AMERICAN PRIMEVAL Starring: Taylor Kitsch, Betty Gilpin, Dane DeHaan, Saura Lightfoot-Leon, Derek Hinkey, Kim Coates, Joe Tippett, Jai Courtney, Preston Mota, Shawnee Pourier, Lucas Neff, Alex Breaux, and Shea Whigham Creator: Mark L. Smith PRESTON It’s impossible to know how close to truth it hits, but American Primeval is a delightfully shocking limited series about a very real historical event. Its gritty approach and brutal realism are complemented by chilling set designs and masterful cinematography, while the ending, although tragically unsatisfying, also is completely appropriate. Yes, you may have to forgive the creative liberties taken to paint the Mormons in such a negative light (however true they might have been for the time) and the muffled dialogue had my old-ass watching with subtitles, but this show is still a terrific “must watch” conversation-starter. QUENTIN While I didn’t exactly love Netflix’s American Primeval , my penchant to be more forgiving for gritty westerns nonetheless resulted in me enjoying it well enough despite a few nitpicks, the most egregious of which is Sara’s (Betty Gilpin) annoying, Karen-esque self-righteousness. That aside, the absolute brutality demonstrated on screen is surely accurate to the era, showcased through incredible cinematography and a production design so palpable that you can almost feel the blood on your face. It’s not always an easy watch, but at only six episodes, it’s probably one of the more authentic representations of the American West, which means it’s worth your time.

MARGO'S GOT MONEY TROUBLES Starring: Elle Fanning, Michelle Pfeiffer, Nick Offerman, Thaddea Graham, Greg Kinnear, Michael Angarano, Nicole Kidman, Lindsey Normington, and Rico Nasty Creator: David E. Kelley NICK Thanks to Sentimental Value and Predator: Badlands , 2025 was the year I became a fan of Elle Fanning. Well, it couldn't have happened at a better time as it led me to check out Margo's Got Money Troubles . This limited series is filled with terrific performances from the likes of Fanning, Michelle Pfeiffer, and personal highlight Nick Offerman as he channels Mickey Rourke's Randy "The Ram" Robinson (The Wrestler ). The writing by David E. Kelley is crisp, and the story handles the world of sex workers as if this were a Sean Baker project. I was caught off guard by how much I enjoyed this show. ADRIANO I don’t know if there’s a phrase for this, but Margo’s Got Money Troubles is whatever the opposite of “style over substance” is. Its stylistic pop is easily the show’s worst element, but the wonderfully grounded story makes up for that. It can often veer into ridiculous territory, but thanks in part to the wide array of great performances, it always remains humanistic, compelling, and above all else, unjudgmental. A story of flawed, struggling people trying their best, and it has no qualms about being anything else. This really worked for me in spite of my nitpicks.

KALEIDOSCOPE Starring: Giancarlo Esposito, Rufus Sewell, Paz Vega, Rosaline Elbay, Jai Courtney, Tati Gabrielle, and Peter Mark Kendall Creator: Eric Garcia AMARÚ I love me some Giancarlo Esposito. And I love me a good heist. But, apparently, a Giancarlo Esposito-led heist series doesn’t guarantee greatness. Netflix’s Kaleidoscope banks on his charm and the heist’s inherent intensity to hook you to something that, without its randomized episode order, would be no more than a predictably generic caper. I started with a non-chronological view of the past, then a chronological post-heist reveal before the finale; that helped build more tension and greater connection to the crew. Filling in those missing pieces out of order covered for, when viewed in order, a formulaic story. Order watched: Yellow, Green, Blue, Orange, Violet, Red, Pink, White PAIGE While Kaleidoscope 's unique and clever storytelling approach delivers an engaging, binge-worthy watch, I’m sad to report that the end result does not reach its full potential, leaving me unsatisfied. Don’t get me wrong, the concept is fascinating. Telling a story by jumping to different time periods within these characters’ lives, leading to an elaborate heist, is such a brilliant and distinctive way to tell a story like this; however, the last few episodes about the heist and its aftermath are just weak and not fleshed out enough to tie the series together coherently. Order watched: Yellow, Green, Orange, Violet, Blue, Red, Pink, White QUENTIN As a gimmick and narrative, Kaleidoscope doesn’t completely work. The “watch-the-episodes-in-any-order” approach means that the viewer will inherently lose tension and mystery depending on the order watched. Also, given the bingeable structure and episode formatting (i.e., “Seven Years Before the Heist,” “Five Days Before the Heist,” etc.), it’s not always easy to remember when in the timeline key plot points are subtly hinted at, making certain revelations less clever than they could be. Still, all that aside, Giancarlo Esposito is never not compelling, Jai Courtney is always a fun loose cannon, and there are enough episodic heist elements to keep fans of the genre engaged. Order watched: Green, Yellow, Blue, Violet, Orange, Red, Pink, White

REACHER: SEASON THREE Starring: Alan Ritchson, Maria Sten, Sonya Cassidy, Anthony Michael Hall, Brian Tee, Johnny Berchtold, Roberto Montesinos, and Olivier Richters Creator: Nick Santora AMARÚ Reacher continues to be campy, melodramatic, and beautiful. It strikes the right chord of not taking itself so seriously that it can’t poke fun at itself while also being just serious enough that you care about the characters, action, storyline, and stakes. All of this is carried on the stoic shoulders of Alan Ritchson, who embodies the saying “he knew the assignment” – an assignment that requires taking soap-opera like characteristics (romance, shootouts, revenge, and the like) right to the edge of entertaining believability. Season Three tightens all the looser bolts of its predecessor to have you trapped in its cheesy, muscular chokehold. QUENTIN You know, not every series needs to be an awards-baity “prestige drama,” and there absolutely is a space for the television equivalent of a fun beach read. Amongst those somewhat disposable, escapist, turn-your-brain-off shows, Reacher must be near the top. Alan Ritchson’s dry charisma and hulking frame make for a character that is just a joy to watch, whether he’s cracking skulls or dropping a one-liner. Sure, the dialogue can be cheesy at times and the plot is a tad forced, but this Prime series continues to be a damn good time, even improving on the just-okay Season Two by delivering a more focused narrative. Check out our reviews for Season Two HERE.

POKER FACE: SEASON TWO Starring: Natasha Lyonne, Simon Helberg, Rhea Perlman, Patti Harrison, and Steve Buscemi Creator: Rian Johnson AMARÚ You know you really like a show when you can excuse some silly bullshit that Natasha Lyonne’s human lie detector Charlie could call out from a mile away. Not to say that Poker Face Season Two isn’t well written, but there are plenty of conveniences that if it weren’t for the lovable guest-stars-of-the-week’s chemistry with Lyonne, my eyes would live inside the top of my head. Fortunately for me, the exuberant atmosphere is undeniable, and I wouldn’t have my foolish, lighthearted, well-acted, Columbo -coated weekly murder mysteries any other way. ADRIANO I watched the last season of Poker Face week-to-week, and in that review, I noted that I feared a binge-watch could feel repetitive. Well, I put that theory to the test, and I'm happy to report I was wrong. Season Two of Poker Face almost leans into the cartoonish nature of a woman (Natasha Lyonne) running into so many murders hilariously, but what works best is that the show continues to find new ways to shock us with intriguing and well-plotted stories. It's an impressive feat that remains fun, and I can't imagine it ever overstaying its welcome. Check out our reviews for Season One HERE .

TED Starring: Seth MacFarlane, Max Burkholder, Alaina Ubach, Scott Grimes, and Giorgia Whigham Creator: Seth MacFarlane NICK Much like he is in the films, Ted, the character, is funny. Ted , the show, however, is a bit more of a mixed bag. Playing like a hybrid of the film series and live-action Family Guy (but with less bite), the lack of consistent laughs are accentuated with the longer runtimes. At 22 minutes, these episodes could have been more succinct, with more frequent laughs, but there are entries upwards of 50 minutes here, which only shines a spotlight on the mediocre (and annoyingly New England) supporting characters. Ted has its laughs, but just isn’t able to hit like the films do. QUENTIN Though not without moments of slight amusement, Ted isn’t a prequel that is necessary viewing, even for franchise fans. It’s basically juvenile Family Guy -humor (not to mention the carbon-copy musical transitions) mixed with the sentimentality of cheap-looking, TGIF-era sitcoms, except with overlong episodes ranging from 34 to 51 minutes. Ted - and only Ted (Seth MacFarlane) - delivers enough improvisational-style observations to elicit a few chuckles, but the rest of the characters land somewhere between “well-intentioned, but bland” (Blair, played by Giorgia Whigham) and “annoying New England caricature” (Matty, played by Scott Grimes). That said, I didn’t hate it, but I certainly don’t need a second season.

RUSSIAN DOLL: SEASON TWO Starring: Natasha Lyonne, Greta Lee, Elizabeth Ashley, Annie Murphy, Charlie Barnett, and Chloë Sevigny Creators: Natasha Lyonne, Leslye Headland, and Amy Poehler QUENTIN Season One of Russian Doll , which dropped over three years ago, was a brilliantly inventive series that ended in such a way that it did not necessitate a second season, yet here we are with a disappointing sophomore outing that has virtually no connection to what came before. Gone is the time loop mystery in favor of a standard time travel plot, while Alan (Charlie Barnett) is a complete afterthought. Plus, Natasha Lyonne now plays Nadia with such an over-the-top NYC moxie and aloofness that it becomes irritating, spouting snarky quips reminiscent of 2007’s Juno . They should have left well enough alone with Season One.

VIKINGS: VALHALLA: SEASON ONE Starring: Sam Corlett, Leo Suter, Johannes Haukur Jóhannesson, Laura Berlin, David Oakes, Frida Gustavsson, Bradley Freegard, and Caroline Henderson Creator: Jeb Stuart JAMES Vikings might've thrown historical accuracy overboard, but at least it had voicey writing and visual flair to keep it afloat. Valhalla commits the same sin, but without either of the saving graces; therefore, it sinks. It doesn’t help that it recycles the plot of Vikings ' fourth season with generic characters and dull writing. The high-end production values are there, yet the show somehow feels cheaper than its predecessor. And although the actors are clearly doing their best with what they're given, it's not enough to save the show. Valhalla had so much potential, but no imagination. It is neither good history, nor good entertainment.

ARNOLD Starring: Arnold Schwarzenegger Creator: Lesley Chilcott NICK Arnold is Netflix's second collaboration (FUBAR being the first) with the famous Austrian, and it's certainly the better of the two projects. Arnold Schwarzenegger (often seen relaxing with a cigar) goes through the three main phases of his life from bodybuilding to acting to politics, and he does so openly and honestly…for the most part. Arnold is often painted in a bright light here, so this won't be the doc for you if you're looking for an unbiased take. However, if, like me, you’re drawn to the presence that is Arnold and his unwavering confidence, there’s enough here to create an informative and admirable docuseries. QUENTIN I wouldn’t exactly call Arnold a self-aggrandizing vanity project for Arnold Schwarzenegger, but it stays overly positive while only briefly glancing over controversies from the star’s past. My biggest problem, though, is that I didn’t really learn anything new. Obviously, that will vary from person to person, but this documentary plays out like Arnold reading his own Wikipedia page for three hours. It’s not terrible, as Arnold is immensely watchable even as he does nothing more than sit in a chair and smoke a cigar, but this series would have benefited from additional commentaries from his contemporaries and a less sanitized examination of the icon.

THE SANDMAN: SEASON ONE Starring: Tom Sturridge, Gwendoline Christie, Boyd Holbrook, Vivienne Acheampong, Vanesu Samunyai, Jenna Coleman, David Thewlis, Joely Richardson, Patton Oswalt, Kirby Howell-Baptiste, and Stephen Fry Creators: Neil Gaiman, David S. Goyer, and Allan Heinberg AMARÚ The Sandman is a beautiful dream that feels like it was directed by The Wachowskis. While they didn’t have a hand in it, their works clearly influenced this adaptation of one of DC’s most otherworldly comics. Each episode is fluid and grandiose, simultaneously featuring spectacular successes and disjointed missteps. As a whole, the season feels like two separate shows with out-of-order episodes and disorienting tonal shifts, but its second half finds more focus to build a world worth exploring. The Sandman is a puzzle that doesn’t start coming together until the last piece is placed, and I want to continue piecing it together. QUENTIN It’s tough to review The Sandman in ~100 words because my opinion of it is as all over the place as the series itself. So much of it is terrible, yet I still want more. Explaining those contradicting views won’t be easy, but here goes… It’s an all-around disjointed mess that favors world building over character development, the CGI is laughably bad, and there is almost no narrative cohesion until the final episodes. That said, two quasi-bottle episodes are tremendous, Boyd Holbrook is outstanding as The Corinthian, and the mythology it is establishing is extremely engrossing. You’ll probably have to try this one for yourself.

Previous Next December 6, 2023 WRITTEN BY: PRESTON The end of this year brings the exciting musical-movie release of The Color Purple , whose potential is forecasted by the illustrious names of its producers, namely Steven Spielberg, Oprah Winfrey, Quincy Jones, and Scott Sanders (not to mention that cast). So, what better time to celebrate the mellifluous motion picture format? As a seasoned and hardened* Army veteran (read: broken and dysfunctional), I am unashamedly a lover of well-done musicals, the film versions of which almost always allow for a more immersive experience than the neck-straining, “I wish I could get a drink,” chopped-up versions that can often occur on a live stage. Maybe it’s because I was born without any musical talent of my own, or maybe it’s because I am a hopeless romantic who enjoys the dreamlands created by such productions…no matter the reason, I think musicals are underappreciated works of art. I mean, how is it possible that an actor can be blessed with their unique thespian prowess and then, somehow, also masterfully perform dance routines and sing perfectly on key?! It’s crazy! We all have our strengths, I guess. At least I know how to cook a mean carbonara…shut up, Stanley Tucci! Anyway, as is my style, I have created my own standards from which to accomplish the difficult task of cutting out some of the movies that fall into the genre. After all, Ray Kroc, the founder of modern-day McDonald’s, said “the quality of a leader is reflected in the standards they set for themselves.” On second thought, scratch that… it just makes things easier, ok?! We are Bitesize Breakdown after all, so it makes sense to limit our selection to 10 rather than whatever ridiculous number that other lists try to hit just to do justice to every damn film ever made so as not to upset those who think their darling should have “definitely been included!” But I digress… For our purposes here, the mimics of theatrical stage performances like Hamilton or Chicago are hereby disqualified. Productions like Pitch Perfect , Rocketman , Purple Rain , and A Star is Born are appreciated, but likewise eliminated as their primary protagonists are singers and, well, that’s just cheating. Finally, I’m eliminating everything that I dislike, which may be a bit too on-the-nose, but there it is. The simplest standard is that this list comprises movies that I will watch repeatedly for years to come. As a man, born in the 80s and imperfect, I can appreciate the contributions of classics like Singin’ in the Rain , Sound of Music , and Mary Poppins , but what do I want to watch when I sit down on the couch tonight ? What do I want my kids to watch, lest I feel the frustratingly familiar pain of having failed as a parent? If you are new to musicals, or there is anything on this list you haven’t seen…or even if you are reminded of a film that you just haven’t seen in a while…I highly recommend putting one on after work. I believe there is a musical lover in all of us despite the popular need to “poo-poo” both musicals and country music, and if nothing else, it’s got to be better than scrolling through the ether for an hour, right? 10. SEVEN BRIDES FOR SEVEN BROTHERS (1954) I first thought it may have been the teenage timing of my initial run-through that attracted me to this musical so much. A household full of strong, fast-to-fight, and tough woodsmen brothers go to town from their homestead to find women to settle down with? Sold. I could fantasize about which brother I might be and which lady I might chase. Instead, I think it is the shocking antiquated morals of the film that really attract and fascinate without being offensive due to the romantic transformations that occur. The film’s colors pop brilliantly throughout, both literally and figuratively from the engaging story and lively music. Best of all, though, it somehow introduces ballet-style dancing, gymnastics, and tumbling without making the gritty brothers look absurd. 9. WEST SIDE STORY (1961) West Side Story was my personal gateway drug into the world of musicals. As an insecure young man that faced dangers real and imagined, this adaptation of Romeo and Juliet spoke directly to me. The story is classic, highlighted by forbidden love that results in Shakespearian tragedy and an ultimate re-evaluation of the characters’ immature prejudices. The sound design is masterful (proven by its Grammy-winning soundtrack), as it blends Latin sounds with traditional Broadway-style tones that coalesce to build constant and escalating suspense. I can still remember almost every word to “Jet Song” …*ahem*, moving on. 8. CHITTY CHITTY BANG BANG (1968) Set in early 20th century England, Chitty Chitty Bang Bang is, admittedly, more of a children’s fantasy movie. An often flummoxed and struggling single father, played by an effervescent Dick Van Dyke, desperately attempts to make one of his fun inventions work in an effort to save the family from further poverty. Monkeyshines ensue when a wrecked champion race car is saved from the scrap heap. The whole family can enjoy this adventure that includes a motley crew of interesting villains, including the terrifyingly creepy “Child Catcher” (Sir Robert Helpmann). It is a “Truly Scrumptious” adventure! 7. THE WIZARD OF OZ (1939) This shouldn’t take much convincing since The Wizard of Oz permeates throughout our history’s cultural conscience. It has had a presence in theme park attractions and preserved at prestigious museums, not to mention that it has been referenced, imitated, sequel-ed, adapted, re-released, and cartooned through the years. The Academy Award-winning “Over the Rainbow” is a well-known piece of harmonious magic, among the films’ many, that is actually part of the narrative instead of acting as a musical intruder, which can often happen. The fact that this film has so much widespread appeal more than 80 years after its first release really speaks for itself. 6. GREASE (1978) I now recognize that there may be a pattern in my tastes. Yes, the tough guy is represented here too, along with his gang of friends, while he tries to “get the girl” in the classic sense. I won’t back down though, as this is so intrinsic to our society’s tribal nature and our search for love and acceptance. Grease hits on all of the above in a fun, funny, Fonzie-kind of way. The 50s era version of “bad-boy meets good-girl,” teenage angst, and out-of-control hormones are captured in a way that is timeless. John Travolta and Olivia Newton-John shine throughout by way of their swaying hips and outstanding vocals. 5. THE NIGHTMARE BEFORE CHRISTMAS (1993) Usually, when I get nervous about a ranking is when things start to get really controversially exciting, especially when it goes “classic, classic… what?!” Still, this musical easily stands out as one of the best stop-motion style animations of all time with Henry Selick directing a fantastically dark Christmas story written and produced by gothic-inspired phenom Tim Burton. The production aptly challenges the stereotypical nature of Christmas=Good and Halloween=Bad, and due to the musical’s release under Touchstone instead of Disney, its theme’s salute to self-awareness and self-discovery is recognized and celebrated from the start, letting its creepy freak flag fly! Having teenage children, tradition now dictates that The Nightmare Before Christmas is in our rotation of must-watch entertainment during the holiday season. 4. THE GREATEST SHOWMAN (2017) Overall, The Greatest Showman received mixed reviews, but we don’t care, right?! This is about finding musicals that you want to watch tonight, and this one perfectly fits the bill. Hugh Jackman (a Broadway vet in his own right), along with the star-studded ensemble cast, guide us on a fantastical spectacle that mimics the circus tale it is trying to tell. It is a flashy account celebrating not only individuality and perseverance, but also inclusion. My kids will often play the soundtrack while dinner is being prepared, and we will all belt it out as if we were also on stage. It’s great! 3. WILLY WONKA AND THE CHOCOLATE FACTORY (1971) Based on a children’s novel written by Roald Dahl, I love this story; so does everyone else as evidenced by its multiple remakes, including the upcoming Wonka , set to be released later this year. However, this version is by far the best of its ilk, even today. Gene Wilder was born to play Mr. Wonka, where his antics manipulate one's thoughts regarding the sometimes saccharine-leaning music to wonder if there might be an undertone of deception. It provides an imaginative underdog story where loyalty, family, and integrity are the watchwords. 2. FIDDLER ON THE ROOF (1971) Adapted from an already highly successful Broadway stage production, Fiddler on the Roof is a powerfully moving tour de force. The musical components are emotionally stirring as the film attacks wide-arching narrative themes of oppression, sacrifice, compromise, faith, poverty, political strife, community, and “TRADITION”! The cinematography and story-telling methods are groundbreaking, and if further convincing is somehow needed, it also happened to win three Academy Awards, two Golden Globes, and was the highest-grossing film of 1971…so there’s that. 1. LA LA LAND (2016) Ok, it might be blasphemy to put such a newcomer at the top of the list, but I do not care. I’m not putting Singin’ in the Rain on this list, just like I wouldn’t put Citizen Kane as my go-to number one movie of all time. Sorry, not sorry. This story has everything you could want from a musical: humor, romance, character, dancing, and beautiful music. Plus, it’s artistic without trying to be weird, and it finishes without a cliché ending. Ryan Gosling and Emma Stone provide knockout performances, and we get insight into what it might take to actually “make it” in Hollywood. It fascinates at every level, and now that I am writing about it, I just want to go watch it again. Photo Credits: Photo 1, 2, 3, 4, 9 - MGM Studios; Photo 5, 8 - Paramount Pictures; Photo 6 - Walt Disney Studios; Photo 7 - 20th Century Studios; Photo 10 - Lionsgate

WE OWN THIS CITY Starring: Jon Bernthal, Wunmi Mosaku, Jamie Hector, Josh Charles, McKinley Belcher III, Darrell Britt-Gibson, Rob Brown, David Corenswet, Dagmara Dominczyk, Don Harvey, Delaney Williams, and Larry Mitchell Creators: David Simon and George Pelecanos NICK We Own This City focuses on the true story of corruption within the Baltimore Gun Trace Task Force and the despicable acts those officers did, but spreads its story between too many points in time. The timeline jumping at breakneck speed makes things confusing and especially difficult to keep track of the abundance of characters followed. That said, the writing is crisp and the cast, headlined by the ball of energy that is Jon Bernthal, makes for an engaging watch. This series tells an important story and is a stark reminder that a few good cops can’t overcome a broken system. JACOB We Own This City is a special and rare kind of miniseries from the HBO catalog. It can be fairly dense upfront if one is unfamiliar with all the major players, but it never treats the audience as though their hands need to be held. The aftermath of the Freddie Gray killing was its own kind of mess, and the show never once loses focus within all the chaos. Jon Bernthal is expectedly excellent in the show, but it’s Wunmi Mosaku and Jamie Hector who steal the spotlight, while McKinley Belcher III makes a strong case for Emmy consideration. QUENTIN While I’m sure fans of The Wire (*cough* not me *cough*) are wetting themselves at another offering from David Simon, We Own This City is a miniseries that gets in its own way by trying to be too much like The Wire . It has the same “problem-from-all-perspectives” approach as that critical darling, but the inconsistent flashbacks make it somewhat confusing to follow. Plus, not all the storylines have the same level of intrigue (the Civil Rights Division plot is especially needless), while the ending is very abrupt. Despite good performances, I just didn’t need this show in my life, but you Simon-lovers probably don’t care about that.