MOON GIRL AND DEVIL DINOSAUR: SEASON TWO Starring: Diamond White, Fred Tatasciore, Alfre Woodard, Libe Barer, Jermaine Fowler, Gary Anthony Williams, Sasheer Zamata, and Laurence Fishburne Creators: Jeffrey M. Howard, Kate Kondell, and Steve Loter AMARÚ I cannot express enough the excellence that is Moon Girl and Devil Dinosaur . This show epitomizes why Guillermo del Toro champions animation while also proving that children’s programming can truly be age-proof. It’s vibrant, hilarious, and heartfelt, covering themes ranging from peer pressure to PTSD, and is bolstered by a brilliant voice-cast and a cavalcade of A-list guest stars deserving of such rich visual and musical storytelling. Dipping into action, comedy, coming-of-age, and even horror elements, Moon Girl’s second season is more than just a children’s cartoon. It’s the show you wish you had growing up, yet it still teaches life lessons today. No notes.

TED LASSO: SEASON THREE Starring: Jason Sudeikis, Hannah Waddingham, Brett Goldstein, Brendan Hunt, Phil Dunster, Nick Mohammed, Juno Temple, Toheeb Jimoh, Kola Bokinni, Billy Harris, Cristo Fernàndez, Moe Jeudy-Lamour, Jeremy Swift, James Lance, and Anthony Head Creators: Bill Lawrence, Brendan Hunt, and Joe Kelly NICK From the outset, Ted Lasso has been a fantastic show. That said, its third season is certainly its weakest as it just doesn't flow the same as previous seasons. Some characters are focused on too heavily (Keeley (Juno Temple)) while others are ignored for large portions (Sam (Toheeb Jimoh)), and come the finale, everything feels like it is rushed to conclusion. Now, while it may not reach the heights of last season, it still has the heart and wit it’s known for, which is aided by stand-out performances from Hannah Waddingham, Anthony Head, and Phil Dunster. The television landscape will undoubtedly be dimmer without Ted Lasso . AMARÚ When a TV show’s “down” season is better than most other shows, you know you’re dealing with an all-time great, and Season Three solidified that for Ted Lasso . Things that would make most shows feel bloated resulted in greater development for multiple characters this season. Things that would make most shows feel muddled and aimless resulted in build-up for Lasso’s strongest end to any of its seasons. Something that started as a hilariously joyful feel-good comedy is now an insightful (yet still hilariously joyful) examination of grief and mental health. Ted Lasso is one of the greatest sitcoms of all time. That’s not up for debate. PAIGE The final season of this beloved series sadly crumbles under the pressure, even if its heart is in the right place. Season Three of Ted Lasso lost belief in itself, and it abandoned the majority of its strengths and stories from previous seasons for longer episodes and disjointed storylines. At its core, the show works best when it sticks to its original intentions, which this season simply lacked. Despite this being its weakest outing, the AFC Richmond Greyhounds still managed to put a smile on my face every week, and I’m hoping for a few spin-offs. JACOB Even with an emotionally poignant finale in play, the unfortunate truth is that Ted Lasso ’s third (and final?) season is certainly its weakest. From its indecision and slight indifference as to what to do with Keeley Jones (Juno Temple) to Colin’s (Billy Harris) mishandled coming out story to many episodes’ overly bloated runtimes, a series of misfires turned the series from an optimistic comedy into a somewhat saccharine prestige drama. The characters themselves remain quite fun to watch, but even this season’s best moments seem to be tied to us having known them from the previous two seasons rather connecting with them this time around. QUENTIN In the closing moments of Ted Lasso ’s series finale, Lasso (Jason Sudeikis) says “it’s not about me, it never was,” a sentiment that perfectly embodies this season. In having more (and longer) episodes, Lasso becomes more of an ensemble show, focused on the whole of Richmond. Sure, it’s predictable and mostly trades season-long narratives for episodic moments, but every character gets a few chances to shine. Despite the shift in plotting, the series still maintains the same level of heartfelt emotion, non-cloying optimism, and dynamic character interactions and development as before. Overall, it has been a tremendous three seasons, and I’m eager for both hinted-at spinoffs. ADRIANO Ted Lasso’s final season is the series’ worst; however, to be fair, the bar was super high. That said, it juggles far too much, and despite the episodes’ extended runtimes, it isn’t enough to make most characters’ arcs not feel rushed or abandoned. The ones that are done well (Billy Harris’ Colin, Phil Dunster’s Jamie) are satisfying and feel like typical Ted Lasso , though. Ultimately, the charm is there, and there are moments in the latter half of the season that reminded me why I fell in love with the show in the first place, but it was still a disappointment. I will miss it, regardless.

Previous Next March 22, 2024 WRITTEN BY: CALEB If you’ve been keeping up with film news lately, I’m sure you’ve been hearing a lot about James Gunn and his new position at Warner Bros. If you haven’t , then let me tell you: Mr. Gunn has been put in charge of rebooting the DC Cinematic Universe… or the DC Extended Universe… or whatever it is they want to call it these days. And you know? I think it’s safe to say that people are generally pretty excited about this. Gunn, to his credit, has a good reputation with (comic book) audiences since he was the mastermind behind the successful Guardians of the Galaxy trilogy, as well as the director of The Suicide Squad and Peacemaker . It makes sense that fans are happy. DC seems to be in trusted hands. Honestly, though, I’m a little nervous. Not because I don’t like Gunn (I do), but primarily because, in my opinion, a lot of the recent attempts at cinematic universes haven’t been going very well. I want this new DC universe to succeed, but in order to do so, it needs to learn from all the mistakes some other cinematic universes have been making as of late. What mistakes, you may ask? I’m going to tell you! Keep reading… FOCUS ON QUALITY OVER QUANTITY I’ve heard a lot of people speaking ill of the MCU lately, and I get it. I’m not big on their recent output, either. However, it’s interesting that when I hear people disavow MCU projects, they generally say things like “I’m done with Marvel.'' Not “I’m done with Thor, ” or “I’m done with Ant-Man; ” no… it’s “I’m done with Marvel.” It’s a blanket statement. They’re not giving up on a single character or a specific series - they’re giving up on the entire cinematic universe. This makes sense. In a cinematic universe, everything is connected, so it tracks that if I want to give up on the Ant-Man movies, I also must give up on everything else. If I don’t want to watch WandaVision , Captain Marvel , or Ms. Marvel , then how can I possibly hope to understand The Marvels ? Nowadays, the MCU is releasing more projects than ever before, so it’s no wonder that people are having a hard time keeping up. The thing is that Marvel Studios seems to have forgotten why it was so successful in the first place. It wasn’t the number of projects they made, but the fact that all the projects were mostly well crafted. The entire Infinity Saga lasted from 2008 to 2019, comprising 23 films. That’s about two movies a year, which isn’t a difficult pace for fans to maintain, especially since most of them were quite good. Compare that to Phase Four, which ran from 2019 to 2022. That’s barely four years, but those four years were packed with 18 total projects. Eighteen. I might’ve been okay with that if those projects were still consistently good, but that’s definitely not the case these days. For a cinematic universe to thrive, viewers need to want to keep up with it. If you pump out too many underwhelming projects at once, they stop feeling like event movies and start feeling like homework. It’s better to make a few great movies than a whole lot of mediocre ones. PICK YOUR TONE CAREFULLY Let’s switch gears to the recently defunct DCEU, as well as a franchise near and dear to my heart, The Monsterverse. These universes have a lot in common. They’re both mixed bags with some high-highs, low-lows, and plenty in-between. Personally, though, I think the biggest commonality they share is that they’re both tonally all over the place. For instance, let’s compare Gareth Edwards’ Godzilla (2014) to the new trailer for Godzilla X Kong . The 2014 film is a grounded, moody, realistic depiction of the legendary kaiju. It takes place in modern day, it features a conventional depiction of the military, and the script went to great lengths to properly contextualise the appearance of the monsters in the film. It feels real. Fast-forward ten years, and now Godzilla is the star of a buddy-cop movie where he teams up with a giant monkey to fight another giant monkey. There are flying cars, monster robots, and the whole thing is set in the hollow earth. These new entries are unashamedly cheesy and, in theory, I’m completely okay with a cheesy Godzilla movie. However, what I’m not okay with are sequels that don’t even attempt to stay consistent with the style, mood, and atmosphere of their predecessors. It makes the interconnectivity feel like an afterthought, and it points to a clear lack of creative focus. The same problem can be seen when comparing a film like Man of Steel to Aquaman. They’re technically in the same universe, sure, but if you watched them back-to-back, you’d get a case of tonal whiplash bad enough to fracture a vertebrae. I think having stylistic variety is great, but it shouldn’t come at the cost of a universe’s plausibility. For all the flack I’ve given Marvel so far, tone is actually something in which the MCU has a fundamental understanding. Marvel czar Kevin Feige and company knew that if they were going to make a cinematic universe, they had to establish the tone right off the bat, and then choose filmmakers that complimented each other's styles and artistic sensibilities moving forward. You can make different films in the same universe with varying genres and subject matter, but without a consistent tone between projects, things are going to get really messy, really quickly. KNOW WHERE YOU’RE HEADED It’s no secret that the MCU isn’t at a creative high point right now, as I’ve stated several times already. Fan reception has been generally mixed since Avengers: Endgame , and that movie was released four years ago. With every new MCU project, it becomes harder and harder to understand where they’re headed. Finally, it dawned on me that Marvel Studios probably doesn’t even know. Come to think of it, I’m not sure any of the current cinematic universes know where they’re headed. Star Wars is on a vague path towards another prequel that’ll take place before The Force Awakens. Marvel was on its way towards the Kang Dynasty, but that seems to be falling through after the Jonathan Majors scandal. Both The Conjuring Universe and the Monsterverse seem to be playing things by ear, with very little in the way of a confident roadmap for the future. The interconnectivity of these universes seems to be resulting in a few crossovers and cameos here and there, but none of it seems to be leading towards anything nearly as ambitious as Endgame . Phases One through Three of the MCU were all leading to Thanos, a world conquering force to be reckoned with, and that was something audiences were extremely excited about. There were no major course corrections necessary, no huge plans to be changed. However, we’re starting to see how cinematic universes strain under the weight of faulty planning. If you want people to be interested in where your cinematic universe is heading, it needs to be heading somewhere interesting. If the interconnected storytelling isn’t leading towards some sort of payoff, then there’s no real point in it being interconnected in the first place. This leads me to my final, and most important point… IF THERE ISN’T A GOOD REASON TO MAKE A CINEMATIC UNIVERSE, DON’T Let’s talk about Sony’s Spider-Man Universe, or the SSU for short. I’ve also heard a few people call it the Morbi-verse, but I somehow doubt that name is going to stick. Starting in 2018 with Venom , this cinematic universe has gone on to give us such classics as Morbius , Venom: Let There Be Carnage , and, of course, the recent dumpster fire that is Madame Web . I bring the SSU up because, if there is one thing it is actually good for, it would be proving that, sometimes, cinematic universes aren’t always a great idea. Sony has been attempting to set up a Spider-Man universe WITHOUT SPIDER-MAN!! for the better part of a decade now, and it’s far from the only bad cinematic universe idea that’s been attempted. Plenty of studios have tried and failed to emulate the success of the MCU. Ghostcorps wanted to make a Ghostbusters cinematic universe, Universal wanted to make a classic monster movie universe, and Hasbro has been trying for years to make a GI Joe/Transformers crossover happen. The big difference between these ideas and the MCU, is that, on a conceptual level, the MCU actually makes sense. Marvel has access to a lot of different, marketable superheroes, all of which already have plenty of potential for crossovers, cameos, and spin-offs. They also have a near-century of untapped source material at their disposal, readily available to be adapted. Sure, it might not last forever, but if every project was handled properly, the MCU could theoretically go on for decades without ever running out of content. Just because the idea of a cinematic universe worked for one studio doesn’t mean it’ll work for another. If you don’t have the material to support a cinematic universe, then why make one? …and this brings me back to James Gunn, who is now in charge of one of the only other franchises out there that can unquestionably support a cinematic universe. DC isn’t suffering from a lack of source material, characters, or creative talent. Under the right guidance, I believe that this new DC universe might finally be able to rival the MCU, but only so long as it manages to avoid the pitfalls that other universes have fallen into. With proper planning, clear creative direction, and an emphasis on essential, quality filmmaking, this new DC universe might just be a hit.

GENIUS: ARETHA Starring: Cynthia Erivo, Courtney B. Vance, David Cross, Malcolm Barrett, Patrice Covington, Kimberly Hebert Gregory, Rebecca Naomi Jones, and Shaian Jordan Creator: Suzan-Lori Parks QUENTIN With NatGeo dropping eight episodes over four consecutive nights, it feels like the network wasn't too proud of this miniseries about Aretha Franklin. I can see why. While Cynthia Erivo absolutely slays the singing parts, her performance during the non-singing parts is restrained to the point of being dull. The series also feels cheap, from the 80s-style opening credits to the fact that they couldn't get the rights to Aretha’s biggest hits (really? No “Respect”?). It's like a low budget, made-for-TV Bohemian Rhapsody - an incredibly flawed and formulaic biopic that is only as strong as your love for Aretha’s music.

Previous January 19, 2026 Next A BITESIZE CHAT WITH EMI/EMMETT YONEMURA & CHASE CONLEY Directors Emi/Emmett Yonemura & Chase Conley have a chat with Amaru about the first season of X-Men '97 and how they brought the iconic comic-book characters back to the small screen after 30+ years. Make sure to check out X-Men '97 now on Disney Plus. Interview conducted on May 16th, 2024 by Amarú Moses. Photo Credits: Disney Plus

Previous Next Christopher Nolan's latest film, The Odyssey, is here this month and with Matt Damon stepping into the boots of Odysseus, we figured it was the perfect time to look over the actor's career highs. So, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Matt Damon Performances. As per usual, each writer ranks their top 15 performances 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 TALENTED MR. RIPLEY Generally, Matt Damon is not an actor that draws me to a film, but his turn as Tom Ripley in The Talented Mr. Ripley easily comes to mind when I think of incredible performances, in general. He even stands out amongst co-stars Jude Law, Gwyneth Paltrow, Philip Seymour Hoffman, and Cate Blanchett. Damon simply excels in this role, with his chameleonic performance embodying each of the characteristics that Ripley adopts as he evolves from the awkward outcast that garners empathy to smooth talking charmer to unnerving sociopath. Plus, set against the constant backdrop of gorgeous, sun-soaked scenes, his performance is juxtaposed with the picturesque setting in a way that further enhances his changeable and sinister nature. He is menacing in a way that makes for genuinely uncomfortable viewing while also demonstrating Ripley’s vulnerability and obsessive need to deceive, maintain his facade, and be accepted as he manipulates the characters around him as well as the audience. — Katie 4. FORD VS. FERRARI There are actors we love that are absolute chameleons in every role they play, transforming into someone unrecognizable, no matter how famous they are (à la Christian Bale). Then there are actors we love who play a different version of the same greatness every time they hit the screen, and we don’t care because they are the best at what they do (à la Denzel Washington). I find that Matt Damon falls somewhere in between those two: sometimes transforming into vulnerable (Good Will Hunting ), silent (the Bourne franchise), or insecure (Ocean’s Eleven ) characters, but still falling into different versions of charming and cocky Damon. Ford v. Ferrari is my favorite version of the typical Damon. As automotive icon Carroll Shelby, he takes his indelible confidence and goes toe-to-toe with angry Bale, nice Jon Bernthal, boss-level Tracy Letts, and tentpole-asshole Josh Lucas and still gives one of the most memorable performances of the entertaining and stacked ensemble. Just two scenes — 1. Shelby calmly taking Letts’ Henry Ford on the fastest test drive in the history of mainline; and 2. fighting Bale’s Ken Miles in his front yard — were enough to make me think Damon might be the coolest person in any movie he’s in. — Amarú 3. THE DEPARTED The Departed , the film that earned iconic director Martin Scorsese his first (and only) Oscar, features Matt Damon’s best performance. Of course, Damon gets to show off the charm that we expect from him, but when you’re working with Scorsese, you must get a little dirtier. His character’s moral decay and push further to the dark side are played with excellent internal authenticity by Damon. You don’t need a manic psychopath from him; that’s what Jack Nicholson is there for. What you need is for Damon to portray Colin Sullivan with just the right amount of inner struggle and ambitious lust for the highs the double-agent lifestyle provides, and as the wolves around him begin to circle, the fear that it’ll all come crashing down. For as stacked a cast as The Departed has, to stand his own amongst all the greats around him is proof that he’s deserving to be in the conversation with them. — Adriano 2. GOOD WILL HUNTING It’s hard to imagine that Matt Damon’s career would be the same without Good Will Hunting . What started as a final assignment for a playwriting class became something much bigger, especially after he asked longtime best friend and future creative partner Ben Affleck for his input. The final result ended up winning two Oscars (including Best Original Screenplay) and becoming one of Miramax’s most profitable releases, taking both Damon and Affleck from relative unknowns to major stars practically overnight. It’s a great story that just so happens to be behind a great movie, and screenwriting accolades aside, Damon’s turn as the titular character shouldn’t go overlooked, as his open relatability and boyish charm make Will — the prickly but vulnerable genius that he is — easy to care about and root for. It’s affecting in all the right ways, and the fact that it’s only an early glimpse of Damon’s capabilities on both sides of the camera makes it all the more special. — Bode 1. THE MARTIAN Ridley Scott's The Martian allows Matt Damon to showcase nearly every aspect of his acting chops, and as a result, he carries the entire film on his shoulders. He brings the audience into Mark Watney's psyche and keeps us deeply invested from beginning to end. Whether it's through his video logs or watching him go through both triumphs and setbacks, Watney feels like a real person whose optimism never comes across as forced. Frankly, what Damon does with this character is outstanding. He effortlessly balances comedy and drama throughout the film, which makes every emotional beat feel honest and real. His portrayal also gives the audience hope and faith that his character will survive. While many of his other performances are great, they all led to The Martian , which demonstrates all that he is truly capable of as an actor because Damon scienced the shit out of this role. — Paige HONORABLE MENTIONS TRUE GRIT AIR DOGMA THE INFORMANT! OCEAN'S ELEVEN

LOVE & DEATH Starring: Elizabeth Olsen, Jesse Plemons, Lily Rabe, Patrick Fugit, Krysten Ritter, Tom Pelphrey, Elizabeth Marvel, and Keir Gilchrist Creator: David E. Kelley QUENTIN Objectively speaking, Love & Death is a decent true crime series that is held together by several solid performances, especially from Elizabeth Olsen; however, for me, it has the same problem as White House Plumbers . I just watched Hulu’s Candy , which is about the same murder and starring Jessica Biel, last year, so this series is nothing more than a redundant rehash. Comparatively, they are of about the same quality, with one doing a few things better than the other and vice versa, but, if you saw Candy , there is no reason to watch Love & Death . If you haven’t seen Candy , pick your poison. PAIGE Love & Death is just a dry and dull paint-by-numbers type of crime show, and it’s so straightforward that I can’t picture it cracking the interests of many. This true crime drama just doesn’t bring anything new to the table with its storytelling, especially considering that Hulu already told this tale with Candy . Yeah, Elizabeth Olsen gives life to her character, Candy Montgomery, but I can’t help but feel that it’s time to put this case to rest. ADRIANO I don’t know everything about the Candy Montgomery (Elizabeth Olsen) story, but I know it’s much more complicated than the surface level, one-sided, and sympathetic approach that Love & Death took. It is hard for me to call this show bad, and it did pique my interest more in the second half of the season, but the lens through which this show is presented does not give the subject the nuance it requires. Olsen and the rest of the cast are great, and it’s well-put together; I just wasn’t engaged enough to care.

EYES OF WAKANDA Starring: Cress Williams, Anika Noni Rose, Gary Anthony Williams, Patricia Belcher, Lynn Whitfield, Isaac Robinson-Smith, Steve Toussaint, Winnie Harlow, and Jona Xiao Creator: Todd Harris AMARÚ While all four episodes of Eyes Of Wakanda tackles the fictional country’s interesting relationship with the outside world, it fails to do so with the same nuance or depth as its preceding films. The voice-acting and dialogue, in particular, carry the same ham-fisted quality that many PG-laden kids cartoons are known for. While that might work well on Saturday mornings, I’m sure it’s not what the showrunners were shooting for. Two (and some bits) out of the four episodes did find a proper balance of wonder, humor, stakes and fun that the entire family can enjoy, but being halfway successful left me halfway disappointed.

THE MANDALORIAN: SEASON THREE Starring: Pedro Pascal, Katee Sackhoff, Carl Weathers, Giancarlo Esposito, Katy M. O’Brian, Emily Swallow, and Paul Sun-Hyung Lee Creator: Jon Favreau AMARÚ You never realize how literal Mandalorians’ speech patterns are until they say more than four words (is this the way?). With Season Three of The Mandalorian focusing as much on Bo-Katan (Katee Sackhoff) as Din Djarin (Pedro Pascal) and Grogu, the heavily expository dialogue makes the season initially feel long-winded and meandering. But when the full picture comes into sight, it’s an interesting journey deciphering to whom the title is referring. While the build to the trio’s collective adventure is not as exciting as previous seasons, a strong finish makes it a compelling one to watch unfold. NICK This season of The Mandalorian is easily its weakest. It's less focused, with more of an "adventure-of-the-week" style, and for a large portion, it puts Grogu on the backburner. I wondered if bringing him back during The Book of Boba Fett was the right call, and, to me, this cemented that it was not. He's not vital to the story, nor does he get a chance to really grow. In fact, Bo-Katan (Katee Sackhoff) is the only character to get a quality arc. It still has all the trademarks of Star Wars , and it certainly ends strongly, but it doesn’t reach the heights of previous seasons. QUENTIN Despite the production values, special effects, and action set pieces being on par with previous seasons, if not better (especially in the last two episodes), the writing this season really punches The Mandalorian in the dick, bringing the series down to slightly above average territory. The main story, if you can call it that, revolves around re-establishing Mandalore, but it isn’t given enough attention to be compelling. Plus, random breakaway episodes completely halt any momentum that plotline tries to establish. Add in an ending that feels like a series finale, and I’m not sure I need to return for the already confirmed fourth season. PAIGE This season of The Mandalorian broadened what the actual title of the show stands for. While focusing more on the unity of rebuilding Mandalore, it pushed Din (Pedro Pascal) and Grogu’s storyline to the backseat. It isn’t bad television, per se, but it is the weakest of the three seasons, especially with the lack of depth and poor writing. That said, despite the inconsistent season, the final two episodes are amongst the best of the entire series, setting us up for many more adventures with our main duo. I'm still looking forward to what comes next because this is the way! ADRIANO After two knockout seasons, it seems like The Mandalorian has run its course after the third season. The entire season, I couldn’t really tell what Jon Favreau was going for, as each episode seemed to go from one side quest to another, only without a real purpose this time. I did like Katee Sackhoff, but the focus on Bo-Katan meant less focus on Din Djarin (Pedro Pascal) and Grogu, which is a choice that is a little confounding. I can’t say I had no fun, but I will not be rushing into Season Four like I did with this season.

THE TWISTED TALE OF AMANDA KNOX Starring: Grace Van Patten, Rebecca Wisocky, Francesco Acquaroli, Giuseppe De Domenico, Roberta Mattei, Sylvia Panacione, Sharon Horgan, Sara Sedran, Jared Canfield, Vincenzo Zampa, Uta Dunz, Joe Lanza, Crosby Fitzgerald, and Anna Van Patten Creator: K.J. Steinberg QUENTIN Having watched Netflix’s documentary Amanda Knox , in which Knox was heavily involved, I wasn’t sure what new information a scripted take on the case could provide, even if Knox was, once again, heavily involved. Surprisingly, The Twisted Tale of Amanda Knox offers a fresh approach to the material by exploring the nature of bias through the viewpoints of the peripheral players instead of only centering on Knox (a terrific Grace Van Patten). Even the nods to Amélie , a key part of Knox’s alibi, are clever. Mileage may vary depending on what you already know, but it won me over despite me being familiar with the twisted tale. PAIGE The Twisted Tale of Amanda Knox is a gripping and comprehensive limited series told through a fictionalized dramatization of Amanda Knox's own lens. Despite how disjointed the editing can appear and how the over-the-top dramatized elements can feel at times, the series effectively immerses its audience right back into this whirlwind media storm that occurred back in the late 2000s. This depiction of Knox’s story offers a more insightful and nuanced look at a misunderstood young woman, who is played extremely effectively by Grace Van Patten. But as far as a retelling of this harrowing true story, while it stands out for its emotional resonance, it falls short in exploring the true crime elements.

IT'S FLORIDA, MAN Starring: Sam Richardson, Simon Rex, Anna Faris, Juliette Lewis, Randall Park, Ego Nwodim, Betsy Sodaro, Mary Elizabeth Ellis, Jon Gries, Matty Cardarople, Cameron Britton, Steven Ogg, Echo Kellum, Steve Little, and Stephen Root Creators: Mark Herwick and Jeff Tomsic QUENTIN People who love Drunk History and the exploits of “the world’s worst superhero,” Florida Man, are sure to have a blast with It’s Florida, Man . For someone who doesn’t care about either of those things, though, this comedic docuseries, which features famous people reenacting outlandish stories as told by real Floridians, becomes tiresome pretty quickly. The real people featured are certainly quirky, but this almost feels exploitative of low hanging fruit — more laughing at them than with them. Meanwhile, the reenactments don’t really add much. I’m sure there is an audience for this, but I ain't it. At least it’s a really quick watch (six 20-minute episodes).

Previous Next It's May, the month of Mother's Day and the newest release in the franchise that's all about family. Before it was about family though, it was about cars. With that in mind, the crew decided to compile Bitesize Breakdown's consensus Top Five On-Screen Vehicles. Each writer ranks his or her top 15 selections 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. ECTO-1 (GHOSTBUSTERS FRANCHISE) Plain and simple: The Ecto-1 is one of the most iconic vehicles in cinema history. It’s simple in its design (a white Cadillac Miller-Meteor Sentinel ambulance converted to limo-style with the Ghostbusters logo and some ghostbusting doo-dads on the top), the Ecto-1 has much more use than bringing the Ghostbusters to the ghosts they need to bust. It represents the earnestness and dedication of the scientists and their humble beginnings, not to mention the cool upgrades that we saw in Ghostbusters: Afterlife . - Adriano 4. MYSTERY MACHINE (SCOOBY-DOO FRANCHISE) While the rest of the list may be “better” vehicles, I don't think there is one here that is more universally recognized to the highest number of people than the Mystery Machine. No matter your age, race, gender, geographic location, favorite genre, height, weight, MPAA rating… I think you get the point. Show some 7-year-olds a DeLorean, and they may look at you crazy. Show them the blue, green and orange van and they'll yell "SCOOBY!" For over 50 years, that van has been foiling somebody’s master plan, and your grandkids will probably see it rolling across their screen 50 years from now. How’s that engine still running? - Amarú 3. ASTON MARTIN (007 FRANCHISE) Originally introduced in 1964's Goldfinger , the Aston Martin has become a staple in James Bond's bag of tricks. A sleek design (almost always found in silver) having evolved from the aforementioned DB5 in Goldfinger to the DBS in No Time to Die , the car has always been outfitted with whatever nonsense the Q branch can pack into it. From bulletproof glass to machine guns behind the headlights, rotating license plates and a passenger side ejector seat (you're joking! ), Aston Martin has always been associated with the on screen brand of Her Majesty's Secret Service. Hopefully, the Bond/Martin combination will be one fans continue to see for many years to come. - Darryl 2. MILLENNIUM FALCON (STAR WARS FRANCHISE) There are so many iconic spaceships throughout Star Wars , but the most notable has to be the Millennium Falcon. Although it may look like a piece of junk, it has survived many epic battles and is wicked fast. I mean, it completed the Kessel Run in less than twelve parsecs. It also happens to be helmed by two of the greatest pilots and heroes on film, Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew). - Paige 1. DELOREAN (BACK TO THE FUTURE FRANCHISE) Back to the Future doesn’t work without the DeLorean in the same way that Top Gun doesn’t work without fighter jets. The vehicle is the movie, the thing on which every plot point and character beat hinges. As movie vehicles – and, more specifically, cars – go, it doesn’t get much more iconic than the scene-stealing time machine in Robert Zemeckis’ trilogy. Only Star Wars' Millennium Falcon could ever match up with the DeLorean’s instant recognizability or, more crucially, its charming personality. - Jacob HONORABLE MENTIONS BATMOBILE (THE BATMAN) BATMOBILE (BATMAN '89) USS ENTERPRISE (STAR TREK FRANCHISE) HERBIE (THE LOVE BUG FRANCHISE) BUMBLEBEE (TRANSFORMERS FRANCHISE)