Previous Next Even though Ridley Scott's The Dog Stars has moved dates, it still gave us a reason to look back on our favourite post-apocalyptic media. So, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Post-Apocalyptic Films/Series. 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. A QUIET PLACE Creating new worlds in cinema isn't easy, and it's especially hard in horror; that’s why the genre is filled with so many remakes. A Quiet Place manages to take an original idea and create a new world that has currently run three films deep. The concept is inventive, and the idea of a world devoid of sound due to fear is genuinely terrifying. To those who saw this in a well-behaved theatre, it’s likely an experience you won’t soon forget, with its great performances, solid creature design, and an impressive amount of tension. Although zombies tend to get most of the headlines when it comes to post-apocalyptic content, don’t sleep on A Quiet Place . - Nick 4. SNOWPIERCER I personally believe director Bong Joon Ho’s Snowpiercer is one of the strongest films in the post-apocalyptic genre. What makes it stand above the rest is that it’s more than just one thing. Its brilliant concept tackles themes of class, humanity, and global warming. Not to mention, instead of having the usual wasteland backdrop, it sets humanity on a moving train (which is a metaphor in and of itself) that’s traveling through a frozen world after a failed climate experiment. Featuring intense action sequences, and memorable performances from Chris Evans, Jamie Bell, Song Kang-ho, Octavia Spencer, and especially Tilda Swinton, this film is a brutal, yet inventive and entertaining ride that keeps the tension high throughout. - Paige 3. CHILDREN OF MEN When speaking of post-apocalyptic world-building, Children of Men is a prime example of how to do it flawlessly. The physical and mental tolls on the characters in director Alfonso Cuarón’s dystopian masterpiece are well fleshed out, emotionally gratifying, and thrilling; often all at once. There are no creatures or zombies in sight, just humanity reacting like... well, humans, to an infertility crisis. From then on, the entertainment value is there in glorious spades with numerous chase sequences, but the real meat of Children of Me n comes in the form of personal conflict. It’s a perfect apocalyptic film, as human behaviour takes centre stage amongst it all. - Adriano 2. THE MATRIX You may not think of The Wachowski’s masterpiece when talking about post-apocalyptic movies, but there’s no denying that the first shot of the dark, gray, sun-deprived reality where humans are harvested hits hard for this industry-altering action film. The Matrix will forever be held in the highest regards no matter what list it infiltrates. The imagery it evokes will land in every montage, film class, tribute, and movie lexicon from here to eternity because there was nothing like it before it dropped and there was nothing that could escape its referential gravity after. 1999 changed movie history for the better, and The Matrix changing what post-apocalyptic movies can do is a major reason why. - Amarú 1. MAD MAX: FURY ROAD No one does post-apocalypse better than director George Miller, and you need look no further than his Mad Max series as an example - especially as it’s evolved from a low-budget dystopian revenge tale to a gargantuan examination of a whole world gone mad. Fury Road , its fourth installment, feels like the most definitive statement one could make about the latter. It’s a relentless two-hour chase scene across a destroyed landscape. Conflicts are resolved with all sorts of weapons. Trust is built rarely with words, but with meaningful glances. At nearly every moment, action is emphasized, and it deepens the need for survival, the struggle for redemption, and the hope for a new kind of humanity. There’s a reason its influence was felt immediately in 2015, and is still felt over a decade later. - Bode HONORABLE MENTIONS 28 YEARS LATER ZOMBIELAND DREDD THE LAST OF US I AM LEGEND

DEATH AND OTHER DETAILS: SEASON ONE Starring: Violett Beane, Mandy Patinkin, Lauren Patten, Rahul Kohli, Angela Zhou, Hugo Diego Garcia, Linda Emond, and Pardis Saremi Creators: Heidi Cole McAdams and Mike Weiss QUENTIN Death and Other Details is blatant algorithm-driven content. The formula? Glass Onion x The White Lotus + Only Murders in the Building with a dash of Succession . Perhaps unsurprisingly, this results in uninspired drivel. The dual murder mysteries are uninteresting, lacking a hook to keep viewers engaged during the copious amount of setup. Doubly bad is that the characters, even Mandy Patinkin’s Rufus Cotesworth (complete with a terrible accent – an effort to mimic Benoit Blanc, no doubt), are ultimately shallow vessels used to drive the overly convoluted yet ambiguous plot. For a whodunnit to miss on both mystery and characters, the case should simply remain unsolved.

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 .

SUGAR: SEASON ONE Starring: Colin Farrell, Kirby, Amy Ryan, Nate Corddry, Dennis Boutsikaris, Alex Hernandez, Anna Gunn, James Cromwell, and Eric Lange Creator: Mark Protosevich QUENTIN If one can get past the weird directorial choices, Sugar is a thoroughly engaging hard-boiled detective noir that harkens back to the days of Humphrey Bogart. That is, until an absolutely bonkers reveal in Episode Six mostly derails everything. That aside, Colin Farrell is typically great, but the overall pacing might be off-putting for some. I binged the series in one sitting, and I can’t imagine the frustration of watching it weekly. I really wish I could say more without getting spoilery because I want to talk about that twist so badly, but, for now, I can only say Sugar is terrific until it isn’t. NICK Although Sugar has a series-altering twist late in its inaugural season, the majority of the show is a love letter to detective stories of the Golden Age. Led by the perfectly cast Colin Farrell as private investigator John Sugar, the series uses a mix of narration and vintage film clips to tell its story, which it does in highly engaging fashion. Hell, it’s flat out great. Then comes that twist… it doesn’t ruin the series, but it also doesn’t add to it. Were this a limited series, I’d have questioned the decision, but beyond this season, it opens the door for many interesting directions.

THE ACOLYTE Starring: Amandla Stenberg, Dafne Keen, Lee Jung-jae, Carrie-Anne Moss, Manny Jacinto, and Charlie Barnett Creator: Leslye Headland AMARÚ Manny Jacinto does a helluva job in The Acolyte ’s fifth episode, becoming one of the most interesting new Star Wars characters in recent memory. However, he isn’t enough to make the latter half of the season any more compelling than the first half. The other actors are fine, and a story centered around the Jedi possibly being the galaxy’s resident “Karens” is an intriguing premise, as evidenced by a fairly decent finale; by that time, though, I already didn’t care. I never found this show offensive, but I’m sure I’ll forget about it in the very near now. NICK If The Acolyte were able to maintain the energy and pace of its pilot’s opening 10 minutes, it could have been special. Unfortunately, those moments are few and far between in what amounts to a pretty mediocre Star Wars product. Playing more like a mid-tier episode of Clone Wars , The Acolyte lacks exciting characters and fails to utilize its fight scenes frequently enough. For the first time, watching these episodes felt more like a chore than something I anticipated and that’s a depressing realization for a Star Wars series. Even with a late character revelation, The Acolyte can only be viewed as a disappointment. PAIGE It’s unfortunate to say, but The Acolyte is a very dull Star Wars series, featuring stiff performances and dreary dialogue despite having a promising premise. Though the series contains some awesome fight sequences, the action is not enough to redeem this clichéd mystery that lacks depth and emotion. I will give the show credit for trying to explore the Jedi as flawed individuals, but some of the creative decisions made throughout the series occasionally left me perplexed. In the end, this series left a disturbance in the force, or, perhaps, my expectations for Star Wars are simply too high.

DTF ST. LOUIS Starring: Jason Bateman, David Harbour, Linda Cardellini, Richard Jenkins, Joy Sunday, Arlan Ruf, and Peter Sarsgaard Creator: Steve Conrad ROBERT My intrigue for DTF St. Louis was stoked because of the stars, but I ended up staying for the weirdness and surprising heart. I didn’t know what to glean from the trailers, but where we ended up was somewhat shocking. To be able to craft a compelling mystery, odd but emotionally resonant characters, and do so in the most average setting imaginable was a triumph. If something considered “diet-Coen Brothers” might interest you, where depravity almost always simmers below the surface of mundanity and small towns aren’t exempt from tragedy, give this limited run a shot; looks good from this side of the street.

Previous Next August 14, 2024 WRITTEN BY: PAIGE There are so many films released each year that it is impossible to be aware of them all, let alone watch them all. Unfortunately, even though movies are more widely available than ever, a lot of them still get lost in the shuffle. Is it that consumers feel more obligated to spend their money on highly publicized tentpole films rather than seeking out the less ostentatious films that receive minimal attention? Is it that studios care less about the smaller films, so they don’t waste their time and money telling you about them? Hard to say, but it's difficult to keep up with everything out there these days is my point. Personally, I go out of my way to seek out low-key films, the diamonds in the rough that flew under my, and most everyone’s, radar. The movies that make me think, “how the hell did I miss this? Why is no one talking about it?! It’s amazing!!" With that in mind, I've decided to shine a light on some of my favorite hidden gems released since 2020, including 2024 (two from each year). I promise you won’t regret checking them out! SPONTANEOUS (2020) Synopsis : When students in their high school inexplicably start to explode, two seniors struggle to survive in a world where each moment may be their last. Starring : Katherine Langford, Charlie Plummer, Piper Perabo, and Rob Huebel Director : Brian Duffield To be honest, I was expecting a typical young adult film when I came across Spontaneous , but I was pleasantly surprised by how wrong I was. The concept of this movie is absolutely bonkers, making it one of the most distinct and entertaining coming-of-age movies I've ever seen. Despite its gruesome subject matter, it's strangely a charming experience. It’s a witty-yet-dark comedy that has a lot to say about how young adults process mortality, the whims of life, and the fact that everything is unpredictable. With delightful performances and a clever premise, I can assure you that you won’t be disappointed with this watch. It's a bloody good time! THE VAST OF NIGHT (2020) Synopsis : In the 1950s, two kids search for the source of a mysterious frequency that has descended on their town. Starring: Sierra McCormick, Jake Horowitz, Cheyenne Barton, Gail Cronauer, and Bruce Davis Director: Andrew Patterson The brilliant and masterfully crafted, 1950s-set, sci-fi indie film The Vast of Night recognizes that, sometimes, less really is more. Even though it has a small budget, this flick has a great deal of style. The way the slow burn unfolds to the audience will capture your interest despite its straightforward plot. What people do in the face of mystery is the subject of this captivating invasion movie, and it's jam-packed with incredible tracking shots, eerie cinematography, and a strong script full of meaningful and intimate dialogue. If you're looking for an obscure sci-fi movie in the vein of The Twilight Zone or The Outer Limits , mixed with modern elements of J.J. Abrams’ Super 8 , then this movie is for you. MASS (2021) Synopsis : Years after a horrible tragedy turned their lives upside down, two couples, one, the parents of a victim of school shooting and the other, parents of the perpetrator, sit down to have a painful and heart-wrenching conversation. Starring : Ann Dowd, Martha Plimpton, Reed Birney, and Jason Isaacs Director : Fran Kranz I'll warn you up front: Mass features four outstanding performances that will leave you crying, so have a box of Kleenex on standby. That said, it remains a gut-wrenching film that you simply must watch. Grief is never an easy thing to convert into something concrete or intelligible, but this movie handles it in a way that demonstrates empathy and forgiveness with such grace and compassion. It explores the tragic grief of four parents in such a fascinating light. Despite the fact that the whole movie is set in a church basement, the subject matter stretches well beyond the room they are in. It's a real shame that this movie didn't get any Oscar buzz. WEREWOLVES WITHIN (2021) Synopsis : A snowstorm traps town residents together inside the local inn, where the newly arrived forest ranger and resident postal worker must try to keep the peace and uncover the truth behind a mysterious creature that has begun terrorizing the community. Starring : Sam Richardson, Milana Vayntrub, George Basil, Sarah Burns, Michael Chernus, Harvey Guillén, Catherine Curtin, Rebecca Henderson, Cheyenne Jackson, Wayne Duvall, Michaela Watkins, and Glenn Fleshler Director : Josh Ruben If you’re looking for a campy creature feature, then you need to check out this howling gem because Werewolves Within is a whole lot of fun from beginning to end. This horror comedy never takes itself too seriously because it knows exactly what it is, and it does an amazing job of balancing its wonderfully snappy banter, wacky characters, and bloody whodunnit mystery. Despite its absurdity, it’s a delightful film for all werewolf lovers to enjoy. I will admit it lacks scares, but who needs frightful moments when you're having a good time with some outlandish characters. If Knives Out and Fargo had a baby, this would be it. CHA CHA REAL SMOOTH (2022) Synopsis : A young man who works as a Bar Mitzvah party host strikes up a friendship with a mother and her autistic daughter. Starring : Cooper Raiff, Dakota Johnson, Leslie Mann, Brad Garrett, Vanessa Burghardt, Evan Assante, Raúl Castillo, and Odeya Rush Director : Cooper Raiff I've been raving about Cooper Raiff's second feature film, Cha Cha Real Smooth , ever since I saw it, so it's unfortunate that not many people are aware of it. As it stands, this happened to be my favorite film of 2022 because it’s such an endearing coming-of-age dramedy that is charming, heartwarming, and grounded from start to finish. Anyone can relate to this film, which is what makes it so special. The cast’s chemistry feels so authentic and real that I was enamored with each and every character. If you've never heard of Cooper Raiff until now, you should definitely keep his name in the back of your mind because he’s an exciting young filmmaker to be on the lookout for. DINNER IN AMERICA (2022) Synopsis : A punk rock singer seeking an escape and a young woman obsessed with his band unexpectedly cross paths, going on a journey together through America's decaying Midwestern suburbs. Starring : Kyle Gallner and Emily Skeggs Director : Adam Rehmeier Although this film had its official premiere at Sundance in 2020, it wasn't released to the public until 2022, which is a damn shame. This movie is an aggressively tender, in-your-face, punk-rock film with a heart of gold, so why was it kept a secret from the world for so long? It’s an oddball rom-com that is packed with fucked-up shenanigans from start to finish, a rad soundtrack, a captivating coming-of-age tale, and enticing chemistry between its two unlikeable lead characters. Given its anarchic vibe, it's one of those rare, edgy films that can be hard to come by these days. PALM TREES AND POWER LINES (2023) Synopsis : A lonely 17-year-old girl spends her summer break aimlessly tanning in her backyard with her best friend until she seeks comfort in an unseemly relationship with a 30-something man. Starring : Lily McInerny and Jonathan Tucker Director : Jamie Dack Although Palm Trees and Power Lines begins as a standard coming-of-age emancipation tale, the voyage quickly turns into something far darker. The movie is a daring and compelling cautionary tale that delivers a glimpse into how vulnerability can be manipulated in a relationship. It’s certainly a hard watch, but it can’t go unseen because of the delicate subject matter's careful handling, which allows the unpleasantness to feel genuine and grounded. A somber and realistic drama, it’s able to convey such potent and poignant depictions of the harsh truth of modern-day predators. If nothing else, teens should be obliged to watch it. THE SWEET EAST (2023) Synopsis : A high school senior from South Carolina gets her first glimpse of the wider world, picturesque cities and woods of the Eastern seaboard on a class trip to Washington, D.C.. Starring : Talia Ryder, Simon Rex, Ayo Edebiri, Jeremy O. Harris, Jacob Elordi, Rish Shah, and Earl Cave. Director : Sean Price Williams Compared to everything else I’ve mentioned, you’ve probably heard the least about The Sweet East. Regardless of your interest level, you will undoubtedly enjoy seeing this ridiculously fun movie since it never takes itself too seriously. An innovative and enduring film that is shot in 16mm, it guides viewers through a chaotic and sarcastic tour of contemporary America. And even if this trippy coming-of-age odyssey can feel a little jumbled and messy at times, the magnificent and outrageous ensemble hold it all together. If you enjoy filmmakers Richard Linklater and Sean Baker, this one will be right up your alley. MARMALADE (2024) Synopsis: Follows an inmate as he narrates the colorful tale of a romantic bank heist to his cunning cellmate while plotting his escape to reunite with the alluring love of his life. Starring: Joe Keery, Camila Morrone, and Aldis Hodge Director: Keir O'Donnell With a quirky and twisted storyline reminiscent of Bonnie and Clyde , Marmalade is undoubtedly a wild and entertaining journey. It's a bizarre yet eccentric heist tale that captivates spectators with its romance, humor, thrills, and over-the-top performances, but it is especially worth watching for its unconventional characters and compelling final act, which cleverly ties everything together in twisty ways. It may even pleasantly surprise you with its unexpected depth and heart, and when I had the opportunity to speak with writer/director Keir O'Donnell earlier this year (check it out HERE ), he seemed to have had a blast bringing this story to life. BLEEDING LOVE (2024) Synopsis: A father takes his estranged daughter on a road trip in an effort to get her out of trouble. Along the way, they meet all types of strangers as their strained relationship is put to the test. Starring: Ewan McGregor and Clara McGregor Director: Emma Westenberg Bleeding Love is by no means groundbreaking, but I did find it to be a quite powerful tale of addiction, atonement, and forgiveness. In this sincere account of a father and daughter attempting to mend their relationship, Ewan McGregor is paired with his real-life daughter Clara McGregor, and their performances are beautiful and compelling. They truly give this story a poignant, searing honesty. Although the narrative of this bittersweet road-trip drama may be straightforward, I can assure you that it will tug at your heartstrings. Plus, there is a lovely sing-along to Leona Lewis’ “Bleeding Love.”

Previous Next February 25, 2025 Welcome to A Bigger Bite, the podcast series where we take a deeper dive into some of our favourite films of the year (spoilers included). With the Oscars coming up, we've decided to launch with an episode for each film the Academy Awards have nominated for Best Picture, releasing an episode each day leading up to the big ceremony. Time to talk about Conclave ! Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

JUSTIFIED: CITY PRIMEVAL: SEASON ONE Starring: Timothy Olyphant, Boyd Holbrook, Aunjanue Ellis, Vondie Curtis-Hall, Adelaide Clemens, Marin Ireland, Victor Williams, and Norbert Leo Butz Creators: Dave Andron and Michael Dinner QUENTIN Though not near as good as the flagship series (I mean, how could it be?), Justified: City Primeval brings enough of the original's charm and grit to still be a worthwhile sequel miniseries. Timothy Olyphant slides back into the cowboy hat easily, if maybe a tad angrier than before, while Boyd Holbrook makes for a worthy and menacing adversary. The story, though, is held back by some generally uninteresting subplots, a smidge of convolution, and convenient contrivances. Still, it’s a worthy watch for fans of the original and new fans alike, and if the teased follow-up season comes to fruition, color me excited.

Previous April 4, 2025 Next A BITESIZE CHAT WITH SAMIR OLIVEROS In 1984, a down-on-his-luck HVAC technician with a get-rich-quick scheme obsession, that lived in an ice cream truck, made headlines when he appeared on the game show, Press Your Luck . Miraculously, this man won over $100,000, captivating audiences and driving CBS producers nuts. His name was Michael Larson, and what sounds like a miracle was actually deliberate and planned out, based on memorizing the game's patterns. Over 40 years later, Michael Larson's story is finally put to film in The Luckiest Man in America , directed by Samir Oliveros. I had the opportunity to speak to Oliveros to discuss the film and Michael Larson himself. BB: I remember hearing about the story of Michael Larson and the Press Your Luck scandal when I was a teenager and being so interested in it; I just knew I had to catch the film when it premiered at the Toronto International Film Festival last year. What was your relationship with the story of Michael Larson? Did this story come to you, so to speak, or was it one you were really interested in telling? SO:  It actually came to me when I was browsing through a thrift shop in LA. I like to do that because I like to browse through film negatives, photos, and old family memories because it's always a good inspiration for your characters when you're writing. I found this VHS tape and when I played it, it was a taping of Press Your Luck . I started researching about the show, and then I found out about the scandal and thought, “Oh, that must be an amazing movie,” and there was no movie. So that's when we decided to make it. BB: Now, I know Michael Larson passed away, I believe in 1999, but I'm curious if you were in any way in touch with his family during the writing or the production of The Luckiest Man in America . SO:  We were in touch with Bill Carruthers Jr., who's the son of the creator of the show and was a creative consultant. He read a couple drafts and helped us with a lot of the production design decisions. BB: What about Paul Walter Hauser? What was it in particular that stood out to you enough for him to play a role like Michael Larson? SO:  I think he manages to balance drama and comedy perfectly. I had seen him in Richard Jewell , and we needed somebody who could pull that off because what he does on screen and during the tapings is something that is extraordinary, but it's also funny when you see it. It's like, it gives you that nervous laughter in your stomach so we thought that somebody from comedy would be ideal, but who could also pull off those dramatic moments in the movie. Then at the time we were gonna start casting, they released Black Bird and I thought he was brilliant. That's why we thought he was the perfect Michael. BB: You also casted Walton Goggins as Peter Tomarken. Was that your first choice while watching tapes of the show or was he someone that came to you after? SO:  I'm a huge fan of Goggins, so we always thought of him for that role. Then we went out to him and he loved the role. It was great. He was amazing. He became Peter Tomarken for four weeks. BB: What did filming the Press Your Luck sequences look like? Was the set built from scratch? How many moving pieces were there in bringing the show to life? SO:  So, we had a perfect replica of the studio and my production designer was really focused on making sure that it was going to be identical. Because we were dramatizing some things for the movie, we wanted those known things to be very faithful to the original ones. There was a lot of focus on making sure that was gonna be exactly the same. Then, when we started shooting that stuff, it was amazing because at some point, Goggins just decided to just run the whole show. So, because we were shooting scene-by-scene, at one point he said, “Listen, let me run the entire taping in one go and let's see what happens.” I was super into that idea. That's when we let him do that and it was great because everyone else just felt the thrill and it felt like a taping of the game show. So, we were really happy with that idea. A lot of it made it into the movie, actually. BB: Reading up on Michael Larson, there is a lot that happens after the scandal. Was there ever any intention of portraying anything that went down with him after this situation? Or were you just steadfast on the scandal being the story? SO:  At some point, we spoke about a Catch Me If You Can multi-city epic which we were gonna just do like a big biopic with all of that included. But then, when we started focusing on the game show, we realized that there was this very interesting pace that the script was falling into and we loved it and we were like, “Do you think that it would be possible to keep it into one single location? Can we tell the whole movie in this one 24-hour moment in time?” The more we condensed it, the more we felt like this was a great movie. Also, because of the amount of exposition that we were gonna withhold and how we started structuring the movie so that we were peeling him like an onion, getting to his emotional core towards the end of the movie. It was really exciting; it felt like a great challenge. So, that's why we decided to make this the movie. BB: There is also an underdog story element to it. What was it about Michael Larson that you wanted to portray him, not as some schlub who cheated the system, but as a guy who succeeded in his own way? SO:  Because I believe that what he did was not wrong. I think what he did was just an unorthodox way of accomplishing his dream. He found a loophole and he exploited it. But at the end of the day, the guy had a good heart and what he wanted was just to get his family back together. The way in which he did it might have been questionable, but he was just a very driven guy and he just wanted to accomplish his dreams. I think that's very inspiring. We wanted to be able to have that complexity of character in which we see that gray area where we don't know if we're supposed to root for him or we're supposed to feel sorry for him. I think that's what makes for a good character. Make sure to check out The Luckiest Man in America now in theatres. Interview conducted on March 28th, 2024 by Adriano Caporusso.

GIRLS5EVA: SEASON TWO Starring: Sara Bareilles, Busy Philipps, Paula Pell, and Renée Elise Goldsberry Creator: Meredith Scardino QUENTIN Maybe it was the lockdown, but I thought Season One of Girls5Eva was an excellent skewering of the music industry and a funny commentary on getting older while still having dreams. Plus, it was filled with hilarious pop music bangers. I saw it as the show to finally fill the void left by 30 Rock . However, it completely loses me in Season Two. The jokes don’t seem quite as funny, and the songs are less banger-y. Also, some of the characters are just more annoying. It’s not a complete disaster, but it is a very disappointing sophomore slump. Oh well, Girls5Eva …we’ll always have COVID.

PLURIBUS: SEASON ONE Starring: Rhea Seehorn, Karolina Wydra, and Carlos-Manuel Vesga Creator: Vince Gilligan NICK For a series as ambitious as Pluribus to work, the writing needs to be top-tier and credit to Vince Gilligan and his team, because it is. It also helps that frequent Gilligan collaborator Rhea Seehorn feels like she was made for this role. I’ll admit, this one caught me off guard. Pluribus made me ask myself questions ranging from moral to existential, and with plenty of parallels to the rise of AI, it was released at the perfect time. It may sputter a touch towards the end, but the good far outweighs the bad in what is yet another Apple TV winner. ROBERT Despite Vince Gilligan’s resume pre-Breaking Bad , I was nervous about the next kind of universe he would try to craft after making such an indelible mark with the Albuquerque drug trade (Battle Creek, anyone?). Needless to say, my hesitancy was ill-considered as Gilligan, paired with Rhea Seehorn, is as reliable as anything. Pluribus is like Invasion of the Body Snatchers combined with Last Man on Earth , but it asks deep questions about community versus individualism and whether our identity is worth sacrificing for peace and goodwill. While its lack of sizzle can cause stagnancy, its headiness and superb acting keep you intrigued. KATIE My expectations for Vince Gilligan’s Pluribus were incredibly high, considering Breaking Bad and Better Call Saul are some of my favourite shows, and it did not disappoint. It’s a distinctly Gilligan show, especially in its pacing and meticulous, visually driven storytelling, yet it also feels fresh and interesting. It’s definitely a slow-burn, and at a couple of points, it lacks energy, but I appreciate how it doesn’t rush to answer the philosophical questions it poses. Plus, Rhea Seehorn was born to play the cynical Carol; the amount of time we spend with her alone is a testament to her compelling performance. ADRIANO Pluribus is a masterclass of tension, character writing, and world-building. So, no wonder it’s created by Vince Gilligan. In its first season, it simultaneously showcases Gilligan’s pension for patient and challenging character studies and a newly tread territory of subverting sci-fi tropes through a profound allegory for AI’s grip on humanity. The character in question is played by a magnificent, Emmy-bound Rhea Seehorn, who brings so much life into her character, Carol. I love a show that gets me sprinting to the next episode every week, and Pluribus is a prime example of that. QUENTIN Between the hush-hush marketing and involvement of Breaking Bad -universe creator Vince Gilligan and underappreciated Better Call Saul star Rhea Seehorn, hopes were high for Pluribus . Those hopes are mostly met, but not without concerns. Seehorn is award-worthy as the sympathetic but highly unlikeable Carol, and there are enough tension-generating cliffhangers to make the thought-provoking exploration of happiness, particularly as it relates to individuality versus conformity, compelling — even if the reveals are of the quasi-insignificant variety so far. That said, at about three episodes too long, the season drags at times, and it doesn’t leave much to cling to for next season. Still, in Gilligan we trust.