KNUCKLES Starring: Idris Elba, Adam Pally, Ellie Taylor, and Scott Mescudi Creators: John Whittington and Toby Ascher AMARÚ The Knuckles series continues the Sonic the Hedgehog franchise’s utter commitment to children’s entertainment. Every actor and voice-actor, especially Idris Elba (Knuckles), takes their ridiculous roles seriously. Elba plays fish-out-of-water perfectly for the stone-faced echidna, and it’s his commitment that allows adults like me (aka a man-child) to find some enjoyment in the self-aware banter littered amongst the juvenile plot line. It’s at times too silly, so I can’t say this one is for adults and kids alike, but I appreciate that it doesn’t dumb down anything just to cater to its audience. For better and worse, Knuckles is a kids show that fully embraces its adolescent tone.

THE VEIL Starring: Elisabeth Moss, Yumna Marwan, Dali Benssalah, Josh Charles, and Thibault de Montalembert Creator: Steven Knight QUENTIN Have you ever noticed that British shows look a little less glossy than American shows? Coming from Peaky Blinders ’ creator Steven Knight, The Veil is like Homeland done in the British style. It’s a lot of the same shadowy spycraft, geopolitical dick-measuring, distrust, and so on…just grainer. At its center is Elisabeth Moss, who gives a respectable performance as an MI6 agent trying to determine whether a person of interest is an infamous ISIS commander. She, as well as Josh Charles and some typical espionage tropes, keep the show engaging enough, especially with only six episodes, even if the rushed writing leaves something to be desired.

YELLOWJACKETS: SEASON ONE Starring: Melanie Lynskey, Sophie Nélisse, Tawny Cypress, Jasmin Savoy Brown, Ella Purnell, Juliette Lewis, Sophie Thatcher, Christina Ricci, Samantha Hanratty, Steven Krueger, and Warren Kole Creators: Ashley Lyle and Bart Nickerson QUENTIN Yellowjackets is a mixed bag. Not in terms of quality, as it’s rarely as interesting as its concept, but in execution. It’s like the writers threw Lord of the Flies , Heathers , and Lost into a horror blender, which creates a mishmash of intriguing ideas, but nothing that is truly compelling. The then-and-now storytelling structure doesn’t do the show any favors either because it causes both timelines to move at half-speed. Or maybe it’s just that I’m an old man and half the show is about catty high school girls… either way, I couldn’t get into it. The soundtrack is boss, though.

Previous Next June 6, 2024 WRITTEN BY: AMARÚ At the most recent Oscars, director Cord Jefferson, after receiving his well-deserved Best Adapted Screenplay Award, made a plea to Hollywood to get out of their stuck-in-the-mud ways. “I understand that this is a risk-averse industry, but $200 million movies are also a risk,” Jefferson stated. “It doesn’t always work out, but you take a risk anyway. Instead of making one $200 million movie, make twenty $10 million movies or fifty $4 million movies.” I wholeheartedly agree with this sentiment, and believe it goes far beyond just movie budgeting. There are very few actors in this industry that can escape from being pigeonholed into a particular role or stereotype for damn near their entire career. Hollywood likes the familiar, and it will ride an actors’ familiar skill set for all the money it can. For those who are extremely good at what they do, their undeniability can be a gift that grants them top-billed roles and accolades, no matter if it’s them doing the same thing in every film. For others not so blessed, it can be a curse that either keeps them leading the same kinds of movies repeatedly or being labeled a “character actor” not worthy of bigger roles. In both cases, there are a lot of actors that I’d love to see step out of their norm. In fact, I immediately think of Tom Cruise in one of his most iconic roles of all time, Les Grossman. Who would’ve thought that the funniest and most outlandish role in the already ridiculous Tropic Thunder would be Tom Cruise in a fat suit, fully embracing the crazy? It was utterly brilliant. I want to see more actors get that chance to show the range they aren’t normally afforded: dramatic actors in full-blown comedies, comedians being menacing, family-film regulars becoming the most unlikely action heroes. As such, I have listed nine actors (#1 being the true impetus of this article) and paired them with a director and genre that could truly show Hollywood that it’s great to get out of its comfort zone. 1: DENZEL WASHINGTON IN A BEN STILLER DIRECTED COMEDY (WRITTEN BY JOHN FRANCIS DALEY & JONATHAN GOLDSTEIN) Denzel is Denzel in every movie he has ever been in, and he’s still better than 98% of all actors in the history of acting. These are facts, and I stand by that statement. I guarantee it (and hope you hear that in the way it’s intended). However, one thing I’ve never seen Denzel do on screen is be as funny as he was in his interview with Jamie Foxx (if you don’t know, go find it). In my mind, the only way he would do an all-out comedy is if he’s put in the hands of someone he trusts and respects, and Ben Stiller has more than shown that he knows how to comedically take care of Hollywood royalty (see Tropic Thunder ). Add in the consistently smart and fun writing duo of Daley & Goldstein, fresh off audience favorites Dungeons & Dragons: Honor Among Thieves and Game Night, and Denzel will show off how surprisingly funny he can be (because The Preacher’s Wife was not enough). 2: TARAJI P. HENSON IN A DEV PATEL DIRECTED ACTION THRILLER This may seem like a weird pair, but both actors have recently been the poster child of Hollywood keeping people (of color, in particular) in one lane. From almost losing funding to enduring physical injuries, it’s well documented the lengths Patel had to go to in order to get Monkey Man made. Meanwhile, Henson has been very vocal recently about not getting paid her worth when she brings in both box office dollars and TV ratings. In Proud Mary , she showed that she has the attitude and charisma to carry an action film if given a serviceable script. We’ve also seen her in Smokin’ Aces , but she hasn’t been given a fair shot to LEAD a competent action staple. Patel proved with his directorial debut that he can create a compelling story, and with directing experience now under his belt, Henson’s fierceness can be his muse while he proves how badass she can be as a lead action star. 3: ANNA KENDRICK AS A VILLAIN IN A QUENTIN TARANTINO FILM Okay, so there are a lot of actors that could fill the role of “unlikely Tarantino villain,” but once I heard Anna Kendrick’s name, I couldn’t shake it. She is capable of all the QT quirks (awkward, yet likable, yet crazy, yet endearing), but only tends to be cast as the every-woman juxtaposed to the much more interesting character. I want her to step into the madness that constantly hides behind those ever-expressive eyes. Have you noticed that? Her eyes are strikingly emotive. They carry a lot of fervor that her sarcastic smile tries to hold back. Let Tarantino unhinge her, and I swear we’d get a monster of a movie villain. 4: QUINTA BRUNSON IN A STEVEN SPIELBERG DIRECTED BIOPIC (WRITTEN BY AARON SORKIN) Quinta Brunson has risen from social media content creator to Emmy-winning writer, producer, and comedic actress over the past ten years. She has proven she can do it all in the realm of comedy. If you’ve watched the most recent season of Abbott Elementary , you also can see glimpses of dramatic chops amongst her nerdy-black-girl-next-door persona. Put her in a fast-paced, autobiographical drama a la Catch Me If You Can or The Post , and let Spielberg utilize her can-do, get-it-done attitude like only he knows how. I’m being pretty specific here, but I can’t get the picture of Brunson fast-walking around a newsroom, legal office, or hospital emergency room out of my head, and there’s no two filmmakers who capture those settings more energetically than Spielberg, the godfather of the modern blockbuster, and Aaron Sorkin, the master of double-time dialogue. 5: DANIEL RADCLIFFE IN A JOHN WOO DIRECTED ACTION FILM I’ll admit right now that I have not seen Guns Akimbo (yes, I know I should, and hopefully, by the time you’re reading this, I’ve remedied that), but from what I’ve been told, Radcliffe is put in a lot of action situations that his character would rather not be in. What I’m looking for is trained-to-kill Daniel Radcliffe. Put-him-in-a-dangerous-situation-and-watch-him-mow-through-people-efficiently Daniel Radcliffe. Get-bloodied-but-bounce-back-after-a-couple-injuries Daniel Radcliffe. Have John Woo add some doves, some bullet time, and just enough seriousness to make it all believable, and now you’ve added lethal assassin to the list of things you never thought you’d see Harry Potter become (sorry, I needed at least one reference). 6: PAUL RUDD IN A DAVID FINCHER DIRECTED THRILLER Paul Rudd is an actor who can appear in anything and I will watch it. He also may be another example of an actor playing himself no matter the role, but it doesn’t matter because he’s so damn personable that it’s so damn enjoyable. Get all that nicety the fuck out of here, though. I want David Fincher telling Rudd to do the take again for the 157th time to make sure he gets it exactly right. It’s really easy to make Ben Affleck unlikable (sorry), but it’s a feat to do that for Rudd. I want to see the Fincher-intensity on Rudd’s un-punchable face. 7: JOHN CENA IN A JUSTINE TRIET DIRECTED COURTROOM DRAMA Yes, I know she just did a courtroom drama, but after Anatomy of a Fall , I wouldn’t mind Triet running back another two-hour, top-notch, dialogue-heavy, roller-coaster triumph of talking and arguing with John Cena leading the charge. He is one of the best wrestler-turned-actors working today because of his quick wit, great comedic timing, and ability to successfully use words and intonation in conjunction with his physical prowess, but we’ve only seen two versions of that persona so far: super silly goofball or ultra serious military man. Give Cena a shot as a legit litigator, and Triet’s dialogue and direction could unlock a brilliant balance between the two. 8: JACK BLACK IN A ROBERT EGGERS DIRECTED HORROR FILM On the surface, this pairing may seem like the most contradictory on the list, but when you look a bit closer, Black and Eggers have some strong similarities. They both have an ever-present Rock ‘N’ Roll aura around them, and their passionate energies are always dialed to 100. Black would go all out, Eggers would go all out, the horror would be epic, and maybe our collective faces would melt off. And it would be worth it if we could get the ultimate unadulterated horror version of Jack Black on screen. 9: LUPITA NYONG’O IN A GRETA GERWIG DIRECTED ROMANTIC COMEDY We know that Lupita Nyong’o is a badass because we’ve seen her be a badass in multiple forms: Wakandan badass, Oscar-winning badass, doppelganger badass, voice-acting badass. Just take a look at her well-sculpted arms; you know she’s coming on screen to bring the heat. Can we get a role from her with none of that? I want to see her fully embrace her feminine qualities, daintily walking through life with care-free ease, and falling in love in the most heartwarming way possible. Greta Gerwig is more than adept at showcasing femininity without compromising integrity, and she would beautifully capture a strong, black woman just existing. That is a version of Lupita I would love to see. Photo Credits: Photo 1, 7 - Warner Bros. Pictures; Photo 2, 3 - Paramount Pictures; Photo 4 - ABC; Photo 5 - The Roku Channel; Photo 6, 8, 9 - Universal Pictures

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 .