DAISY JONES AND THE SIX Starring: Riley Keough, Sam Claflin, Camila Morrone, Suki Waterhouse, Will Harrison, Josh Whitehouse, Sebastian Chacon, Nabiyah Be, Tom Wright, and Timothy Olyphant Creator: Scott Neustadter and Michael H. Weber QUENTIN With full-on vibes of Almost Famous , Rock Star , and VH1’s Behind the Music (all personal favorites), Daisy Jones & the Six has enough “life behind the band” aspects to hold most music lovers’ interest. The love/hate chemistry between Riley Keough and Sam Claflin is palpable, and even if the story could have gone a little darker (and been told in fewer episodes), it satisfies overall. My only real complaint is that the titular rock band’s music just isn’t that good, catchy, or rockin’. They sound like a milquetoast 90s band trying to mimic the 70s, but that’s a small complaint in the grand scheme of things. PAIGE Daisy Jones & the Six hits all the right notes for me. As someone who has worked in the music industry, this miniseries feels so raw and real with the ups and downs that can occur within the industry. From its original music to the performances, I truly fell in love with this fictional band. The cast embodied their characters, and their chemistry is electric, especially between the two leads, Sam Claflin and Riley Keough. As a rock ‘n’ roll fan, I just love how this show weaves the drama through the music to capture the essence of the book. JACOB While the production value of and performances in Daisy Jones & the Six are as good as they can be, the show never quite gets where it so desperately wants to go. It gets close to launching into its own stratosphere a few times, but something holds it back from achieving the heights of immediate counterparts like A Star Is Born and Almost Famous . The writing feels as if it’s enough to get the job done, and the finale is absolutely stellar; however, the pacing is flawed in a number of places, and the music, while catchy, never quite astounds.

FURIOUS: SEASON ONE Starring: Emmy Rossum, Lola Petticrew, Quincy Tyler Bernstine, and Scoot McNairy Creator: Elizabeth Meriwether QUENTIN At its most basic, Furious is a story rooted in the old parable about the two wolves that live inside us, mixed with the idea that “hurt people hurt people.” The result is a bleak series that is like Killing Eve in narrative, but True Detective in tone. It’s the rare show that puts justifiable feminine rage front and center, through both the hero (Emmy Rossum) and villain (Lola Petticrew). At times, the darkness threatens to overwhelm the story and the characters — making for a somewhat merciless watch — but Furious remains compelling and increasingly relevant throughout its eight episodes.

TREASON Starring: Charlie Cox, Olga Kurylenko, Oona Chaplin, Tracy Ifeachor, Ciarán Hinds, Danila Kozlovskiy, Alex Kingston, and Adam James Creator: Matt Charman QUENTIN While it’s nice to see Charlie Cox outside of Daredevil , Treason is a run-of-the-mill, British espionage show. On the positive end, that means it’s only five episodes, so it doesn’t overstay its welcome; however, it also means that it’s quite dry at times and the character development suffers. The acting is serviceable, but the characters are written in ways that have them doing conveniently dumb things that don’t really ring true-to-life (especially Oona Chaplin’s Maddy, who is a constant head-scratcher of annoyance). Still though, Treason is so short that by the time you realize it’s an imperfect miniseries, you’re already at the finale.

Previous Next July 30, 2025 WRITTEN BY: KATIE In my opinion, British screenwriter, producer, and showrunner Jesse Armstrong has created some of the most annoyingly awful but funny and compelling characters on television. In addition to taking the opportunity to gush about my favourite TV show(s), I’d like to look at Armstrong’s writing, common themes, and most importantly, his characterisations because he writes characters who are, at their core, fundamentally bad people that are selfish, self-centred, and always prioritising their interests above all else. However, they’re also multifaceted, which garners a lot of sympathy. Armstrong seems to take his characters seriously, which is reflected in the way they have been written and the extent to which he effectively makes the audience identify with them despite their flaws. While Armstrong writes fantastic female characters that are complex and hilarious, I want to focus on his ability to write male friendships. Across Peep Show, Succession, and most recently, Mountainhead , Armstrong writes about, as he aptly puts it, “limited men.” Men who are obsessed with hierarchy, riddled with insecurities, and driven by jealousy and rivalry. Men who, under no circumstances, will examine their own flaws and limitations. As a result, they’re cynical, constantly engaged in conflict, and revealing in demonstrating what they will do to fit in. PEEP SHOW (2003-2015) Peep Show is my favourite sitcom of all time. I’ve rewatched it countless times, and I’m convinced it's getting funnier and funnier each time. The series follows protagonists Mark (David Mitchell) and Jeremy (Robert Webb), a pair of middle-class university graduates living in Mark’s London flat. Mark is an anxious, awkward, and self-deprecating office drone climbing the corporate ladder with sporadic success. Jeremy, on the other hand, is an ex-male nurse who is aimless in life. Living rent-free in the flat, he spends his days getting high, watching TV, “making music,” and essentially waiting for Mark to get home from work. They’re total opposites who get on each other’s nerves and constantly drag each other down, but they’re also destined to be together. They’re perfect for each other, and the show consistently frames them as a married couple. They’re the only people who can't quite accept, but can at least live with, each other’s glaring flaws and refusal to acknowledge them. Although Jeremy technically gets more girls, they both have unsuccessful romantic lives, and both are obsessed with finding “the one.” Time and time again, they both sabotage their relationships and take advantage of people, only to be left alone together once again. Peep Show is instantly recognisable thanks to the unique point-of-view camerawork. You watch the show via Mark’s or Jeremy’s perspective, and sometimes through the eyes of other characters who are looking at them. Although we sometimes view them through the eyes of supporting characters, we only hear the pair’s inner thoughts, which interjects into scenes so we know what they are thinking in real time. All of this forces the viewer to identify with the pair’s perspectives, and it is part of the reason it's so easy to empathise with and even root for these objectively terrible people. It heightens the intensity of every interaction they have with other characters, and enhances the impact of the more cringeworthy interactions, of which there are many. It also has the best ending of any show I’ve ever seen. The finale “Are We Going to Be Alright?” perfectly encapsulates the characters and their relationships, refusing to reward them with the happy endings that are definitely out of reach while also remaining somewhat hopeful and comforting. Mark throws Jeremy a 40th birthday party to force him to reckon with his age, and he gives a speech to distract the guests from the fact that he and Jeremy are holding his love interest’s husband hostage in the next room. Mark awkwardly says Jeremy is “a nice man... up to a point. And I like him.” Jeremy acknowledges the pair have had “ups and downs like any couple” and they’ve “lived together for shit long, and it's been alright.” Once the party is over, the pair have sufficiently ruined their romantic relationships yet again and they find themselves in their quiet living room like any other morning. Jeremy says he would have a great sign off if he were to kill Mark; “you always loved history, Mark, and now you can be part of it… bang.” They smile at each other and nod. Mark says, “I think I’d just come at you in the night… pillow on the face,” to which Jeremy affectionately replies, “yeah, that’s you all over.” Jeremy hopefully thinks “aww, we do love each other really,” and the final line is Mark’s thought, “I simply must get rid of him” as they turn back to the television. It’s perfect; no growth, no resolution…just two people bound together forever by how insufferable they are, and how the years they’ve spent together have moulded them into the perfect couple. It also encapsulates Peep Show ’s cynical, mean-spirited humour. In a world hell bent on embracing positivity and moral perfectionism, Peep Show indulges in self-loathing, self-deprecation, contempt, and pessimism, which is comforting in its own way. SUCCESSION (2018-2023) The Emmy-winning Succession is one of the best dramas to grace television screens. Created and written by Armstrong, Succession , for the few who don’t know, follows the Roy family, owners of the globally successful media and entertainment conglomerate Waystar RoyCo. The show focuses on the future of the company amidst uncertainties about ownership and inheritance, as the patriarch, Logan Roy’s (Brian Cox) four children, Kendall (Jeremy Strong), Shiv (Sarah Snook), Roman (Kieran Culkin), and Connor (Alan Ruck), plan for the eventuality that one of them will take over his reign. Infighting, betrayal, disloyalty, and manipulation ensue. Despite having unlimited resources at their fingertips, the Roy siblings are willfully ignorant, refusing to examine their negative impact on the world. Even though they each have their own set of unique insecurities and shameful quirks, they believe they are entitled to what they want and will betray anyone to get it. Characters in Succession are very well realised, and in spite of the objectively terrible things they say and do, we as the viewer still empathise with them to an extent. This is because the writing shows us why they are the way they are not through dialogue-heavy exposition, but through their behaviours and interactions with other characters, accompanied with a heavy dose of dry humour. They come fully formed, and background isn't offered voluntarily, so we don’t get any unnatural revelations. Instead, Logan’s traumatic past seeps into every aspect of his relationships. Shiv’s desire to lead is shown through how easily she betrays her values. Kendall’s emotional fragility and desperation to impress his father peaks from behind his overconfidence. Roman’s sarcastic persona hides his sensitivity, and the family’s disdain for weakness shows through their treatment of him. The cycle continues. Plus, conversations feel like they’re happening organically, emphasised by the fly-on-the-wall shooting style that situates the viewer in the middle of the action. Characters move around freely with the camera focusing on them, so the action on screen only quietly registers the lavish settings and backgrounds, giving a more natural feel to the scene. It also emphasises how insulated from the real world their lives are. Similarly to Peep Show, Succession ends rather abruptly. It also gives the impression that things will continue as they have been, and although some issues have been addressed, no one gets their happy ending. Once the question of succession is answered, the show ends. MOUNTAINHEAD (2025) Despite the obvious thematic similarities, Mountainhead has lots in common with both Peep Show and Succession. Although it focuses on super-rich characters who are entirely disconnected from reality, much like Succession , while also sharing that series’ snappy dialogue, the male character dynamics scream Peep Show. Armstrong’s feature debut follows tech bro billionaire friends Randall (Steve Carell), Hugo "Souper" (Jason Schwartzman), Ven (Cory Michael Smith), and Jeff (Ramy Youssef), who meet for a retreat at Souper’s new luxury mountain home. They all have their ulterior motives and desire to come out on top, so like Peep Show , the men in Mountainhead are friends insofar as it benefits them. They don’t have real conversations, but in a familiar way to Peep Show and Succession, they say things that sound good but have no meaning beyond the surface, fooling themselves but not those around them into believing the empty words. The pleasantries are over quickly, and the group begins to constantly jab at, patronise, and drag each other down. Ven’s AI business accelerates global political unrest and violence whilst Jeff’s net worth skyrockets due to his company’s fact-checking technology. Randall backs Ven because of his misguided belief that his business will enable him to eventually defy his terminal illness and out of jealousy at his increasing wealth. Souper just wants everyone to invest in his slightly less successful venture, a well-being slash guided meditation app. Randall, Souper, and Ven unsuccessfully conspire to kill Jeff and take over his business. There are multiple inept, almost slapstick attempts made by the trio to carry out the murder, but they consistently get Souper, who happens to be the least wealthy, to do their dirty work, revealing a lot about how they view their group dynamic. Their rationalisations and ramblings are funny, but also reveal their worryingly delusional views. Mountainhead doesn’t paint its billionaires quite as darkly as other “eat the rich” influenced narratives might, but that’s because Armstrong understands that their sense of self-importance, arrogance, and ignorance is dangerous enough. The level to which they are out of touch with the people around them and the world at large is sinister in a way that doesn’t need them to be evil since their detachment from reality motivates them to act in ways that are self-absorbed, callous, destructive, and above all, idiotic. The ending is pretty bleak in that, much like the real world, the billionaires don’t really face repercussions for their actions. They’re not happy, nor is there a definitive resolution, but they don’t have to admit they’re wrong or pay a price. Armstrong doesn’t really do reassuring finales.

TRUE STORY Starring: Kevin Hart, Wesley Snipes, Tawny Newsome, Paul Adelstein, William Catlett, Chris Diamantopoulos, John Ales, Theo Rossi, and Billy Zane Creator: Eric Newman QUENTIN Be it my lack of expectations or the actual quality, True Story is the most surprising show of 2021. It succeeds on excellent chemistry between Kevin Hart and Wesley Snipes, breakneck pacing, well-placed cliffhangers, and a runtime that doesn’t overstay its welcome (under four hours). Snipes steals the show (bring on the comeback!), but Hart shows plenty of promise as a dramatic actor too (admittedly, it’s a baby step since he basically plays himself, but still…). If you don’t think too hard about it, this highly addictive and compellingly bingeable series makes for a viewing experience akin to watching You .

SECRET INVASION Starring: Samuel L. Jackson, Ben Mendelsohn, Emilia Clarke, Olivia Colman, Charlayne Woodard, Don Cheadle, and Kingsley Ben-Adir Creator: Kyle Bradstreet AMARÚ The MCU could have benefited from Secret Invasion ’s grounded tone about three years ago… as a movie. Finally getting to know Nick Fury (Samuel L. Jackson) through a stunning post-blip examination, propelled by actors ACTING their asses off, generates an intensely thrilling first four episodes. Kingsley Ben-Adir is ferociously intimidating, Jackson’s dynamic with Ben Mendelsohn and Charlayne Woodard is organically brilliant, and Olivia Colman and Don Cheadle are deliciously mischievous. But the 6-episode structure continues to be this medium’s downfall, dampening the early successes with a rushed, uninspired, and disappointing ending to what was initially becoming the MCU’s best Disney+ series. QUENTIN Guys, I think it might have finally happened: I may have contracted the dreaded Marvel Fatigue. I say that because, terrible finale aside, I can’t point to one explicitly “bad” thing about Secret Invasion . It’s all, at best, very serviceable, from the action to the acting. However, I just could not bring myself to care about any of it. Maybe it’s because it builds on characters from Captain Marvel (one of my least favorite MCU movies), or maybe it’s just a boring, superficial take on a popular story that deserved much, much more. Either way, this is one of the least engaging MCU shows yet. ADRIANO I did not like Secret Invasion . I don’t think it’s Marvel Fatigue talking either; I just think this show is bad. The cast does a good job, namely Samuel L. Jackson in the best portrayal of Nick Fury in the MCU, and there is some intrigue hidden in there somewhere, but not enough to hold my attention beyond the Fury of it all. Instead, what we get are stakes that I never felt, uninteresting writing, and to be blunt, an embarrassing final episode. I wanted to like Secret Invasion , but I simply didn’t have much reason to. PAIGE Secret Invasion proves once again that Marvel Czar Kevin Feige is stretched way too thin. With such a subpar script, this show felt like it didn’t warrant a series at all. It’s ultimately unfortunate because Secret Invasion is filled with a stacked cast, from Samuel L. Jackson (Nick Fury) to Olivia Colman (Sonya Falsworth), who deliver the best performances they possibly can despite dealing with this weak story. With the miniseries overall being mediocre, it admittedly ended with some big ideas that could come to fruition in future MCU projects. JACOB Were it not for its connection to the wider MCU, Secret Invasion would be a fine – if mostly disposable – limited series. Unfortunately, that connection is simultaneously its most alluring element and the thing that ultimately undoes it all. It begins interestingly enough, with Kingsley Ben-Adir’s Gravik seeming a good foil for Nick Fury’s (Samuel L. Jackson) inaction vis-à-vis the Skrulls, but the writing quickly turns him into a caricature, along with most other characters. In fact, the only performer having any fun seems to be Olivia Colman. And it all comes with newfound continuity errors that cheapen previous MCU growth. What a mess.

HOLLYWOOD CON QUEEN Starring: Scott Johnson Creator: Chris Smith QUENTIN Hollywood Con Queen , a three-part documentary, is about two parts too long. After a compelling first episode that takes viewers down the rabbit hole of a wild scam where a con artist impersonated some of the most powerful people in Hollywood for both financial gain and, apparently, shits and giggles, the final two episodes fizzle out entirely. Instead of staying focused on the scam itself, it boringly focuses on the perpetrator’s personality and his uninteresting conversations with a journalist. Once the mystery, suspense, and “whodunnit” aspect went out the window at the end of the first episode, there wasn’t much left to hold my interest.

Previous Next July 4, 2024 WRITTEN BY: THE BITESIZE CREW Welp, we’ve made it. Another six months of reviews, Top 5s, and feature articles from your favourite movie and television website is in the books. If you recall, back in January, we shared a list of movies we were most looking forward to over the first half of 2024 (refresh your memory HERE ). For the most part, all our choices turned out to be at least watchable, if not an instant classic. In fact, Argylle probably was the only total stinker of the lot. We also had one choice, the John Wick -spinoff Ballerina , pushed to 2025, which, as we explained at the time, is exactly why we’ve decided to do these lists every six months. We want to avoid listing movies that end up delayed for months or even years, and the further out you are from a release date, the harder it is to know just how “confirmed” that release date actually is. So, given that, we’re running it back and only focusing on our most anticipated films for the second half of 2024. To be eligible, the movie must have a confirmed release date between July 1st and December 31st. This makes for more accurate selections while also avoiding repetitive lists in the future. So… no need to belabor the point any further. By now, you should understand what we’re doing here. Are any of these on your list? What are you most excited about? Let us know on X (formerly known as Twitter) HERE . MAXXXINE (July 5th) I'm a huge fan of director Ti West's earlier movies in this series ( Pearl and X) , so words cannot describe how thrilled I am to see his latest film, MaXXXine . It is hands down my most anticipated movie of the year. With its 1980s Hollywood slasher vibes, I knew once I saw the first trailer that this would be right up my alley, especially if the rumors are true that it’s the horror equivalent of Quentin Tarantino's Once Upon a Time… in Hollywood . Everyone knows how I feel about QT! I cannot fully express how eager I am to watch Mia Goth, one of our modern-day scream queens, kill it once more. - Paige LONGLEGS (July 12th) Yeah, yeah — another day, another Nic Cage recommendation from good ol’ Q. Here’s the thing, though… Cage does something in Longlegs that he has never done: go full horror villain as a serial killer. Aren’t you at least a little curious, if not downright excited, to see what Cage might do with a character in line with The Silence of the Lambs ’ Buffalo Bill? While I admit the following could be my downfall by setting unreasonably high expectations, early reactions have been tremendous, calling it “one of the best films of the year, hands down,” “the most terrifying horror movie of 2024,” “the scariest film of the decade,” and, quite simply, “a masterpiece.” Even putting the Cage of it all aside, this is definitely a movie I need to see. - Quentin SING SING (July 12th) I’ve been hearing about this wonderful Colman Domingo film for damn near a year now, and I cannot wait to finally see it (I may cry if my local theater isn’t showing it opening weekend). After his Oscar-nominated role in Rustin , word is that Sing Sing should give Domingo another nomination (and possible win). However, unlike last year’s general consensus that he outshined a fairly run-of-the-mill film, this one supposedly lives up to, and maybe even surpasses, his performance. Add in some possible Best Supporting Actor buzz for Clarence Maclin, and Sing Sing could take a swing at my favorite movie of the year - Amarú TWISTERS (July 19th) I’ve seen 1996's Twister a lot. Not because I think it’s a masterpiece, or even because I love the film, but because it re-ran on TBS constantly when I was growing up. It’s good, but I never wanted or needed a sequel. Almost 30 years later, enter Glen Powell. His name changes everything as he has quickly shot up the ranks of Hollywood star power, making this sequel much more interesting. Plus, he’s joined by other up-and-comers Daisy Edgar-Jones and Anthony Ramos. Beyond the cast, with the advancement in technology since the previous film, the special effects have the potential to be absolutely bonkers. Much like how dinosaurs are mainly exclusive to the Jurassic Park franchise, tornados are a seldom utilized film device that hasn’t been overdone in mainstream movies ( Sharknado does not count), so there's a big opportunity for innovation here. Add in the perfect summertime release date, and this should be one of the biggest blockbusters of the year. - Nick DEADPOOL & WOLVERINE (July 26th) There was no way that this movie wasn’t going to be on this list. The entirety of the MCU fandom has been waiting for this film ever since Endgame ’s final credits rolled and since Disney acquired the film rights to the X-Men, hoping to get answers to many of the questions Phases Four and Five have left us wondering. When will Deadpool (Ryan Reynolds) arrive in the universe? Who will he bring with him? Will Hugh Jackman ever see the screen with Reynolds? Can this pair “save” the Multiverse Saga? All of those questions can and may be answered with this film, but all I’m looking for is a good-ass time. With Reynolds, Jackman, and director Shawn Levy at the helm, I have no doubts that they will deliver on it all. - Amarú CUCKOO (August 9th) Continuing a stacked summer of horror, Cuckoo is a horror-thriller, written and directed by Tilman Singer, that I am very much looking forward to. The film stars Hunter Schafer, who was one of the best parts of Euphoria , so I’m very excited to see her first lead role in a feature film. On top of that, there is Dan Stevens, who has never failed to impress me in any role I’ve seen him in, not to mention Gemma Chan and Jessica Henwick. The trailer looks bonkers, promising fast-paced, high-tension, bloody entertainment, with an intriguing and unnerving concept that I can't wait to delve into. - Katie BEETLEJUICE BEETLEJUICE (September 6th) Sometimes you are going about your day, running errands maybe, and a passerby might say something like, “Hey, I love your shirt” or “Your beard makes me wish I was a Viking.” You didn’t think you needed it, but you are renewed with a sudden surge of energy. That’s how a second Beetlejuice feels! No matter the historical terror of sequel sadness, I am still extremely optimistic as Tim Burton takes the reins once again and stylizes the new film in the same way as its excellent predecessor. Michael Keaton, Winona Ryder, and Catherine O’Hara reclaim their previous roles alongside the appropriately cast Jenna Ortega and a slew of other stars that should carry the torch along quite nicely. - Preston WOLFS ( September 20th) There are few actors I consider bonafide “movie stars,” by which I mean more than just celebrated thespians or front-page celebrities. I mean no-shit, Old Hollywood-style, glitz-and-glamor-having, capital-M, capital-S “Movie Stars.” Near the top of that short list are George Clooney and Brad Pitt. So, when you throw the real-life best buds into a movie together, especially considering that they haven't been working all that often recently (since 2015, Clooney and Pitt have only given us five lead performances each, though Pitt also has had a few supporting roles), I’m going to take notice. Their natural chemistry and star-power alone is worth the price of admission, but with underrated director Jon Watts at the helm, this black action-comedy about rival, “lone wolf” mob fixers forced to work together is sure to be a blast. - Quentin JOKER: FOLIE À DEUX (October 4th) Contrary to my previous pick’s predecessor, I did love 2019’s Joker . I think it was yet another chance for Joaquin Phoenix — one of the greatest actors of our time — to flex his skills, and I’m thoroughly looking forward to Arthur Fleck’s (Phoenix) continued descent into madness. As for my anticipation for the rest of the film, that's due to the unknown. The idea of a pseudo-musical has the potential to be very interesting, but also may not work at all. Sure, Lady Gaga was very good in A Star is Born , but she hasn’t impressed me in anything else. Unlike Twisters , I don’t think this one is a slam dunk, but I know I’ll be seated in the theatre as soon as I’m able, watching it all unfold. - Nick ANORA (October 18th) Regardless of what little I knew about Sean Baker's upcoming film Anora , I was already looking forward to it because I find him to be such a fascinating and intriguing filmmaker. Hot off its Palme d'Or win at the Cannes Film Festival, I am now more excited than ever. This screwball dramedy is said to be his best-looking movie to date, which is saying a lot considering how beautifully shot his previous films are. I can’t wait to be re-captivated by Baker's specialty of delicately telling stories about sex workers, especially since its lead actress, Mikey Madison, is being deemed a "star in the making." - Paige SMILE 2 (October 18th) After the surprising box office success of his feature debut Smile (which was originally slated for a streaming-only release), director Parker Finn returns for its follow-up, Smile 2 . Smile was one of my favourite films of 2022, with its simple, effective, and deeply creepy concept, not to mention the fantastic performances that drive it, so I cannot wait to see what can be done with a bigger budget and a new cast. I’m especially interested to see Naomi Scott’s pop star character and the tour setting that was revealed in the trailer, and how the character’s fame will be used both as part of the story and in conjunction with the smiley scares. - Katie GLADIATOR II (November 22nd) Paul Mescal, Denzel Washington, Connie Nielsen, Pedro Pascal, Djimon Hounsou, and Barry Keoghan. Even if you are like me and have a hard time putting names to faces, I can assure you that cast list…*in my best Valley Girl accent*…is, like, really good. Ridley Scott, one of my top 10 best directors of all-time, revisits the gladiator pit once more to give us what is sure to be another classic. With the original being one of those films that I watch over and over when the Netflix scroll gets to be too much, it’s a no-brainer that I’m stoked for a sequel. - Preston NIGHTBITCH (December 6th) It's been a second since we've seen Marielle Heller's direction grace the screen, having last been blessed with 2019's A Beautiful Day in the Neighborhood . So, suffice it to say, I'll be there day one for Nightbitch , a horror-comedy starring Amy Adams as a mother whose life takes a turn in the most bizarre way as she suspects she's slowly morphing into a dog. Anyone who knows me knows I like a movie that takes swings, and I'm truly excited to see what Heller does with this source material. But I'm also really excited to see what Amy Adams does with this role that has already won her a TIFF Tribute Award. I cannot wait to check this one out at the festival this year. - Adriano NOSFERATU (December 25th) Where are all my Eggers freaks at? After The Witch , The Lighthouse , and The Northman , Robert Eggers is without a doubt my favourite new-age filmmaker. His bold commitment to mythology, uncomfortable terror, and attention to detail is truly unmatched, and based on the magnificent first trailer for Nosferatu , it looks like that remains unchanged. A project Eggers has wanted to make since 2015, I cannot begin to imagine what terrifying imagery and production values he has in store for us this time around. Tackling the great vampire Count Orlok (played by Bill Skarsgård) with such a stacked cast, I'm more than ready to never sleep again. - Adriano

THE FLIGHT ATTENDANT: SEASON TWO Starring: Kaley Cuoco, Zosia Mamet, Rosie Perez, Deniz Akdeniz, Mo McRae, Callie Hernandez, Joseph Julian Soria, and Cheryl Hines Creator: Steve Yockey QUENTIN The first season of The Flight Attendant , which was originally billed as a limited series if you recall, was a pulpy, fun ride that featured a great performance from Kaley Cuoco. However, for the forced, money-grab of a second season, it seems the showrunners’ only idea was simply “more Cuoco,” literally. She often has conversations with multiple versions of herself, and I gotta tell you, they are among the most annoyingly manic sequences I’ve ever seen. The mystery this season is super convoluted too, which means none of it is very interesting. Or maybe it’s just overshadowed by how irritating and dumb almost everyone is. ADRIANO Even though Kaley Cuoco is once again incredible in the lead role, the second season of The Flight Attendant is a turbulent ride. When it gets down to earth and focuses on Cassie (Cuoco), it’s actually really compelling; However, the international espionage and internal monologue aspects caused me to mentally check out. The series is entertaining and poppy, so I had no issue returning every week (Zosia Mamet as Annie is particularly underrated). But it feels like the writers took ideas that worked in the first season and stretched them a little too far this time around.

MARVEL ZOMBIES Starring: Iman Vellani, David Harbour, Simu Liu, Awkwafina, Dominique Thorne, Hailee Steinfeld, Paul Rudd, Elizabeth Olsen, Hudson Thames, Florence Pugh, Todd Williams and Tessa Thompson Creator: Zeb Wells AMARÚ Marvel Animation continues to fall into the trap of too many characters in too little time, but Marvel Zombies seems to have learned a little from past mistakes by leaning into its strengths (suspenseful R-rated action) and trusting its audience (stop… explaining… EVERYTHING). So while there are still instances of unnecessary exposition and hit-and-miss humor, the gruesome action, overarching storytelling, and full embrace of bizarro zombieland gives MCU alum like Iman Vellani breathing room to charm us again. The voice-actors mimicking original stars don’t fare as well (except Todd Williams as Blade, he’s awesome), but this is a step in a better direction for Marvel Animation. ROBERT What If…? never struck me as a project that lends itself to spinoffs because it isn’t canon and exists as a quaint, alternative look into wild multiverses. However, the zombie episode was immensely popular and bound to beloved source material, so that is the obvious choice. Marvel Zombies blends gruesome action with more heartfelt storytelling in four episodes than you get in the final four seasons of The Walking Dead . Kamala Khan (Iman Vellani) has never been better, and she was already well-regarded; same goes for Scarlet Witch (Elizabeth Olsen) as a villain. Thus, use your fully functioning brains and ingest this surprising animation.

ATLANTA: SEASON THREE Starring: Donald Glover, Brian Tyree Henry, LaKeith Stanfield, and Zazie Beetz Creator: Donald Glover AMARÚ Bruh, Atlanta is wild. The turns from absurd to thought-provoking to gut-busting to insightful will leave you in awe, especially when such genius can often happen before the episodes’ title credits. Each of the show’s main quartet (Donald Glover, Zazie Beetz, Brian Tyree Henry, and LaKeith Stanfield) is so different, yet they somehow mesh so incredibly well together that they make a beautifully chaotic puzzle of creativity. To say they’re in their bag is an absolute understatement. Season Three takes the brilliance of the previous seasons and elevates every aspect to new heights. P.S. THERE ARE ALSO BRILLIANT SHOWS WITHIN THE SHOW. JUST. GO. WATCH!!! QUENTIN With seemingly no desire to rest on its laurels, Atlanta reinvents itself in its third season. It’s as hilarious, incisive, and surreal as ever, but instead of focusing on the main characters’ hood struggles, Atlanta becomes a quasi-anthology series that mixes episodes about the now successful Paper Boi (Brian Tyree Henry) navigating Europe with completely unrelated non-sequitur short films. Despite lacking a season-long storyline, each engrossing episode ranges from great to flat-out brilliant. My only real complaint is that the season wasn’t longer. It continues to be one of the best shows on television, and I’ll be sad to see it end next season. PAIGE You can take the gang out of Atlanta, but you can’t take the Atlanta out of the gang. After a long hiatus, we journey off to Europe for a weird, wild ride with Paper Boi (Brian Tyree Henry) and his crew, as well as experience some one-off stories along the way. Despite the unique swings this season takes, the show delivers its richest storytelling about black America in the episodes not centered on the main cast, yet, at the same time, I wish we had been able to spend more time with the central characters after such a long time away from them. ADRIANO Atlanta is, without question, one of my all-time favorite shows, which is why I’m a little conflicted on this season. On one hand, the humour and surrealness are back in full swing, and its use of comedy to tackle important issues is brilliant. But on the other hand, the season's decision to sideline its main cast in exchange for Jordan Peele-esque short stories under the Atlanta umbrella, four of which didn’t have the main cast at all, was a little disappointing. It’s not that those episodes are bad, but I wanted to see more of the great central characters after waiting four years.

OBI-WAN KENOBI Starring: Ewan McGregor, Hayden Christensen, James Earl Jones, Vivien Lyra Blair, Moses Ingram, Rupert Friend, Indira Varma, Kumail Nanjiani, Joel Edgerton, and O’Shea Jackson Jr. NICK Disney's Star Wars has a habit of going in too many directions, and Obi-Wan Kenobi is no different. The side stories have varying levels of success, but we’re here for the Obi-Wan Kenobi/Darth Vader showdown. Thankfully, they deliver on that tenfold. Ewan McGregor steps back into Kenobi’s robes like time stood still, telling the understated, tragic story of his character, while Vader (voiced by a rejuvenated James Earl Jones) is even more brutal and menacing here than in Rogue One . The series provides some of the darkest moments in Star Wars history, and that finale? One of the best scenes of the Disney era. PAIGE This may not be the Obi-Wan Kenobi series some viewers were looking for, but Ewan McGregor excels at bringing back the iconic Jedi master. It manages to harness nostalgia for the prequels and the original trilogy, even if it’s not the best Star Wars series. But I must say, The Force was not strong with the writing team. The series is at its best when it focuses on Kenobi (McGregor) and Darth Vader (Hayden Christensen, James Earl Jones), but overall, it felt drawn out. It all comes together in satisfyingly in the end, but it would have worked better as a film. QUENTIN Here’s the thing about Obi-Wan Kenobi : if you’re a diehard Star Wars fan whose objectivity is clouded by The Force and nostalgia, you’ll love this series (I say that without judgment. I get it, just ask Nic Cage). However, for the rest of us, this series is wholly unnecessary. You don’t gain a greater understanding of Obi-Wan and the story has absolutely zero stakes. On top of that, the acting is mediocre, and the dialogue is worse. And I’m sorry, but Young Leia (Vivien Lyra Blair) is super annoying. Admittedly, there is some all-time great Star Wars imagery to be found, so there is that. AMARÚ Barring silly contrivances (really, a branch?), Obi-Wan Kenobi is one of the best pieces of Star Wars content since Rogue One . Ewan McGregor is at his best here, especially when alongside other beloved characters. Vivien Lyra Blair channels Carrie Fisher’s passionate fervor as young Leia, and Hayden Christensen delivers a redemptive performance, combining Vader’s savagery with Anakin’s impetuousness to confirm his GOAT villain status. The show flourishes in these interactions, whether during Leia’s poignant conversations or Vader’s intense action sequences, allowing McGregor to bring more depth to Obi-Wan. This is the Star Wars that every trilogy generation fell in love with.