all that great outside of Guardians of the Galaxy .

LIFE, LARRY, AND THE PURSUIT OF UNHAPPINESS: SEASON ONE Starring: Larry David Creators: Larry David and Jeff Schaffer QUENTIN I say this as a big fan of Curb Your Enthusiasm : Life, Larry, and the Pursuit of Unhappiness is a chore to sit through. I love Larry David, but when you remove his schtick from the grounded world of Curb , it becomes annoying. And make no mistake, this sketch show is just quick bursts of what he did in Curb , including jokes being recycled verbatim, dressed in low-budget costuming and already tired observations about the current U.S. government and administration. Granted, David is a funny dude, so he’ll occasionally earn a laugh; the nonstop parade of celebrity cameos is fun too. But overall? Prettay, prettaaay, prettaaaaay…underwhelming. ROBERT At 79 years old, I wasn’t expecting a complete overhaul in the Larry David experience for Life, Larry, and the Pursuit of Unhappiness . Frankly, I got exactly what was promised: Curb Your Enthusiasm meets Drunk History . It was comforting to see Larry with all his friends from the Curb days chopping it up, albeit in period clothing. Granted, as a connoisseur of celebrity interviews, the jokes and bits on the show were word-for-word recreations of things I have heard Larry rant about for years. However, this was like a warm blanket of reason in a time of chaos, like a noteworthy chat-and-cut.

Previous Next August 14, 2026 WRITTEN BY: ADRIANO This was my first year covering Fantasia, and my first time in years covering a festival entirely from home. I typically have a hard time watching new films uninterrupted at home, so this was a new experience for me. In keeping with that mentality, Fantasia was more about discovery. With rare exception, I watched these movies entirely blind, which added a level of excitement to each viewing experience, especially since these films are all cult-style genre films. The limitations of covering the festival digitally meant I couldn’t watch everything that intrigued me, namely Kiyoshi Kurosawa’s The Soldier and the Prisoner , but no matter how I felt about the films individually, experiencing the festival blindly added greatly to the joy. I was able to catch eight films. Check out how they stack up… 8. UNIDENTIFIED MURDER A good twist can be fun and shake up your perception of a film. A twist every 10 minutes, on the other hand, is not good writing. It’s just annoying. Unidentified Murder is one of my least favourite types of movie: just rug pull after rug pull to the point where none of them become shocking anymore. Then, when it tries to raise the stakes, I’m too bothered by everything that has come before to care because said stakes are constantly shifting. It tries to disguise all that with “commentary,” but like the people it’s lampooning, it’s just shallow. 7. HER PRIVATE HELL Have you ever watched a movie and thought to yourself, “that must have made a lot more sense in the filmmaker's head”? It’s clear to me that Her Private Hell’s janky dialogue and nonsensical narrative beats are intentional choices on writer/director Nicolas Winding Refn’s end, and to his credit, the visual pastiche gives the film an alluring vibe. But no, this is not a good movie. Refn’s trying to do his own Mulholland Drive , but there’s not enough connective tissue or clear thematic intention to offset the bewilderment. Maybe this could work if you're high; otherwise, not so much. 6. UNHOLY NIGHT If you can’t tell by my name, I’m Italian, so accurately portraying Italian families, either ugly or beautiful, hits a soft spot for me. Unholy Night’s portrayal of Italian families at Christmas hits the nail on the head, showing the relatable dysfunction, quirks, and insecurities I’ve personally experienced (I’ve literally had some of the same conversations). It is a shame, however, that it’s all wasted on basic shock horror that simply isn’t enjoyable enough. To make matters worse, it clearly overstays its welcome and seemingly doesn’t know what to do with itself at some point. It’s a real missed opportunity. 5. DANCE FREAK The bizarreness of Dance Freak ’s off-the-wall style can take centre stage too much because the moments when the characters are reeling from personal turmoil are often flavourless compared to the dressing. But one can’t help but feel sucked into the surrealism of everything happening on screen. The way it’s shot, the sound work, the oddball sense of humour, the cast's commitment to the bit — it’s shamelessly one-of-a-kind. So, if the story doesn’t hook you, at least directors Alan Resnick and Bobby Rackleff have crafted an intoxicating experience that, if nothing else, is extremely unforgettable. 4. THE PERIL AT PINCER POINT The Peril at Pincer Point packs a lot in at just over 80 minutes, and I’m grateful for all of it. I’m not suggesting it’s a particularly deep movie, but everything about the filmmaking is captivating. From Jake Kuhn and Noah Stratton-Twine’s atmospheric direction to the monochromatic cinematography, from the sound work to everything on display is effective in driving a nautically surreal experience. The story is compelling, as well, to be fair; nothing captivating, per se, but a fun character-driven story that’s more than enough to make this more than just a sensory exercise. 3. AFTER SCHOOL After School balances so much that it’s a testament to the creative team that it all comes together so smoothly. It perfectly blends its humour with the tension generated by each increasingly zany scenario, but never in a way that underscores writers/directors Merijn Scholte Albers and Tobias Smeets’ statement on masculinity and bullying and the effects they subconsciously have on someone. Admittedly, I did feel there was some cribbing from The Teachers’ Lounge , but it has enough of its own identity and thematic interests to feel original. 2. WHEN YOU OPEN THE DOOR I imagine there isn’t a lot left to explore with werewolves (unless you're director Robert Eggers later this year), but When You Open the Door finds ample material to expand on the idea. Using a slow-burn, coming-of-age story as opposed to outright terror, director/co-writer Eriko Katagiri (in her directorial debut, no less) mines the concept of this monster to show a girl (played by Serena Motola, who is great) coming into her own as her perceived place in the world becomes more and more confused. Well-executed, simmering with tension, and thriving with profound storytelling, this was an unexpectedly moving treat. 1. TEENAGE SEX AND DEATH AT CAMP MIASMA As a vocal fan of Jane Schoenbrun, I’m delighted to say Teenage Sex and Death at Camp Miasma is another win for the surreal filmmaker, but in a way that feels fresh. As opposed to the dourness of their first two films, this one is not only silly, but it also showcases Schoenbrun’s fascination with identity and media in a more liberating register. I had a blast watching it, yet I’m still pondering its many themes and ideas. Once again, I walked away with the feeling that I’m watching an artist come into their own in real time.