DOPE THIEF Starring: Brian Tyree Henry, Wagner Moura, Marin Ireland, Amir Arison, Nesta Cooper, Kate Mulgrew, Ving Rhames, Dustin Nguyen, and Liz Caribel Sierra Creator: Peter Craig AMARÚ Brian Tyree Henry's and Wagner Moura’s charisma are the sole reason I continued watching Dope Thief . This crime drama is set during Covid years, and it feels like it was made during them, too. Henry’s character is set up as a careful hustler, then subsequently makes dumb decisions that, admittedly, allows his comedic timing with Moura to flourish, but this story isn’t set up to be funny. It’s written as the dark cat-and-mouse game we see in Marin Ireland’s B-plot, which feels like an entirely separate show. I wanted to like this so much more, but its weird construction never cohesively puts together its disparate parts. QUENTIN Dope Thief is a middling series despite Brian Tyree Henry’s best efforts to make it something more. The biggest problem is that you’re forced to root for two small-time loser criminals as they run from faceless big-time criminals, which is a proven formula but almost exclusively in comedies. Thief plays it too seriously to earn complete buy-in, including several subplots that don’t add much (Marin Ireland’s Mina is wholly unnecessary) and shallow character traits that mistake “descriptions” for genuine depth (making Wagner Moura’s Manny an addict, for example). Still, as usual, Henry holds your attention, but it’s probably for the best that this is a miniseries. ROBERT The best word I can use to describe Dope Thief is meandering. It simultaneously takes itself too seriously, yet not enough in crucial parts that call for a change in attitude. With a show like this, where low-level thieves get caught up in a larger conspiracy, you must suspend disbelief. However, thinking about how often Brian Tyree Henry’s Ray is bailed out of life-or-death situations, you question whether this should’ve been sustained for even eight episodes. The performances and dynamics between actors are good, and the music is top-notch, but Dope Thief is a middle-tier Apple effort.

Previous Next July 31, 2024 WRITTEN BY: QUENTIN If you’ve been paying attention, one of the trendier themes popping up over the past decade is the multiverse. You have the MCU, of course, which has banked its entire post-Infinity Saga slate around the idea, but you’ve also got Best Picture winner Everything Everywhere All at Once , Star Trek , Dark Matter , the non-MCU Spider-Verse movies, The Flash , The One , Family Guy , Coherence , The LEGO Movie , Russian Doll , Rick & Morty , and many, many more exploring the idea. If you’ve seen any of those titles, you should have a pretty good idea of what the multiverse is, but just in case you’ve been living under a rock, the multiverse is the theory that there is a collection of diverse universes, including our own, that interweave to comprise everything that is possible. For example, somewhere out there is a universe where aardvarks are the dominant species, or where every single movie stars only Nic Cage (what a world!). The possibilities are literally endless. It's with that in mind that I often find myself trying to link two completely separate movies together in a sort of fanfic multiverse. Sometimes the two movies have similarly written characters in different eras, and sometimes it’s as simple as the two movies starring the same actor. For example, can’t you see a universe where Matt Damon’s Will Hunting in Good Will Hunting gets recruited by the CIA once he leaves Boston, then goes on to become Matt Damon’s Jason Bourne? What about connecting the dots to see how Inherent Vice kinda works as a prequel to The Big Lebowski ? Frankly, I love this general idea, and I do it quite often, if for no other reason than as a creative exercise to generate fun movie conversations. Also, it just adds a lot of fun to my movie watching, like a movie-based, plotline-driven jigsaw puzzle I put together in my head. I’ve given you two quick hitters above, but please let me share two of my more well-thought-out multiverse narratives. Sure, they don’t always line up perfectly, but if everything that is possible exists somewhere in the multiverse, these merged storylines are out there somewhere. Plus, it’s just a fun “what if…?” Don’t overthink it is all I’m saying. THE CRUISEVERSE Through soon-to-be eight Mission: Impossible movies, Ethan Hunt (Tom Cruise) has saved the world from countless threats, traitors, terrorists, and sleeper cells at great personal cost. For the safety of those he loves, he has been forced to give up his wife and live a relatively solitary existence, not to mention the countless injuries and near-death experiences he has experienced in the name of world peace. The thing is, even as he selflessly risks life and limb for the Impossible Mission Force (IMF), he almost always ends up getting painted as the bad guy, either by expert hackers or a mole within the IMF. What must this man do to get the benefit of the doubt? I mean, after all he has done, he’s still not fully trusted, having been either disavowed or flat-out considered a fugitive several times. At what point do you look at your government bosses and say, “Seriously?! This shit again?! I’ve been a top agent for more than 30 years! Fuck you! Remember when I scaled the side of the world’s tallest building to prevent nuclear war!?” Suffice to say, he’s rightfully pissed. So, in the ninth Mission: Impossible movie…let’s call it Mission: Impossible — GFY …Hunt realizes that he has had enough. He’s tired of living alone and giving his all to a government agency that very clearly doesn’t trust or appreciate him. He’s tired of the meager government salary and knowledge that he doesn’t have a pension or disability payments waiting. He’s tired of being sore, jet-lagged, and constantly trying to out-sprint death. Most of all, my man’s old… he’s just tired of being tired, which is why Hunt decides to break bad. He hatches a plan to escape the spy life by faking his own death and creating a new identity. Once he does that, armed with a brain full of national secrets and a Rolodex holding the names of terrorists, warlords, dictators, rogue agents, and arms dealers, he makes a quick and lucrative sale. Maybe it’s nuclear codes, maybe it’s the identities of undercover agents, or maybe it’s the location of The Rabbit’s Foot in a nice callback to Mission: Impossible III ; whatever it is, all that matters is Hunt is a very rich man now, not beholden to anything or anyone, and able to retire from the constant stress and gunfire of the IMF. As the credits on Mission: Impossible — GFY start to roll, the currently unnamed spy formerly known as Ethan Hunt sits on a private island, attempting to live happily ever after… …until the mid-credit scene, which is where we see that happily ever after isn’t going as planned. One year later, he’s bored and rudderless, lacking in structure and purpose. He misses the rush of being an IMF agent: the adrenaline, the power, the control. Even worse, he needs it. It was the drug that kept him going. However, he can’t go back after what he’s done, and there are only so many career paths that can provide the rush he needs. He despondently sits at a laptop scrolling the dark web, beard scraggly and eyes lifeless. He gets a random message on behalf of Felix Reyes-Torrena, a known drug lord, offering him a job in Los Angeles. He leans forward with a glimmer of hope in his eye. A small smile forms across his face. This is it, the fix he needs to get back on track. He trims his beard and brushes his now-silver hair, dons a gray suit and crisp white shirt, and tosses his passport into a briefcase. As his passport flies open, we finally see his new name, Vincent. The scene fades to black, setting up the tenth and final Mission: Impossible movie: Mission: Impossible — Collateral . THE McCONAUVERSE In The Wolf of Wall Street , a very green Jordan Belfort (Leonardo DiCaprio) is hired as a naïve and relatively innocent junior stockbroker at L. F. Rothschild. By the end of his first day, he’s a changed man, and it all stems from a lunch he has with senior stockbroker Mark Hanna (Matthew McConaughey). During this lunch, Hanna unleashes a philosophy that will forever change Belfort. It’s a wild, decadent, free-wheeling approach to life that includes — in the middle of a work lunch, mind you — ordering a stream of martinis that is not to end until one of them “passes out,” doing cocaine at the table , asking his brand-new hire how often he masturbates, and admitting the only two reasons to be a stockbroker are the cocaine and hookers. On top of that, he tells Belfort “fuck the clients,” that he should grab the money and run, and to feed off the client’s addiction of chasing money. Then, he takes him to a strip club. To say that the extremely rich Hanna gives in to his baser instincts while not caring about anyone but himself would be an understatement. Since he has money, it’s a persona that serves him well in the culture of Wall Street. However, a short time later, Black Monday (the stock market crash of 1987) happens. This causes L. F. Rothschild to shut down and foreclose, forcing Hanna out of a job. After that, we don’t see him for the rest of the movie, nor are we told what happened to him. But I think I have an idea… What happens to a wealthy man with seemingly no off-button and a probably addictive personality when he is suddenly broke? He hits rock bottom, often doing anything he can to reach the highs he had previously experienced. You’ve seen the cautionary tales of former NBA stars or lottery winners that end up living on the streets once the money runs out, and I don’t think it’s any different for Hanna. I envision him aimlessly bouncing around, looking for sex, drugs, booze, and “action” wherever he can find them. As a result, he becomes persona non grata in New York, so he runs away to Dallas. Why Dallas? Because it is an economic hub full of big oil money, so it’s a fresh start and a shot to get back in the game. However, he doesn’t have the connections yet and he’s rusty, so he finds himself on the hard-partying rodeo circuit as he continues to fight his demons. If you squint, there isn’t much difference in the level of machismo exuded by someone working on Wall Street (especially in the 80s) and a rodeo cowboy. Different brands of machismo, for sure, but unmitigated machismo, nonetheless. So, Hanna finds himself in Texas, getting drunk, doing drugs, and frequenting prosties, but since he’s no longer rich and wearing Armani suits, he’s operating at a bit of a lower standard. Sadly, before he’s able to work his way back into the financial world, he contracts HIV during one of his dalliances with a lady of the night. After several frustrating experiences with the health care system, Mark Hanna — the rich, selfish prick who likely thought himself invincible — comes face to face with the idea that he’s just another lower-class statistic stuck in the machine. From there, his outlook and story change, and he becomes a compassionate and selfless man who uses his wild-man tendencies to buck the system and help the helpless in The Wolf of the Dallas Buyers Club .

JACK RYAN: THE FINAL SEASON Starring: John Krasinksi, Wendell Pierce, Michael Peña, Michael Kelly, Betty Gabriel, Louis Ozawa, Zuleikha Robinson, Okieriete Onaodowan, and Abbie Cornish Creators: Carlton Cuse and Graham Roland QUENTIN Over the course of its four seasons, Jack Ryan has been a good-but-not-great show. That said, this season - its final season - might be its best overall. I fully admit there could be some recency bias at play, but the fewer episodes allow for a more focused story and sustained narrative momentum. It’s also further evidence that Michael Peña is one of the most underrated actors in Hollywood, and that Wendell Pierce and Michael Kelly are among the most underused. All in all, it’s a fitting end to a series that knew exactly what it was: an entertaining, more action-packed, less weighty version of Homeland .

THE MADNESS Starring: Colman Domingo, Marsha Stephanie Blake, John Ortiz, Tamsin Topolski, Thaddeus J. Mixson, and Gabrielle Graham Creator: Stephen Belber QUENTIN If you aren’t a Colman Domingo fan, which doesn’t make any sense because he’s great in everything he has done, you probably don’t need to bother with Netflix’s The Madness . From an overall series perspective, it's kind of a mess. Sure, there are twists and turns that might half-heartedly get you to watch the next episode, but the conspiracy, characters, and social commentary are underwritten and a tad preachy, making it hard to truly invest in them. That said, probably-soon-to-be-two-time-Oscar-nominee Domingo single-handedly wills the bloated series into something watchable through a typically commanding performance despite his character being a somewhat empty and poorly developed vessel.

Previous Next December 5, 2024 WRITTEN BY: QUENTIN Regardless of context, everyone loves a good hot streak. For whatever reason, it’s exhilarating to see someone excel well above expected levels of success for short periods of time. It always feels like you’re witnessing history, watching in suspenseful awe as you wonder if the streak will continue or come to an end. There is just a certain romanticism to it, as well as an exciting angle you can’t help but root for. More than anything, though, they just add to the fun of it all. Obviously, hot streaks are most closely aligned with sports, but they apply to other areas too, and since we cover movies, let’s talk about some Hollywood Hot Streaks. But first, what exactly is a hot streak? Google says a hot streak is “a streak of repeated success,” which is technically true, if a little basic. But at what point is it not a “streak” and simply someone being consistently good? Personally, I think streaks require defined beginnings and ends, and are smaller snapshots within a larger career. For example, one could argue that Leonardo DiCaprio has been on a hot streak since 1997’s Titanic , if not earlier, since his filmography has zero widely agreed-upon duds. Same for director Christopher Nolan. That feels like a cop out, though. For me, a streak needs to be measured success above and beyond what is considered normal, given the context of the achievement and the person’s body of work. Also, I think a streak must consist of at least three consecutive successes. Two great movies back-to-back? That could be a coincidence or luck. Three, though? That’s a streak, baby! On the other hand, two great movies, followed by a stinker, followed by a third great movie? While impressive, there’s no streak there. Like I said, consecutive successes with a defined beginning and end. Also, “success” is a broad term. It could mean critical acclaim, audience love, box office haul, cultural impact, lasting legacy, and more. So, with that in mind, away we go! ALFRED HITCHCOCK Last Movie Before the Streak: The Wrong Man (1956) The Streak : Vertigo (1958), North by Northwest (1959), Psycho (1960), The Birds (1963) Streak Ender : Marnie (1964) Since I’m assuming most of you reading this haven’t seen many Alfred Hitchcock movies, I’ll keep this relatively brief. In a career spanning six decades, Hitchcock directed more than 50 feature films and multiple episodes of television. He is, by and large, considered one of the greatest directors of all time. While we could split hairs all day over his filmography, there is no denying that the four-film stretch of Vertigo , North by Northwest , Psycho , and The Birds is perhaps the best stretch of any director’s career. All four have been deemed "culturally, historically, or aesthetically significant" by the U.S. Library of Congress, resulting in their selection for preservation in the National Film Registry. Truthfully, you’d be hard-pressed to find any “Best of Film” list that doesn’t include most of these masterpieces. On one such list, the American Film Institute (AFI) ranked Vertigo (9th), Psycho (14th), and North by Northwest (55th) among the 100 greatest movies of all time. While not on the Top 100, The Birds was ranked the seventh-greatest thriller of all time by AFI. Sadly, I have a word count, so I can’t list every single ranking and accolade that has been bestowed on these four films because I’d end up at well over 5000 words. Just trust me when I tell you that this hot streak is unparalleled. WILL SMITH Last Movie Before the Streak: Six Degrees of Separation (1993) The Streak : Bad Boys (1995), Independence Day (1996), Men in Black (1997), Enemy of the State (1998) Streak Ender : Wild Wild West (1999) Honestly, if we want to be totally fair, we could probably say Will Smith’s streak started when he was nominated for his first Golden Globe in 1993 for The Fresh Prince of Bel-Air , a nomination that was repeated the very next year, but let’s stick with his blockbuster hot streak of the mid-90s. First up, you’ve got Michael Bay’s debut feature Bad Boys , a movie that has since spawned three financially successful sequels over the course of nearly 30 years. Despite middling reviews from critics, it was a box office success, making $141 million on a $20 million budget. Not only has it inspired a plethora of other buddy cop action movies with its bombastic action sequences, cast chemistry, and improvisational style, but it’s a benchmark film, especially in black culture, that is often quoted to this day. After Bad Boys , Smith used his effortless charm and swagger to dominate 1996 with Independence Day , the year’s highest grossing movie at $817 million. In fact, at the time, it was the second highest grossing movie ever behind Jurassic Park . Aside from making Smith a household name, Independence Day has been credited with driving the resurgence of disaster and sci-fi movies in subsequent years, even making the cover of Time magazine. It shattered box office record after box office record on its way to being one of the most popular, influential, and culturally significant movies of the decade. In 1997, Smith struck gold again on July 4th weekend with Men in Black . Director Barry Sonnenfeld took the same qualities that made Smith so damn likeable in Bad Boys and Independence Day , but amped up the family-friendly humor. As a result, Men in Black was a critical and financial smash. Critics heralded the screenplay, action sequences, jokes, performances, and chemistry between Smith and Tommy Lee Jones (an emerging trend), which led audiences to make it the third-highest-grossing film of 1997, as well as the ninth-highest-grossing film of the decade and Sony’s highest-grossing film at the time ($590 million). The film was so popular that sales of Ray-Ban’s Predator 2 sunglasses, the type worn by Smith’s character Agent J, tripled after the film’s release. Now, I admit, given the astronomical success of Bad Boys , Independence Day , and Men in Black , Enemy of the State is more of a coda to the streak than part of it. However, the fact remains that it was a critical and financial success, grossing $251 million at the box office, with reviews praising the writing, direction, and chemistry between Smith and Gene Hackman (again). Smith also won two Grammys in 1998 and 1999, so when combined, it all still feels like part of a hot streak, especially considering how much he crashed and burned with Wild Wild West , a critical and commercial failure that even Smith has called “a mistake.” NICOLAS CAGE Last Movie Before the Streak: Kiss of Death (1995) The Streak : Leaving Las Vegas (1995), The Rock , (1996), Con Air (1997), Face/Off (1997), City of Angels (1998) Streak Ender : Snake Eyes (1998) Coming off a string of serviceable but generally unremarkable fare that culminated with the box office bomb Kiss of Death , Cage started his streak in grand fashion by winning his first and only Oscar, Golden Globe, and SAG Award, on top of at least 13 additional acting awards, for his performance in the heavy drama Leaving Las Vegas . He followed that up with three of the most iconic action movies of the 90s, working with legendary directors Michael Bay and John Woo in the process. The Rock (fourth-highest-grossing film of 1996), Face/Off (eighth-highest-grossing film of 1997), and Con Air (eleventh-highest-grossing film of 1997) brought in over $800 million at the box office combined, solidifying Cage as an A-List megastar. They also have been inspiring memes, jokes, and tattoos for the past two decades, proving their cultural staying power. Then, in 1998, he switched gears, dropping City of Angels , a romance movie that made nearly $200 million at the box office. Admittedly, critical response to the film was mixed, but this five-film stretch proved that Cage was a bankable star across multiple genres. That is until Brian de Palma’s Snake Eyes , both a critical and financial miss, started a string of hit-and-miss offerings from Cage at the turn of the century. JIM CARREY Last Movie Before the Streak: Earth Girls Are Easy (1988) The Streak : Ace Ventura: Pet Detective (1994), The Mask , (1994), Dumb and Dumber (1994), Batman Forever (1995), Ace Ventura: When Nature Calls (1995) Streak Ender : The Cable Guy (1996) Truth be told, aside from 1985’s Once Bitten and television’s In Living Color , Jim Carrey had only been featured in bit parts before he burst onto the scene in 1994 with three of the 90s greatest comedies. So, not only is this an impressive hot streak, but looking at it with the context of being a global introduction makes it even more incredible. Released in February ’94 ( Ace Ventura ), July ’94 ( The Mask ), and December ’94 ( Dumb and Dumber ) to audience (if not critical) acclaim, Carrey’s comedic sensibilities and rubber face set the world on fire. All three movies were financial hits, making a combined $706 million, which is remarkable considering Carrey wasn’t yet a household name. On top of that, each one led to full-on franchises that included animated series, prequels, sequels, spinoffs, and even a video game. Hot streak aside, it’s maybe one of the best years for an actor ever. In 1995, Carrey followed up that tremendous year by starring in Batman Forever and dropping an Ace Ventura sequel. Granted, Batman Forever hasn’t been held in high regard by critics or fanboys, but it still made $336 million at the box office (third-highest-grossing film of 1995), and most people readily admit that Carrey’s portrayal of The Riddler is the best thing about the oft-derided sequel. With When Nature Calls , Carrey more than doubled the box office take of the first Ace Ventura , proving that as slight and silly as the premise was, people loved it. However, the hot streak came to a relative end in 1996 when Carrey starred in Ben Stiller’s The Cable Guy . Despite being a modest commercial success, it received middling reviews from audiences who were seemingly unprepared for a darker Jim Carrey. That said, it has since become a cult classic, and Carrey returned to prominence shortly thereafter with Liar, Liar in 1997 and The Truman Show in 1998. HARRISON FORD & SYLVESTER STALLONE The Ford Streak : Star Wars: Episode IV – A New Hope (1977), Indiana Jones and the Raiders of the Lost Ark (1981), The Fugitive (1993), What Lies Beneath (2000), Cowboys and Aliens (2011), Indiana Jones and the Dial of Destiny (2023) The Stallone Streak : Rocky (1976), Cobra (1986), Cliffhanger (1993), Driven (2001), The Expendables (2010), The Suicide Squad (2021) Streak Ender : Father Time, probably There isn’t much to say here, but it’s a nice fun fact that seems like a relevant way to end this article. Sylvester Stallone and Harrison Ford are the only two actors in history to have a movie open at Number One at the box office in six different decades. The lists above aren’t exhaustive, as each of them has had more than one movie open in the top spot in some decades, but it’s still an impressive streak that may rarely be matched and potentially never beaten. Both legends are getting up there in years, so only time will tell if either of them will be able to extend this streak to seven decades once 2030 rolls around. I’d bet Tom Cruise will be the next person to join this exclusive club.

Previous Next It's almost time for the Golden Globes and, in turn, a new batch of series set to start off 2024. Considering this, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Sitcoms. For inclusion on this list the series needs to be live-action and not animated. Each writer ranks his or her top 15 series in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. ARRESTED DEVELOPMENT For me, Arrested Development (the first three seasons, anyways) is the best sitcom of all-time. Sure, it fell off in the final two seasons, but that is more of a testament to just how hilarious the first three seasons were. The result of the combined efforts of Mitchell Hurwitz (creator) and Ron Howard (executive producer and narrator), the addition of some of the most subversively clever writing ever, and the ubiquitous comedic timing of a superstar cast is pure comedy gold. I know I will never be able to hear “The Final Countdown” by Europe without laughing and thinking of Gob (Will Arnett). If for some mystifying reason you haven’t had the privilege, I highly recommend giving it a shot, and I am jealous of what you have in store. - Preston 4. IT'S ALWAYS SUNNY IN PHILADELPHIA It’s Always Sunny in Philadelphia flips the modern sitcom on its head, actively rejecting all of the clichéd tropes that audiences have come to expect from their traditional workplace comedies. There are no predictable “will-they-won’t-they relationships” or “adorkable” protagonists here, and there are no lessons to be learned or significant character growth of any kind. Instead, the audience gets to watch as the strange, eccentric “Gang” that runs Paddy’s Pub spirals further and further into absolute depravity. Hilariously offensive, endlessly quotable, and utterly insane, It’s Always Sunny in Philadelphia is anything but your average sitcom… and that’s exactly why we love it so much. - Caleb 3. SEINFELD Although Seinfeld has been famously described as “a show about nothing,” it’s actually an incredibly relatable examination of social interactions and mundane experiences that we all go through. Things like getting lost in a parking garage or waiting for a table at a restaurant are mined for comedy gold. On top of that, there are near-infinite aspects, quotes, and characters that have informed the pop culture zeitgeist for nearly three decades. You’ve got The Soup Nazi, Festivus, and being “Master of your Domain,” not to mention a Who’s Who of young guest stars like Bob Odenkirk, Bryan Cranston, James Spader, and Jon Favreau. Lastly, the “no hugging, no learning” rule instituted by show creators Larry David and Jerry Seinfeld has inspired a whole new breed of great sitcoms, including the two named above. - Quentin 2. THE OFFICE (US) The American remake of The Office never fails to make its viewers smile. From the hilarious cold opens to the charming end credits, this over-the-top sitcom that ran for nine seasons has something for everyone, becoming one of the best comfort shows around. You can always guarantee that the Dunder Mifflin staff will make you laugh out loud, whether it's through Jim and Pam's (John Krasinksi and Jenna Fischer) shenanigans, Dwight Schrute's (Rainn Wilson) preposterousness, or Michael Scott's (Steve Carell) cringy tangents. The Office , with its distinct documentary-style format, has created a long-lasting impact on the television industry, and it still is and always will be a beloved series thanks to its devoted fans. - Paige 1. COMMUNITY I can't think of a more unique sitcom than Community , plain and simple. Yes, its fourth season was not the best for many well-documented reasons, but the first three seasons and the final two seasons were so great that it cancels that out. The show uses its gang of misfits (played perfectly by its core cast of Joel McHale, Gillian Jacobs, Danny Pudi, Yvette Nicole Brown, Alison Brie, Donald Glover, and Chevy Chase) and its unconventional setting to create an imaginative and innovative show that blends absurdist humour and parody to create something special and genuinely heartwarming. By the final episode, I felt so connected to Greendale and its students that I couldn't let go... so I watched it again. And again. - Adriano HONORABLE MENTIONS THE FRESH PRINCE OF BEL-AIR FRIENDS PARKS AND RECREATION MODERN FAMILY WHAT WE DO IN THE SHADOWS Photo Credits: Photo 1 - Fox; Photo 2 - FX; Photo 3, 4, 5 - NBC

THE LINCOLN LAWYER: SEASON ONE Starring: Manuel Garcia-Rulfo, Neve Campbell, Christopher Gorham, Becki Newton, Angus Sampson, Jazz Raycole, Jamie McShane, and Ntare Guma Mbaho Mwine Creators: Ted Humphrey and David E. Kelley NICK Before going into The Lincoln Lawyer , don't make the mistake of expecting the 2011 film. This is a different Mickey Haller. That’s not to say this is bad, just different. It has the feel of a USA Network series and the always reliable writing of David E. Kelley but it’s just missing something. Manuel Garcia-Rulfo is fine as Haller - albeit a little soft at points – but the rest of the cast (save for the underrated Christopher Gorham) ranges from adequate to miscast. In truth, this would have worked better as a limited series. The first season was fine but I’m not yearning for more.

MIKE Starring: Trevante Rhodes, Russell Hornsby, Harvey Keitel, Laura Harrier, Olunike Adeliyi, and Li Eubanks Creator: Steven Rogers QUENTIN Given that Mike Tyson has spoken out against Hulu’s miniseries Mike and that it has some significant issues, it’s not all that surprising that the streaming network unceremoniously released these eight 30-minute episodes over four weeks. Trevante Rhodes gives an immensely watchable performance as “The Baddest Man on the Planet,” but the series simultaneously covers too much ground and not enough. Each episode covers one bullet point from Tyson’s life (one about his marriage to Robin Givens, one about his rape conviction, etc), but it all stays fairly surface level. Oddly though, that lack of depth makes for an easy, if not particularly enlightening, watch.

THE MORNING SHOW: SEASON THREE Starring: Jennifer Aniston, Reese Witherspoon, Billy Crudup, Mark Duplass, Jon Hamm, Greta Lee, Julianna Margulies, Nestor Carbonell, Karen Pittman, Nicole Beharie, and Holland Taylor Creator: Jay Carson QUENTIN Although The Morning Show hasn’t changed all that much over the course of its three seasons, I think it has just run out of narrative steam for me. I found it extremely difficult to be interested in any of the way-too-many characters, even if the performances themselves are solid across the board. It just tries to tackle too many hot-button issues at once, even featuring COVID and January 6th, neither of which I need to see more of in late 2023. Add in a few too many soapy elements, and The Morning Show has become something I may cancel from my watchlist. NICK The Morning Show had a great two-year run, but its newest offering feels a little lost. With the conclusion of the Mitch Kessler (Steve Carell) storyline last season, there was no clear path forward, and this season reflects that. Yes, Jennifer Aniston continues to thrive as Alex Levy while Jon Hamm is a solid addition, but it just doesn’t work as well. Everything feels watered down, including Billy Crudup's Cory Ellison, who was a highlight of the previous seasons. With no clear party to root for and haphazard storylines throughout, this series must bring more to the table to justify a fourth season.

RABBIT HOLE Starring: Kiefer Sutherland, Meta Golding, Enid Graham, Rob Yang, Walt Klink, Jason Butler Harner, and Charles Dance Creators: Glenn Ficarra and John Requa NICK Be it 24 , Touch , or Designated Survivor , Kiefer Sutherland is infinitely watchable as a series lead, and while it may not reach the heights of some of those others, Rabbit Hole is an entertaining Sutherland vehicle (with a devilish Charles Dance riding shotgun). Where it falters, however, is in trying to be too clever. Its focus on conspiracies is interesting, but things become so convoluted between multiple story threads and flashbacks that it genuinely becomes hard to follow. I wish they had kept a more singular focus because, as it stands, I’d rather see a different project from Kiefer than a return to this character. QUENTIN Rabbit Hole is a weird show in that I was engaged for every episode, but when standing back to look at the entire season, it’s a mess. The biggest problem is that it’s unnecessarily convoluted, to the point that I would often forget what the overarching mystery was. In fact, I accidentally skipped an episode and didn’t even notice until a few days later. That’s how little the serialized storyline truly matters. Still though, on a week-to-week basis, Kiefer Sutherland and the episodic schemes kept me coming back. So, as disposable, conspiracy-driven television, it’s fine, but it’s not the reason to subscribe to Paramount+.

PLATONIC: SEASON TWO Starring: Rose Byrne, Seth Rogen, Luke Macfarlane, and Carla Gallo Creators: Nicholas Stoller and Francesca Delbanco QUENTIN In its second season, Seth Rogen’s other Apple series, Platonic , solidifies itself as a passably easy hangout show even though it’s not doing anything terribly interesting. Let’s call it pleasant — nothing more, nothing less. Sure, it’s occasionally amusing, but never laugh-out-loud funny (one running joke is particularly lifeless). Plus, oddly, Will (Rogen) isn’t given much of an arc, leaving a show that probably would be stronger if it focused solely on the changing dynamic of Sylvia’s (Rose Byrne) marriage. Still, the chemistry between Rogen and Byrne is good enough that one rarely gets bored despite a weak and rushed storyline that goes on for too many episodes. AMARÚ I continuously forget how talented Rose Byrne is when it comes to awkward comedy (amongst other things), but going back to Platonic for Season Two quickly reminded me how she steals the show from awkward king Seth Rogen. Their back-and-forth is as funny and relatable as ever, but what made this season more memorable is the supporting casts’ increased usage (especially Luke Macfarlane), highlighting how the titular relationships’ volatile dynamic dramatically affects those around them. The comedy is a consistent simmer but, like Rogen, takes a small backseat to tension, ultimately finding an entertainingly addictive balance between laughs and stakes. ROBERT Much to my surprise, after a satisfying and coherent end to Season One of Platonic , Nicholas Stoller and his creative team chart a path in Season Two that does a real service for the characters, complete with shifts in dynamics and relationships that are compulsory to an evolving story. Seth Rogen’s schtick of playing a competent but bumbling buffoon who stumbles all over the screen brought me everlasting joy, and it pairs well with Rose Byrne’s absurdist energy. You can drink this brewed concoction with a toothy smile and order another round, hangover be damned. NICK Even though I liked Platonic : Season One, I wasn’t eagerly anticipating Season Two. It was a series carried by the chemistry between Rose Byrne (Sylvia) and Seth Rogen (Will), and the same can be said about this season. I maintain my interest in the characters, and it’s nice seeing Luke Macfarlane (Charlie) given a bigger role, but this just isn’t a series I can get immersed in; as my fellow writer Quentin would call it, it's the series equivalent of a "nice beach read." Two seasons in, I wish the comedy hit harder, but it does just enough to bring me back for a Season Three. Check out our reviews for Season One HERE .

THE WOMAN IN THE HOUSE ACROSS THE STREET FROM THE GIRL IN THE WINDOW Starring: Kristen Bell, Michael Ealy, Tom Riley, Mary Holland, Cameron Britton, and Samsara Leela Yett Creators: Hugh Davidson, Larry Dorf, and Rachel Ramras QUENTIN Aside from a few scenes (including an over-the-top sex scene that is as bonkers as it is raunchy), The Woman in the House Across the Street from the Girl in the Window seems to think parody is simply doing a purposely “bad,” Lifetime-version of this type of story, which isn’t the same as skillfully skewering it. Frankly, the show is never as clever as its title, and the pseudo-serious approach ruins an idea rife with comedic potential. That said, Kristen Bell is always watchable, and fans of cheesy movies-of-the-week might get enough enjoyment to make the 4-hour binge watch worthwhile. JOSEPH Kristen Bell is lovable and charismatic enough to make anything watchable, even The Woman in the House Across the Street from the Girl in the Window . This comedy offers little in terms of humor, with the title being the funniest part, but it is entertaining. The story is a clever satire of the “missing woman” genre, and it’s convoluted enough to keep you engaged in the mystery. Still, it feels like more could have been done to make it either funnier or darker, but instead it rests comfortably in between.