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.

Previous Next September 7, 2022 WRITTEN BY: THE BITESIZE CREW With The Ultimate Disney Fan Event, the D23 Expo, taking place this weekend, there has been a lot of speculation that Marvel Studios will finally announce the cast for the MCU's highly anticipated Fantastic Four film (releasing Nov. 8, 2024). Before that happens, we decided to have each writer Fantasy Cast their own Fantastic Four. The only rule was that the actors chosen couldn’t have been in any previous MCU films. Let’s see if any our picks make the final cut this weekend! William Jackson Harper - Reed Richards Lily James - Sue Storm Glenn Powell - Johnny Storm Alan Ritchson - Ben Grimm We have now been through three movies and two iterations of the Fantastic Four since 2005, and while some stars have emerged from these at-the-time up-and-coming actors (Chris Evans, Michael B. Jordan, Miles Teller), we have yet to get a cohesive group that allows the story to build momentum off of their dynamic. So, when making my fan cast, I not only wanted to have actors who truly fit their roles (I mean, Alan Ritchson’s depiction of Raphael in Teenage Mutant Ninja Turtles is basically The Thing), but I also wanted it to feel like these characters really KNEW each other and encapsulated their relationships. Johnny and Ben really need to piss each other off. Sue and Reed should pull Paula Abdul-levels of opposites attract. Ben should be a permanent fixture at Reed’s back. Sue has to put Johnny in his place. These four actors seem perfect for their individual roles but can also make their costars' lights shine brighter. That’s what the MCU’s Fantastic Four needs to be, a sum that is greater than their fantastic individual parts. - Amarú Dev Patel - Reed Richards Britt Lower - Sue Storm Mike Faist - Johnny Storm Bill Skarsgård - Ben Grimm Without much in the way of comic knowledge or background, the team I have assembled for the rebirth of the Fantastic Four comes not from wish fulfilment or in-depth personal passions, but from my own experiences as a movie lover and critic for the past ten years. In my eyes, one can always cast these roles as part of a singular project, but all MCU fans know by now that Kevin Feige likes to keep these guys around for a long time. To that end, these selections are not merely reflective of or inspired by where each actor has been, but where they have the potential to go. We’ll almost surely be with these actors for the long haul, so whether the team is youthful or aged, growth is of the essence. And I truly believe that the group of actors I’ve selected will not only grow as performers by embodying these characters, but also grow closer as a team through this journey. - Jacob Penn Badgley - Reed Richards Alicia Vikander - Sue Storm Dacre Montgomery - Johnny Storm O’Shea Jackson Jr. - Ben Grimm The MCU is set to deliver one of its biggest tentpole films to date with Marvel's First Family, Fantastic Four , in 2024. With rumors swirling and speculations popping up everywhere over the past few years, including my choice of Penn Badgley as Mr. Fantastic, we all need to put into perspective who would actually be the perfect fit for this team. Let’s be honest, this isn't the first time that a movie has been made with these characters where the casting looked good on paper, but we need choices that will solidify this iconic team. While not being a superhero guru, I do believe my choices score a Perfect 10 at bringing a certain nuance and classic feel to the big screen. Ultimately, the final decision will come from Kevin Feige, but I feel that he has earned our trust thus far. That said, Mr. Feige, if you ever need another casting director, call me because, damn, my choices are smoking hot. - Paige Henry Cavill - Reed Richards Kristen Bell - Sue Storm John Boyega - Johnny Storm Pablo Schrieber - Ben Grimm I didn’t grow up a big comic guy, so, for better or worse, my Fantastic Four has largely been the Ioan Gruffudd-led team. That said, I expect Kevin Feige to reinvent and increase the importance of the MCU's edition. With the two leaders of the previous phases (Iron Man and Captain America) now departed, the stage is set for Reed Richards to step into that role and be a focal point moving forward. Over 29 films, the MCU has done its fair share of big-name casting (some great actors were lost to early and less significant roles), and they need to nail it with Reed in both scale and performance. This team is made to be a team. I think the chemistry between the four could be off the charts, finally giving the Fantastic Four the movie they deserve. - Nick Justin Theroux - Reed Richards Samara Weaving - Sue Storm Taron Egerton - Johnny Storm Ben Foster - Ben Grimm When it comes to dream casting, I’m always looking for actors who capture the complete essence of the characters being discussed. So, for Marvel’s First Family, that means using more than just Tim Story’s two mediocre movies from the early 2000s and Josh Trank’s 2015 disaster as reference points. I’m taking the comics, cartoons, movies, video games, action figures, and all that lore into account. Also, while I’m not opposed to race-swapping, my very simple brain will almost always cast people that look like the characters I’ve grown up with for 40 years, which is why I have the only all-white cast. Get mad at me for not embracing diversity if you want to, but it’s hard to argue with the team I came up with. - Quentin Darren Criss - Reed Richards Simone Ashley - Sue Storm Avan Jogia - Johnny Storm Gus Kenworthy - Ben Grimm I hoped to achieve something a little different with my list. Truth be told, the Fantastic Four has never interested me much, so I think the most exciting thing to do would be casting relative unknowns in hopes of making them household names while giving Marvel’s First Family a modern update. Considering their previous iterations, my primary concern was Sue and Johnny Storm. Sue has been woefully underused, while Chris Evans’ portrayal as Johnny still remains memorable. Because of that, I felt actors who were able to stand on their own and bring a different energy needed to be cast in those parts. The same goes for Reed Richards and Ben Grimm, but because I find both them both deeply uninteresting. This is why I think the MCU needs to swing for the fences to bring a young, unique, and diverse cast to shake things up. - Joseph Jamie Dornan - Reed Richards Evan Rachel Wood - Sue Storm LaKeith Stanfield - Johnny Storm Trevante Rhoades - Ben Grimm Past iterations of the Fantastic Four have been, how you say, not ideal. So, when assembling my dream team, I wanted to retain the good qualities of the early 2000s cast and nothing from Fant4stic . Some actors I chose because of their physical similarities, on top of just thinking that they would be a great fit. I also wanted to mix in potentially interesting interpretations, which made this exercise a lot more fun. Most importantly, when I put together this team, I wanted it to be actors that I can actually see in the role. I could have easily thought “Oh, I love Anya Taylor-Joy, so she should be Sue Storm,” but she just doesn’t feel right for the character. These are all actors I love but also can realistically see them in the role, wearing the iconic blue uniforms and nailing it. - Adriano

Previous Next April 10, 2024 WRITTEN BY: KATIE In September of last year, Netflix posted their final DVDs to customers as their mail-based service came to an end. With just under one million people estimated to still be subscribed to the DVD mail service, it wasn't losing money as much as it simply was not making enough. Marc Randolph, Netflix’s co-founder and former CEO, commented that they “knew DVDs would go away” and the move was a “transitory step” for the company. Netflix’s DVD service offered films that are either very hard to find physical copies of or are completely unavailable via streaming, and a lot of people were left disappointed. This service was never available in the UK, but our most closely related version of the service, Lovefilm, was discontinued far earlier in 2017 after Amazon announced a decreased demand for discs as many customers turned to streaming services. Its closure also left many users disgruntled. Whilst I rarely watch films that are only accessible on DVD, I’ve noticed some surprising films are unavailable for me to stream in the UK, such as Eraserhead (1977) and Near Dark (1987). What’s more, I learned recently that 28 Days Later (2002) is, for the time being, unavailable to watch on any streaming platforms after the ownership rights for the independently financed film were passed from Disney to Sony. After an intense bidding war, Sony won the rights to a two-part sequel of the original film, and it disappeared from streaming services for legal reasons. Although Sony likely will re-issue a digital copy of the film at some point, the whole scenario got me thinking about how difficult it is becoming to easily access physical copies of certain films, particularly classic or older films. I find it disconcerting that, as it becomes harder to find affordable DVDs, access to films is increasingly dependent on companies who care more about profits and bonuses. Whilst I see the value in streaming services and digital content - it is convenient, easy, and offers nothing if not choice - I do not believe it should restrict access to or replace physical media. Although Blu-ray and DVD sales have decreased, it doesn’t mean millions of people aren't still buying physical media. If anything, I am anticipating a resurgence in the popularity and appreciation of physical media, as people come to understand the issues associated with relying on streaming services. Cards on the table, I love physical media, so this may not be the most balanced account. I don’t own hundreds of DVDs or anything, but I do invest now and again in a Blu-ray or an extended edition of a film I love, or hint, quite unsubtly, that they would make great gifts on birthdays or Christmas. I enjoy having access to my favourite films without googling where to find them or worrying about quality that's dependent on my Wi-Fi, not to mention the artistic value of additional content and bonus features. I also like the idea of my money benefiting the filmmakers in a fairer, more effective way than streaming allows for. As such, I would like to advocate for the many positive aspects of buying, renting, and generally ensuring wide access to physical media, especially in comparison to a future dominated by streaming services, and highlight the reasons why it is important to preserve. PHYSICAL MEDIA ENSURES YOU TRULY OWN A FILM If you purchase a film digitally, you only own the right to stream it via that streaming service for as long as they retain the distribution rights to said film. Whilst streaming services promise that you can watch whatever you want, whenever and wherever you want, a film that you have bought at full price can be removed from your possession due to loss of rights and other negotiations. What’s more, streamers like Netflix and Disney+ routinely remove their content without warning. This means that not only could you lose access to your favourite films and TV shows without knowing, but you’ll have to pay an additional subscription if you want to watch them on the streaming service where they’re available. Paying for Netflix, Amazon Prime, Apple TV+, Disney+, etc. in order to access all the films and TV you want to watch is simply unaffordable. Additionally, streaming services have been known to edit or censor content, so streaming-exclusive content can be changed, leaving no record of its original cut. There have already been many instances of streamers editing potentially offensive jokes out of sitcoms or making those episodes unavailable. So, physical media is a way to ensure you have an unchangeable version of that content. IT LOOKS AND SOUNDS BETTER Streaming is reliant on the quality of your internet access. I personally always have issues when streaming, finding that dark colours are always pixelated, fading colours don’t render properly, and varying Wi-Fi speeds impact the sound, which is of poorer quality regardless. Even though some streaming services support 4K or HDR, you need high-quality, very consistent internet, not to mention zero bandwidth limitations, to get the best results. Even then, it's not perfect. However, DVDs and Blu-rays reflect how the film was intended to look, with a lot of effort going into their high-quality production. Of course, physical media deteriorates over time, but when well looked after this won't happen for many, many years. CONTENT VS. CURATION This is incredibly subjective, but I believe that going out of your way to find a film specifically after you made note of it from a positive review, or because it was recommended to you, is a rewarding experience. It’s personal. On the other hand, navigating streaming services feels like social media, with everything compartmentalised into inpersonal categories or being recommended by an unknowable algorithm. In my view, this way of consuming film and TV is one of the biggest contributors to the view that everything is “content,” and it hurts the visibility of smaller productions that can fade into the vast digital libraries. Not only this, but again, streaming-exclusive films can be deleted from these platforms, quietly removed and their existence lost to audiences without a physical copy. However, with physical media, those films or TV shows would have a place to be discovered and re-discovered. PHYSICAL MEDIA SUPPORTS FILMMAKERS Before the prevalence of streaming services, physical media generated huge revenue and was more effective in supporting filmmakers in the long-term. Now, the profitability of a film on streaming is heavily reliant on being successful in the first few days of release, or it risks being lost in the shuffle of options without the promise of the revenue of physical sales. Recently, Matt Damon in his appearance on Hot Ones spoke on the issue, commenting “DVD was a huge part of our business” and “the movies that we used to make, you could afford to not make all of your money when it played in the theatre because you knew you had the DVD coming behind the release.” He believes a lack of physical media has “changed the type of movies we could make,” which is hard to deny when looking at the type and quality of films that dominate most streaming services. This sentiment also has been reflected by others in the industry, especially Christopher Nolan, who similarly has spoken on the fleeting nature of films on streaming services, which especially negatively impacts “filmmakers who want their films to have a life beyond…whatever their initial release is.” This speaks to the issue of viewing film and TV as disposable content, resulting in a contemporary cinematic landscape that is risk-averse and lacking in the theatrical release of mid-budget films, mostly notably romantic comedies and dramas, and films that aren't associated with IP or a franchise. Relying on popular IP and foregoing the extra costs associated with a theatrical release is generally safer for studios, and since more content means more money, there is an abundance of very average film and TV. In my view, there is an obvious difference between the quality of theatrical releases vs streaming-only releases, and watching a film in the cinema will always be superior to home viewing. It’s a shame to withhold the opportunity to experience a film in the most immersive way possible, or decide that some films are undeserving of a theatrical release. I, personally, will continue to invest in physical media, for all the reasons stated above, as well as the sentimental value that my small collection holds for me. Whilst I do not dislike or discourage streaming services, I believe it's important to preserve physical media in an increasingly digital world and an industry that's driven by prioritising profits over art. Photo Credits: Photo 1 - CNN; Photo 2, 4 - A24; Photo 3 - USA Today