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.

Previous Next October 28, 2024 WRITTEN BY: PAIGE Over the course of his career, Stephen King has published nearly 70 novels and 200+ short stories. Of those, his work has been adapted to more than 50 films, miniseries, and television shows, not to mention a collection of derivative spinoffs, all of which make him the second most adapted author of all time behind William Shakespeare. From his first adaptation, 1976’s Carrie , to his most recent, 2024’s The Life of Chuck , which premiered at the 2024 Toronto International Film Festival and currently is awaiting wide release, the Master of Horror has made a tremendous cinematic impact on the horror genre. Whether it’s a possessed car, a bloody hallway, or a yellow raincoat, much of his iconic horror imagery is amongst the most recognizable to ever grace the silver screen. With such a large filmography, it is a major task to narrow down a personal “Best of Stephen King” list, but I was able to, at the very least, solidify the five adaptations that are my favorite …not best, to be clear, but personal favorite . Without further ado, let’s jump in… 5. IT (2017) Director Andy Muschietti faced a challenging task in turning this 1,000-page novel into a film, especially considering that it had already been turned into a successful two-part miniseries in 1990… but, boy, did he live up to that challenge (at least in Chapter One )! Muschietti's choice to concentrate on the book's first half to develop the kids' characters is what makes this adaptation so excellent. It's a well-executed reimagining that trades some of the book's more complex mythology for poignant and effective character development. I love a good coming-of-age tale, and It does a great job of striking the right balance between that and the horror genre. Set in 1989 in the small town of Derry, Maine, a group of kids known as the "Losers Club" set out to solve the mystery surrounding the disappearance of several children. They have no idea that the killer isn’t a man, but Pennywise (Bill Skarsgård), an evil clown that can shape-shift into one’s biggest fears. I must admit that the Losers Club consists of some of the best child acting I’ve ever seen in a film. Every single child genuinely excels beyond belief, each with their own personality, qualities, quips, and quirks, which allows the chemistry between the group to flourish and stand out. While they bring the heart, Skarsgård brings the terror. This gem truly knows how to pack a lot of emotion in between the scares, leading it to be one of my favorite horror flicks from the 2010s. 4. MISERY (1990) As he approached the 1990s, King felt somewhat constrained by the genre as a result of the success of his books. This inspired him to write Misery in 1987, a book in which an author is forced to write in order to appease a stalker fan. It goes without saying that King concocted something extraordinary enough to pique director Rob Reiner's curiosity for a second time after their first stand-out collaboration (more on that later). Reiner just intuitively knows how to translate King’s stories to a film format, and screenwriter William Goldman adds an outstanding script to that dynamic. Together, they skillfully build suspense, making the most of the cramped environment in which King sets the story. Misery is a devilish, insanity-filled, claustrophobic cabin-in-the-woods type of film. It centers on Annie (Kathy Bates), a nurse who is an obsessive reader of Paul Sheldon's (James Caan) book series. Annie rescues Paul after he is in a car wreck in a snowstorm, taking advantage of the situation by holding him hostage. She is unhappy with how he concluded her favorite book series, and as a result, forces him to rewrite the last chapter. Paul quickly realizes that Annie is more than just a "fan,” and things quickly escalate from helpful to possibly homicidal. If you’ve seen the infamous sledgehammer scene, then you know what I’m talking about. Bates is truly horrifying as Annie Wilkes, with the actress gaining a well-earned Oscar win for her performance. In my opinion, she is just as terrifying, if not more, than any of King's supernatural entities. This psychological suspense thriller hits harder than many of those demonic adaptations because it could easily happen in real life. Not only is this one of my favorite Stephen King adaptations, but it's also one of my favorite Rob Reiner flicks. 3. THE MIST (2007) Frank Darabont's The Mist is among the most memorable of Stephen King's adaptations. It marked the third time Darabont had directed a King story, as well as his last directed film to date. Honestly, no one does Stephen King like Frank Darabont (he also directed The Shawshank Redemption and The Green Mile , both King adaptations, if you didn’t know). He just understands that the characters come first, and from that, the story will inherently feel real and authentic. The Mist finds a group of people trapped in a supermarket after a strange mist filled with monsters rolls into town. While the mist provides the film’s external threat, there is an even more terrifying internal threat in the form of mankind itself. It’s exactly what I love about this gripping and dreadful film. It makes you wonder which threat is more deadly — the creatures or the people trapped in this predicament. This concept really helps to keep the film focused, particularly towards what, in my opinion, might be one of the most bleak, devastating, and divisive movie endings ever. If you want to make this an even more entertaining watch, I highly recommend checking out the black-and-white director's cut. 2. STAND BY ME (1986) My second favorite Stephen King adaptation, Stand by Me , is not a horror film, per se, but a beautiful coming-of-age story about friendship and adolescence. It was this story that proved to readers and audiences that King wasn’t just a good horror writer, but a GREAT writer, full stop. The film, which is based on the novella “The Body,” follows the quest of four boys as they set out to find a dead body in the woods. While its plot may sound simple, it's the themes that make this story so impactful and timeless. With the support of the youthful cast's genuine performance, director Rob Reiner elegantly crafts this sentimental classic, flawlessly portraying a true representation of childhood. The film’s greatest strength lies in how the young actors perfectly capture the pure and innocent camaraderie that King illustrated in his book. At its core, Stand by Me is about the transition from one stage of life to another, and that is more terrifying than dealing with monsters or murderers. The movie's last words will stick with me forever: “I never had any friends later on like the ones I had when I was twelve. Jesus, does anyone?” A profoundly accurate statement. 1. THE SHINING (1980) Putting The Shining at number one may seem controversial since King has let it be known many times that he is not a fan of Stanley Kubrick’s adaptation of his story. I can understand why, as the film has little to do with the source material. But I’m sorry, Mr. King, this film is a horror masterpiece. It’s a staple of pop culture thanks to Jack Nicholson's legendary performance, the eerie atmosphere, menacing score, long Steadicam shots, and exquisite production design. The Shining invited us into one of the most iconic haunted buildings ever, the Overlook Hotel. The story follows an aspiring novelist and recovering alcoholic who takes a job as the hotel’s winter caretaker with his wife and son. Little do they know this resort has been haunted for decades and will lead Jack Torrance (Jack Nicholson) into a descent of madness. This thought-provoking premise is nothing short of mesmerizing. I get goosebumps just thinking about how Kubrick used the movie's nightmarish imagery to create such an ominous atmosphere. It features some of the most iconic scenes in movie history (the twins in the hallway, the river of blood pouring from the elevator, Jack sticking his head through the broken door yelling, “Here’s Johnny!” as Shelly Duvall’s Wendy shrieks), and once you’ve seen the film, the sequences will forever live in your brain. There’s just no doubt that this classic is one of the finest horror films ever made. It has stood the test of time, and honestly, gets better with every watch!

Previous Next March 8, 2026 With the Oscars coming up, we're once again going to launch an episode for each film the Academy Awards have nominated for Best Picture. Each day leading to the ceremony, we will release an episode, and Ryan Coogler's Sinners is the focus today! How will Michael B. Jordan and the rest of Ryan Coogler's ensemble fare in what seems to be a two-film race? What is Sinners ' legacy now that it is the most nominated film in Oscars history? Did we all come here just to say we’re rooting for everybody Black (yes, even Nick)? No matter the answers to these questions, we are joined by The Swaggy Blerd Winston A. Marshall and the one and only Kolby Mac to discuss the lasting impact of one of the most revered horror films this century. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

1923: SEASON ONE Starring: Helen Mirren, Harrison Ford, Brandon Sklenar, Julia Schlaepfer, Jerome Flynn, Darren Mann, Brian Geraghty, Aminah Nieves, Michelle Randolph, Isabel May, and Timothy Dalton Creator: Taylor Sheridan QUENTIN I’m probably starting to sound like a broken record when I review Taylor Sheridan’s shows since they all have the same problem, most notably that they are overstuffed and underdeveloped, which means the viewer never gets truly invested in most of the storylines. Sadly, 1923 is Sheridan’s worst offender. Aside from the engaging Spencer Dutton (Brandon Sklenar) arc, the rest of the show is filled with virtually nameless Duttons doing random cowboy things. Even Helen Mirren and especially Harrison Ford are underused despite being the advertised stars of the show. Still, this could be a good show with better focus; hopefully, they find it next season.

WECRASHED Starring: Jared Leto, Anne Hathaway, and Kyle Marvin Creators: Drew Crevello and Lee Eisenberg QUENTIN Of all the recent shows about corporate downfalls (see: Super Pumped, The Dropout ), WeCrashed has the most irritating characters at its center. Adam and Rebekah Neumann (Jared Leto and Anne Hathaway, respectively) are depicted as the most entitled and clueless CEOs I’ve ever seen. To be clear, this is not a knock on the actors’ performances, as they both are genuinely excellent in the series. They portray these human clownshoes in a way that elicits visceral reactions at times. However, although a good show, the story of them becoming billionaires while spouting such self-important and hippie-soaked bullshit makes it a mildly infuriating one too.

UNSTABLE: SEASON TWO Starring: Rob Lowe, John Owen Lowe, Sian Clifford, Aaron Branch, Rachel Marsh, Emma Ferreira, Fred Armisen, Iris Apatow, and Lamorne Morris Creators: Rob Lowe, John Owen Lowe, and Victor Fresco QUENTIN In its second season, Unstable remains a decent enough watch, but it’s nothing more than a nice diversion. If it weren’t for the compact episodes (about 20 minutes each) and short season (eight episodes), I probably wouldn’t have stuck with it. However, Rob Lowe’s brand of pretty boy buffoonery is charming and amusing enough to pass the time, especially on a lazy day when all you want to do is lay on the couch and not think too hard. If it comes down to watching something as admittedly unsubstantial but moderately enjoyable as Unstable or mindlessly scrolling social media or Reddit, the choice is easy.