(1) You S2 [[Netflix]] - ★★★½☆
Now an original Netflix production, S2 builds on everything that made S1 great. The second season takes time to flesh out its source material with changes and additions, some subtle and others more apparent, for the better. Where You really elevates itself is in its carefully crafted characterization and exposition wrapped up in an atmosphere equal parts harrowing, creepy and familiar. It's uncanny how this show can humanize an irredeemable character like Joe and make him sympathetic to the viewers. While I find his ability to escape situations after he backs himself into a corner a little too ridiculous sometimes and need to suspend my disbelief, I do appreciate the psychological layers they peeled back in exploring his traumatic childhood and the effect it had on his warped worldview. Can't wait to see what's in store going forward. I'm hopeful that the show surprises again and doesn't head in the direction they hinted at in the 2nd season finale; there's a lot of story they can tell but there is a danger in playing it too safe making it seem familiar at some point.
(2) Lost In Space S2 [[Netflix]] - ★½☆☆☆
The first season of this series bored me and I skipped numerous episodes; the second, addictive to say the least. Lost In Space is, from a production standpoint, the best looking show on TV at the moment. No expense is spared in its budget. If you turn your brain off and enjoy it for what it is, it provides a thrilling ride. Writing (constant deus ex machinas, trope riddled characters) and pacing (stuck in 6th gear) could use work but what the show lacks here, it makes up for with its action dependent narrative. I bounce back and forth on the Robinson family; they feel like ridiculous caricatures checking off the boxes too often for my liking and I am not invested in their stories as much as it feels like the show wants me to be. June Harris/Dr. Smith on the other hand, she is a ridiculously written evil villain but is, in my opinion, the most interesting character here and steals every scene she's in.
(3) The Morning Show S1 [[Apple TV+]] - ★★★★½
Where to begin. This show pulls back the curtains and reveals the dynamics at play that come into motion when powerful corporations, entities and people engage in insular practices with one purpose in mind. Protecting their own self interests above all else. TMS tackles these issues with sexual misconduct being the driver of the narrative and handles it in its rawest and most unadulterated form while brilliantly crafting an effective and powerful balance between its characters personal motivations, interpersonal dynamics and moral ambiguities that influence numerous interweaving plot threads. The entire season is captivating but the final 3 episodes are spellbinding and make the viewer bounce between every emotion on the spectrum. Hannah in the hotel room in Vegas with Mitch; Hannah confronting Fred and being silenced; Mitch victim blaming Hannah; Claire walking in on Hannah OD'd; all the final scenes of the season between Alex and Bradley... could go on and on, TMS absolutely murders the message it's trying to get across in these episodes and does it beautifully. From the writing to the production to the chemistry of the cast everything works splendidly here. Reese Witherspoon and Jennifer Aniston have great gravitas and work off one another wonderfully. Their characters, Alex and Bradley, likewise counterbalance each other perfectly and bring such an interesting contrast to one another while sometimes straddling but never quite veering into caricatures. Steve Carell is excellent as Mitch. Billy Crudup as Cory... has to be one of the most interesting and well written characters on television. Claire and Yanko's complicated relationship, Chip... Mia... so many multifaceted characters. I can't fucking wait for season 2. Apple TV+ may lack in content in comparison to competitors but The Morning Show is one of the best shows on television at the moment. Easily. It's natural to compare it to HBO's The Newsroom or The West Wing but The Morning Show is unique in its own regard and is perfectly positioned to tackle a lot of interesting topics going forward.
(4) Truth Be Told [[Apple TV+]] - ★★★½☆
The powerful influences of media, race, mental health, privacy and the intricate ways they shape our own perceptions and biases as well as society's are the central questions Truth Be Told weaves its plot around. Poppy Parnell (Octavia Spencer) is an influential investigative journalist pod-caster who re-visits a case after the possibility emerges her reporting wrongly incriminated Warren Cave (Aaron Paul) for the murder of his neighbor nearly 20 years prior. Both Octavia Spencer and Aaron Paul absolutely shine and carry the show but Truth Be Told finds its real power in its examination of the familial machinations that have shaped each one of the three families and how they've inextricably had an effect on all of their lives. Poppy is a deeply flawed well written protagonist whose environment and past influences her motivations; Warren is a victim of consequence and collateral damage; Josie and Lanie are stuck in a vicious cycle of co-dependency centered around a traumatic childhood and mental illness. I really enjoyed the dive into the world crafted here. Another show where the critical consensus is dead wrong and the viewers get it right compared to the critics.
(5) Killer Inside: The Mind of Aaron Hernandez [[Netflix]] - ★★★☆☆
This limited miniseries delves into the life and circumstances of Aaron Hernandez and explores a number of aspects that led to his eventual murdering of Odin Lloyd. Throughout the course of 3 episodes, the topics of parenting, culture around the sport of football, sexual identity, repression of that sexual identity, chronic traumatic encephalopathy (CTE) and other possible factors are considered as contributing or motivating factors. The common thread that links all of them together is toxic masculinity and how it makes people conform to harmful preconceived notions of what they should and shouldn't be. I appreciated the amount of effort that went into the angle of Aaron's purported bisexuality; Dennis SanSoucie and his father as well as Ryan O'Callaghan provide insight into their experiences and give us very personal glimpses into how unwelcoming the heterosexual world of sports is. What's frustrating, but expected, is the series leaving its viewers with more questions than answers to a complicated and mysterious personality who, unfortunately, is no longer able to answer any of those questions for us himself.
(6) Servant S1 [[Apple TV+]] - ★★★½☆
M. Night Shyamalan knows how to take a simple premise and put it through the what-the-fuck-is-even-happening prism better than almost anyone else. When it works, it borders on brilliance. When it doesn't, it often ends up an unmitigated disaster. Servant is a return to form and a very promising debut on Apple TV+ for him. He only directs 2 episodes in the 1st season but from a cinematic and atmospheric perspective, Shyamalan's flair is all over the show. The uncomfortably long lingering takes, the bizarre camera angles, the strangeness of its characters' actions and the claustrophobic setting of the Turner family's house sets an increasingly unsettling tone that hangs over everything as the shroud of mystery is meticulously peeled back. The pacing here is brilliant, especially for a 30 minute show. The dichotomy explored between Dorothy (Lauren Ambrose) and Sean (Toby Kebbell) and the different manners in how they manage their pain and grief is also a high mark the show nails more often than not. The final episode throws a lot more questions at the viewer and sets up the premise of what promises to be an even more bizarre 2nd season.
(7) Titans S2 [[Netflix]] - ★★★½☆
Season 2 of DC's Titans is a show that feels like it's still figuring out its identity and as a result of that process is rough around the edges more often than not. Structurally and narratively, the numerous competing subplots it explores pulls Titans in too many different directions at the same time and thus finds itself offering a few too many rushed conclusions that squander the emotional weight and satisfaction various threads could have otherwise provided. Dick Grayson's character was easily the highlight of the season with the show examining his psychological burdens and fraught relationship with Bruce Wayne intelligently and effectively. He's been the character the show has consistently gotten right and done a good job with thus far in large part due to Brenton Thwaites bringing enough nuance and gravitas to the role to overcome what could be considered ham-fisted writing at times. The dynamics of Slade Wilson's family were also engrossing and handled extremely well but didn't get the resolution it, or the characters of Jericho, Rose and Slade deserved due to the half-baked and rushed Cadmus plot being shoehorned into the finale. Looking at Titans from a production, choreography, acting and design standpoint, the show has a ton going for it conceptually but there's no doubt it also has a lot of currently untapped potential yet to be realized. If it can tighten up its narrative, deal with its structural issues and have a leaner focus that properly explores its important themes and characters (don't relegate Starfire, Beast Boy and Rachel to the sidelines with underwhelming plot arcs), it can overcome its shortcomings and become a great offering in the Superhero genre.
(8) The Stranger [[Netflix]] - ★★★☆☆
Always tend to find myself interested in mystery based dramas but unfortunately the medium of television lends itself to be more miss than hit when it comes to properly doing this genre the justice it deserves. The Stranger falls victim to the typical tropes you'd expect here; its narrative being driven by mysteries layered on top of mysteries at the expense of well-developed characters and unnecessarily convoluted red herrings that often lead nowhere or whose only purpose is to inch the plot forward without revealing anything. Where The Stranger breaks the mold just enough to differentiate itself is in its premise of using the titular character of the show as the vehicle to drive and connect the numerous interweaving narratives between a large cast of interconnected characters who all have their own secrets to hide. This doesn't always work out in the show's favor as some of the questions it asks, and the characters it asks about, feel more like haphazard plot devices than actual people but an effort is made to tie them into overarching narratives that effectively add some extra depth to them. Where the show consistently excels and is most effective is in its interpersonal confrontations between these characters, effectively exposing all of the lies they're caught up in and confronting them believably. While some of them are, as previously noted, convoluted, the twists and the turns of The Stranger eventually do lead to satisfying answers that give resolution to all of the questions they pose and the show wraps up its story in a convincing and rewarding manner that is worthy of the journey it takes us on.
(9) Locke and Key S1 [[Netflix]] - ★☆☆☆☆
Horrible writing. Terrible acting. Caricature riddled characters. And a plot that relies on its characters doing idiotic things and making brain-dead decisions as a vehicle to move the narrative forward. There's only one thing here that I can speak positively about and that's the cinematography. The show is shot beautifully and conveys the atmosphere Locke and Key is trying to portray effectively. But that's where the good ends… the show is contrived and convenient with an antagonist whose purpose and motivations are largely left undefined. Nothing feels like it has importance and none of the characters feel threatened by their circumstances; there are no stakes to anything they do because the show finds a way to write them out of every inconvenience they experience. Where Locke and Key also drops the ball is in its exploration, or rather attempted, of the Locke family who find themselves dealing with the loss of their father/husband having moved to his childhood locale. The characters of Tyler and Kinsey attempt to embody their trauma in a believable manner but it feels forced and dishonest because their actions seem intentionally designed to further the plot rather than their own development. The kid is just annoying and takes the viewer out of every scene. Another point I have issue with is the opportunity to explore the magical qualities of the keys being conceptually and existentially fascinating yet the show purposefully squanders any reason to explore this avenue because it's more interested in holding the hands of its viewers. A lot of potential for this series to work better than it does but it seems content to work to the lowest common denominator instead.
(10) The Trials of Gabriel Fernandez [[Netflix]] - ★★★★☆
This docu-series details the prolonged horrific torture and eventual murder of 8 year old Gabriel Fernandez by his mother and her boyfriend. Every moment of it will shatter you to your very core and stay with you a long time after you've finished watching it. It is one of the most difficult and important things you will ever watch and explores the indefensible systemic failings of Los Angeles' Department of Family and Child Services, law enforcement agencies and LA's Board of Supervisors relationship with the private for-profit companies it subcontracts social services out to. This poor boy was subjected to the most inhumane and horrendous physical abuse that can be inflicted upon a human being for 8 months while employees at the DCFS knowingly believed the mother at her word, refused to verify that the child was sufficiently cared for with visual confirmation or medical attention, purposefully lied and omitted pertinent information that should have been documented and failed to address concerns from his teacher who contacted them numerous times. Law enforcement, instead of verifying accusations and putting Gabriel Fernandez's well-being first and foremost decided to threaten him, accused him of lying and silenced him by throwing the prospect of jail at him and then had the audacity to keep its own internal affairs file hidden from the district attorney during trial. It is absolutely sickening to constantly be reminded of just how much the people and programs designed to protect the most vulnerable among us do just the opposite; the systemic failings are an intolerable embarrassment and a shameful reflection on our current day society. Even with the creation of a blue ribbon commission that addressed shortcomings and failings in the system, the DCFS continues to see children die in its purview because they refuse to properly address high risk situations and even put children back in those environments after removing them. Appreciated seeing the vigor with which District Attorney Jon Hatami prosecuted this case and the insight provided into the jurors and their deliberations in prosecuting these monsters. Him and numerous others depicted throughout restore a little bit of your faith in the goodness and decency in people after seeing the depravity others are capable of. My hope is, even if a lot of people are unable to watch this due to the content matter, it brings the attention and awareness to this issue that is needed and prevents what happened to Gabriel Fernandez from happening to another child.
(11) Formula One: Drive to Survive S2 [[Netflix]] - ★★★½☆
Back and better than ever, season 2 gives us a lot of what made the 1st season so excellent and even a little bit more. For the first time we get to see Mercedes and Ferrari included; the former giving us some of the most impactful and interesting moments Formula One: Drive To Survive has captured yet and the latter feeling like they were unwilling participants who didn't really want to be there at all. It's hard not to appreciate the behind-the-scenes aspects of F1 and the amount of time, attention and detail that goes into the Constructors' aspect of the Championship. Once again Guenther Steiner, team principal of Haas, finds himself the star of the series; the drama of a team, its drivers and their car failing to perform and the extracurricular difficulties surrounding them lead to numerous raw and unscripted moments that feel as genuine as a sports docuseries can get. Have to say that it was awesome to finally see Mercedes as well and getting some unfiltered candid rawness from both Toto and Lewis. Hamilton was far more open and transparent than I expected and seeing him and the rest of the crew dealing with an odd bad day was refreshing. Kudos to Netflix for the touching and emotional footage they captured in memorializing Niki Lauda and his impact on those in the world of Motorsport as well as the solemnity at SPA after Anthoine Hubert's unfortunate crash and death. It drives home just how fleeting life is and the immense psychological and physical burden these athletes are under. A common complaint of F1: Drive to Survive is that it doesn't follow the season chronologically and while I understand that complaint it seems designed to be structured non-linearly in order to devote enough focus to the mid-pack teams that find themselves relatively ignored compared to Mercedes, Red Bull and Ferrari. Perhaps this is a formula they'll tweak in future installments but I don't think it really needs fixing. Getting to follow Pierre Gasly's tumultuous journey from Red Bull to Toro Rosso was another highlight of Season 2; nice to see him fight through those psychological barriers and claim his first podium. Enjoyed getting to see a lot of Carlos Sainz and Alex Albon as well. Sports docuseries tend to be superfluous and forgettable – Drive to Survive is entertaining and well worth watching even if you're not a fan of the sport.
(12) Chilling Adventures of Sabrina S3 [[Netflix]] - ★★★½☆
The third season, or third part if they insist, of Chilling Adventures of Sabrina is as balanced, as charming and as enjoyable as ever. The backbone of this series has always been its meticulous world building and the expansive mythology and lore that resides with-in it – something the show smartly embraces wholeheartedly in Pt. III. Another welcome addition this season is the introduction to Paganism serving as the primary overarching antagonistic motif throughout. The dichotomy between the more familiar Wiccan mythos and Pagan mythos is articulately woven through the narrative and while I would've liked to see the show delve into the conflict between these two beliefs a little more, it serves as an efficient vehicle to introduce and lay the groundwork for some fascinating thematic elements yet to come. The Eldritch terrors gave us a small glimpse of the Lovecraftian horror CAOS Pt. IV is committed to exploring and I couldn't be more excited to see the show's unique take in integrating these entities into its universe. Sometimes CAOS feels a little too ambitious and indulgent in its character development subplots for its own good but from a YA coming-of-age drama that's to be expected I suppose. Sabrina's selfish naiveté and mercurial recklessness is part and parcel of the character's hubris whilst simultaneously being annoying and part of her charm but I would like to see more tangible consequences as a result of her rash decisions. It will be interesting to see how the actions she takes at the end of the season lay bare consequences in the future. Both Nick and Harvey felt underutilized and relegated to being tropes in Pt. III and I think they squandered what could have been a powerful subplot with Nick in particular. The physical and psychological abuse he suffered while possessed were obvious allegories touched upon but not fully committed to. Theo's self-discovery has been enjoyable, rewarding, and beautifully represented in how the writers have developed his sense of identity and worth. From an aesthetic point of view, visually and atmospherically CAOS looks gorgeous -- gone are the overused blur and focus effects from earlier seasons. The cosmic horror in Pt. IV should bring more of the same when it comes to eye candy. Just give us less musical numbers, please. Not a deal breaker by any means but CAOS doesn't need them.
(13) Star Trek Picard S1 [[CBS AA]] - ★★☆☆☆
Most of Star Trek Picard's flaws stem from its structural composition – it's hard not to feel that the show would've benefited, mostly narratively, as a procedural instead of being serialized. Star Trek Picard manages to make its universe feel claustrophobic and small because its world building is flimsy and constrained. Along with amateurish writing and little chemistry between a cast that feels like a collection of individual parts unable to mesh cohesively, the plot itself is unimaginative and tedious. If your entire narrative revolves around ancient civilizations acting as arbiter over the development of others because synthetic and biological life find themselves unable to coexist, you need to make sure it doesn't scream 'convoluted'. These tropes have been hashed and re-hashed countless times in every imaginable medium so I'm not sure why the writers imagined it was a good idea to have an overarching plot revolve around a synth vs biological conflict if they couldn't find something profound to add. Character moments that should feel important come across as unearned, there's very little emotional weight present in 1 on 1 interactions and dialogue comes across as artificial because it's a naked attempt to portray camaraderie and interpersonal links between a crew that act and feel distant from one another. As a result, character deaths lack a sense of purpose and seem to be haphazard shock value at best. In terms of characters, there's a couple good things to note here with Jeri Ryan as Seven and Jonathan Frakes as Riker being two highlights that feel authentic and true to themselves. Neither of them gets much screen time but in the handful of minutes they do they're easily most enjoyable parts of a largely unforgettable season. The introspective scene between Picard and Data was also excellent and provided much needed resolution and closure to the character's story. It's a shame that the inclusion of the Borg into the plot falls flat and feels unrealized because both Seven and the ex-Borg could have, and should have, been more relevant. Lastly, Patrick Stewart is a legendary actor but his portrayal of Jean Luc Picard here simply doesn't work. He feels like a caricature of himself with a naivety and single mindedness present that feels like it's more a result of circumstance. The next season has nowhere to go but up… just hope it leaves the deus ex machinas and nonsensical ideological shifts that suit no purpose behind.
(14) The Witcher S1 [[Netflix]] - ★★★½☆
Toss a coin to your Witcher, oh valley of plenty. There is a ton to love about the first season of The Witcher and some areas that can only be improved upon going forward but for the most part, it's a solid beginning for the series. Lauren Schmidt has faithfully captured the atmosphere and tone of Andrzej Sapkowski's complex world and all the tragedy, political machinations, information, history and lore with-in it begging to be explored. Structurally, the decision to separate individual narratives is a risky choice that isn't executed perfectly but it's required in order to introduce characters on a smaller scale while stripping back their stories and establishing understanding of who they are while avoiding an overabundance of exposition, competing interests and overarching narratives all at once. Henry Cavill feels born to play the White Wolf; with a character who could easily come off as one dimensional in his broodiness, this adaptation is one whose naivete and altruism are contrasted brilliantly against morality and consequences the murky world he inhabits forces upon him. Anya Chalotra brings Yennefer to life just as impressively with the character's trauma, self-identity and discovery of herself being one of the strongest aspects of the show. She's a multifaceted antihero whose tragedy is balanced against her yearning of fulfillment and happiness and her selfish manipulation -- all of which is incredibly well crafted here. I do feel the dialogue could generally be more cohesive as it feels needlessly exposition laden while veering into campiness at times. The disparate plots can also leave The Witcher feeling structurally disconnected leaving important moments feeling unearned like the battle between Nilfgaard and Cintra falling a bit flat due to not getting build up or scope and scale it deserved. Tonally it feels like the show is battling itself sometimes too and the comedic elements of Jaskier could be better served with moderation against the weightier thematic elements the show explores. The production values, set and costume design are all top-notch efforts and the choreography is spot on. Between the splendid sword fight in Ep. I, the atmosphere, tension and horror conveyed during Geralt's battle with the Striga in Ep. III and the dazzling display of magical power sorcerers wield displayed in the finale, The Witcher allows the horror of the monsters inhabiting its universe, both human and non, to shine. The groundwork has been laid for future seasons where a more constrained plot should be beneficial in minimizing most of the structure and pacing issues this season dealt with. It should also allow for compelling characters whose intrigue was sidelined in the first season, Triss and Ciri specifically, to be fleshed out and fully realized. Can't wait for season 2. Toss a coin to your Witcher, a friend of humanity.
(15) The Walking Dead S10 [[AMC]] - ★☆☆☆☆
Just like the existential threat that hovers over its characters and shapes the world they inhabit, The Walking Dead feels like an ungainly bloated mess of hollow motifs and concepts that, every once in a while, tease with the potential to lead some place interesting but instead aimlessly ambles without any sense of direction or purpose. The interpersonal conflict and threat of a unique enemy that gave season 9 its emotional center is relegated to the typical antagonistic tropes the series has explored numerous times throughout its run. Though this current arc with The Whisperers seemed to break the mold of this revisited narrative cycle of finding safe haven, reclaiming societal norms and having that semblance of normalcy and humanity threatened it descends into the flimsy, unrealized and stale storytelling previous attempts have also fallen prey to. Thematically the show refuses to explore the stories it could tell and makes a conscious choice for the safe path instead – something that isn't engrossing and is wasteful of any meaningful plot, nuance or character development. The failings of the writers are encapsulated perfectly in the cumbersome and ill-conceived concepts and motivations that drive Carol's arc this season. Scrapping her previous development and turning her into a grief ridden caricature is one of the most poorly thought out and executed attempts at tackling these thematic issues I've seen on television. Danai Gurira on the other hand was the star of this show and one of the few remaining aspects that made it worth watching. She elevated the character above the nonsensical amateurish writing that plagues it and was perhaps the only character with any semblance of genuine depth. She deserved a better send off and the show should have ended years ago. I won't be revisiting this world so a nonchalant goodbye to a series that has long since seen its best days.
(16) Ozark S3 [[Netflix]] - ★★★★☆
Is mutually assured destruction the only way to keep a marriage and a family together? It's a brutally honest and foreboding assessment from Helen Pierce and perfectly encapsulates the machinations the Byrde family finds themselves confronting in season 3 of Ozark. The ideological battle being waged between Marty and Wendy, and the fundamental differences in how both of them want to arrive at the same destination, is the foundation of which Ozark's premise in its third season is based around. The introduction of new characters – unpredictable elements, rather, add some fascinating and emotionally significant dimensions to the show and add even more human suffering to the equation. Ben's character in particular, brilliantly portrayed by Tom Pelphrey, is a heartbreaking and flawed person who finds himself a victim of the circumstances the Byrde family has entangled themselves in. Ozark finds a good balance between tying his mental health issues and bipolar disorder into the larger narrative and plot devices while not being exploitative of the struggle and societal biases those who deal with mental illness find themselves subjected to. Two scenes in particular, the scene between him and Ruth in the institution after finding himself committed and the subsequent soliloquy in the cab are emotionally captivating and agonizing performances brutally unflinching in their horror, anxiety and realness. Hopefully they are recognized and rewarded during awards season because it's not often in the medium of television, or entertainment generally, we see depictions of serious real-world issues authored as authentically as Ozark does it here. His scenes opposite Ruth, who continues to be the most sympathetic and relatable character on the show, and Wendy were the consistent highlights in a very high-quality season full of great moments. For a character whose intrinsic nature is one of risk adverseness, I find it amusing – and an obvious natural fit for the dark humor balanced against the thematic elements explored in the show, that Marty's character flaws in failing to read people and understand situations are a main contributor of the unpredictability his life is filled with. Just as Ben failed to grasp the severity of the situation as Wendy tried to save his life, Marty falls victim to the same shortcomings in his own unique way. There are a lot of memorable quotes in season 3 but one of my favorites is during one of their faux marriage counselling sessions when Sue tells Marty that "Wendy is a powerful woman and it's your responsibility to nurture that, not stifle it". The counselling setting is one of the show's many effective vehicles that filters characters' mindsets through nontraditional manners effectively and this one in particular is hilariously revealing. Wendy breaking into their old family house and opting for content and order before literally turning things upside down is another one of those moments. The final scene of the season is downright frightening and ominous for the future of the Byrde family. It will be interesting to see how they and the cartel deal with Darlene, the Langmore's and the KC mob moving forward. Hopefully we don't have to wait 2 years for season 4 for one of Netflix's best offerings.
(17) Better Call Saul S5 [[AMC]] - ★★★★½
The best type of storytelling is one in which examinations of its characters are unfiltered and explored without any need to subvert expectations with unearned plot devices. Vince Gilligan and Peter Gould authored a nearly flawless representation of this craft in Breaking Bad and, though it didn't seem possible, have perfected it even further with their efforts so far in five seasons of Better Call Saul. It's been a very long and painful two years waiting to return to Albuquerque and once again re-visit these characters and the concurrent themes of dread and misery that mercilessly permeate their world. And of course, along with it, the brilliant and inventive cinematography. Visually and auditorily Better Call Saul is without artistic equal; David Porter's score and Thomas Golubic's soundtrack infuse tragedy and nuance into every scene and attentively convey an authenticity that bring the show and its characters to life. The facades of Jimmy McGill, Kim Wexler, Nacho Varga, Mike Ehrmantraut, Lalo Salamanca, Gustavo Fring and others are often indistinguishable from the reality they inhabit and leverage pretense, admission and trustworthiness as capital to further their own personal motivations – at the expense of others. These threads of existentialism that see characters balancing roles compared to who they really are as people are contemporaneous throughout which makes their acts between desperation and nihilism – dependent on family and relationships at times, at others on covetousness and decadence, fascinating delves into the psyches and motivations of some of the most multifaceted characters on television. Bob Odenkirk's performative mastery of blending levity, humor, resentfulness and all the emotional gravitas that comes along with it into the character of Jimmy McGill has always been a hallmark of this universe and is enjoyable to watch but the actress who steals every scene she's in is Rhea Seehorn. She navigates the thematic elements of privilege and structure, identity and security, solidarity and humanity as skillfully as possible and drives home the human element to these issues in a way that is profound and impactful. The season finale was brilliant in its simplicity and exploration of both Kim's relationship with Jimmy and their codependent shared traumatic experiences. The circumstances of their situation starkly contrast the status quo of reaction versus the prospects of freedom and the opportunity of deciding one's own fate. When juxtaposed against contempt and disillusion, it's simply too alluring a proposition for Kim to pass up; being able to rationalize your own actions and justifying their effect on others is a dangerous combination. The last shot of the finale sets up an ominous collision course of unavoidable consequences that will be borne out going forward.
(18) Westworld S3 [[HBO]] - ★★★☆☆
Westworld is a show that has so much potential but feels determined to squander it at every turn. The first season was an excellent introduction to this world – enigmatic, captivating and stimulating in nature and focused on its strongest aspect. Tying its narrative to interesting fleshed out characters which made the stakes clear and allowed us as viewers to invest in their motivations. This isn't a groundbreaking formula that Westworld should have found it difficult to stick to. The second season managed to eschew all of that for a convoluted mess that narratively and structurally felt like it was meant to serve no purpose whatsoever. This latest season shows promise early on thanks to the strength of its characters once again but eventually loses its way and falls victim to its thematic elements, and the emotional weight they should possess, not being explored intelligently or paying off in a satisfying manner. The biggest issue here lies with-in Westworld's characters and the impetuses they're given. Evan Rachel Wood and Thandie Newton are excellent as always and elevate the material they have to work with as much as one can expect but they're frustratingly held back by the confines of a thinly written and poorly thought out plot where obvious conclusions are dragged out exhaustively so much so the endpoint is alluded to repeatedly before being arrived at. It's here where Westworld falls into a narrative purgatory and struggles to make its characters' development feel rewarding – even when earned, and the struggle to frame plot devices coherently or wisely rears its ugly head. The first few episodes of the third season gave me hope because the expansion of the narrative by leaving the park is a good mechanic that offers a dichotomy between Dolores, the influence she wields and the power and privilege of those in the real world compared to the less fortunate. Westworld falls into tried and boring avenues of exploration when it comes to tropes that pit humanity against sentient artificial intelligence so this is more compelling than the other thematic elements it often gets tied up in. By the end of the season the autonomy between the show's hosts and its biological characters get blurred to such a degree that there is no separation between them however and the allegorical questions and metaphorical existentialism hearken back to the original premise explored in the first season. Caleb should be one of the complex and multifaceted characters introduced but we never really get to see his motivations explored or reasoned before it's revealed he's an outlier whose existence serves to fulfill a carefully crafted purpose which is why Westworld is so frustrating at times. It can be sophisticated and well written, presented beautifully with the typical masterclass staging and production values HBO is known for – and it is, this season is a stunning visual feast and gorgeous to watch – but it just feels underdeveloped as a whole. Serac is another character who feels largely squandered. We get morsels of his thought process and by the finale his purpose and the decisions he's made, as well as the plausibility of them, feel artificial and there just to serve a purpose. As negative as I am, I still have faith (possibly misguided hope) in Westworld recapturing what originally made it special. It needs to get back to exploring symbiotic relationships equally compelling in their dependencies and connections first and foremost for a start though.
(19) Outer Banks S1 [[Netflix]] - ★½☆☆☆
There's nothing intellectually or emotionally captivating about Outer Banks. It requires a heightened suspension of disbelief but, to its credit, it never tries to pretend to be anything that it isn't. Boiled down to its core the show is part soap opera, part mystery, part teen drama with all the expected teen romance, clique drama and convoluted coming of age tropes centered around a fantastical treasure hunt and larger than life characters whose motivations veer from believable to propositioning the viewer with a wild suspension of disbelief. Which is what you'd expect from a show like this and, unsurprisingly, leaves the story lurching unevenly from one plot to the next. Tentatively touched upon but never really explored -- class division, patriarchal abuse, toxic masculinity and capitalism are a few of the weightier thematic elements Outer Banks makes a wider arc around but doesn't fully commit to opting for violence and action most of the time instead. Character development suffers as a result and lacks any genuine complexity or engagement when it comes to the main cast. It feels as if the characters serve to tick off boxes and assume stereotypes that lack any sort of imagination. This is more pronounced in the female characters who range from being sexual desires and pragmatical go-between to gender defined biases that are harmful and do a disservice to the stories they could tell about them instead. Opting to shy away from fully fleshing them out with their own depth and multilayered personalities, the writers have made it seem like their purpose is to be convenient plot devices for their male counterparts. It's a mistake that feels purposeful with stock character stereotypes in mind considering that a handful of them do have traumatic experiences and interesting backstories that very easily could be better fleshed out alongside the main plot. There is some earned development that does work well -- specifically JJ's arc, and with some more focused writing, better execution and less haphazard plots that don't arrive at interesting destinations, Outer Banks could get to the point where its characters are as engaging as its main plot.
(20) Sex Education S2 [[Netflix]] - ★★★★★
Representation, identity and acceptance matter. Sex Education wields a masterful blend of serious and comedic elements in its thoughtful portrayal of an expansive range of well-developed characters whose lives and experiences are embodied in storytelling that is equal parts knowledgeable, informative and empowering in nature. Grounding its interpersonal relationships in shared commonalities all of us, regardless of age, orientation or identity, can see personified in ourselves – Sex Education devotes itself to exploring the effects anxiety, fear, denial, doubt, desire, ambition and grief impart on our lives with an emotional resonance that demands space and exploration. And unlike how we've seen asexual, pansexual, bisexual and queer character romances veer into stereotypical and judgmental tropes in other mediums of entertainment that leave them unexplained and misunderstood, Sex Education approaches them with a complexity and empathy that feels personal and relatable. There's a particular scene where an asexual student, unsure of their identity and feeling like there's something wrong with them, comes to Jean who imparts upon them that sex doesn't make us whole so how could someone be broken without it. It's a simple but beautiful metaphorical explanation that is respectful of those who are severely underrepresented and rarely given a platform of acceptance. The number of individual plots and stories Sex Education is able to juggle simultaneously without the effort ever feeling half-baked is impressive. Instead of sidelining some characters and relegating them to plot device caricatures with under-served arcs, each has their layers meticulously peeled back and exposed. In its adult characters, the emotional and physical pressures associated with sex, engendered norms, commitment and intimacy are beautifully depicted and show that there are few degrees of separation in the exploration of sexuality and desire regardless of age or station in life. Sex Education also tackles its thematic elements – stigmas associated with sex; shaming and bullying; sexual abuse and harassment; solidarity and female empowerment; religious, ethnic and racial intolerance; parental absence and family structure – with a humor, wisdom and charm that is emotionally captivating and fully fleshed out in its delivery of organically exploring the gravity these topics demand. If there is one minor complaint, the last scene did feel lazily written and out of character for a show that avoids falling into banal contrivances but it's a minor misstep that I'm willing to give the benefit of the doubt. The writers, actors and everyone involved with Sex Education have sketched out a profound, liberating, forward thinking masterpiece that navigates relevant issues with an authentic honesty vivid in detail and uncompromising in tearing down preconceived notions and biases. Whoever is in charge of the musical covers deserves props too; the soundtrack perfectly marries the aesthetic of the show and scores every scene exquisitely. And good lord, is Lily's interpretation of Romeo & Juliet pure perfection or what.
(21) The Last Dance [[Netflix]] - ★★★★☆
The superlative laden lofty praise heaped upon The Last Dance is a high standard for it to meet as are the invocations and comparative analysis between its proficiency as a sports documentary and the biographical mastery of Citizen Kane. Across 10 consistently great, often magnificent, riveting episodes of The Last Dance we're treated to a Shakespearean tragedy that plays out with all the scorned, wary, vengeful, lonely, cold and joyless undertones one would expect as a counterbalance to the unbridled success, elation and legendary accomplishments of one of sport's greatest dynasties ever conceived. At times The Last Dance falters by constraining its compelling narrative to a narrow perspective in which every anecdote and story is framed and driven by an aggrandizing, stilted cliched narrative that revolves around the basic common denominators of ruthfulness, strength and focus. A lot of this is owed to Michael Jordan being the lens through which every triumph and vanquished foe is viewed but there are glimpses here and there that peel back the carefully crafted facade to reveal the human behind the brand and the thrilling moments that encapsulated his career. I wish it had strived for greater heights in illuminating Michael Jordan as both a person and cultural deity without being beholden to every one of his grudges and indiscretions however. Perhaps expected but disappointing nonetheless was MJ regurgitating his paper-thin justification and excuses in steering away from social justice initiatives during his playing career. In an existence built on authenticity, approachability and physical talent that defies comprehension, the prioritization of brand and profit over politics comes off as an overarching philosophy that reeks of naivety and self-importance. People can be inspired in different ways and it's a sad reflection that Michael Jordan eschews this simple reality and instead doubles down in justifying his actions without being able to realize that inspiration can be leveraged in numerous different ways – many of which he refused to engage in. Overall though the narrative is quite padded throughout but delves into a compelling and structured rhythm in exploring Jordan's competitiveness and dominance plus the manner in which it encompassed him to an all-consuming degree. For a man who reached the zenith of the sports and popular culture zeitgeist, we watch a man who feels like the loneliest man on the planet and those complexities, told through the voices and anecdotes of those other than Jordan here, provide a compelling framework and unique insight into the challenges that accompanied the Bulls' threepeats. The infighting, intrigue and politics set against the 97-98 Championship run is emblematic of the Bulls dynasty – Jerry Krause's troubled relationships with his players and staff, the disparate ideological differences between every level of the organization – through all of it, Jerry Reinsdorf comes out of it smelling a little too nice when he deserves a lot more blame for the tumult and turmoil that led to the eventual breakup of the team. Would have loved to get a little more insight from Scottie Pippen, Dennis Rodman, Phil Jackson (especially on the triangle offense) and others throughout the documentary. Also would have liked to seen the heavy motifs that humanized Michael Jordan more frequently; one of which being his father's murder and how the ensuing grief influenced his decisions that get explored throughout the latter half of the documentary. All the controlling impulses and subconscious ability to will himself and his team to victory is enthralling but undeniable brilliance aside, seeing it all lead to MJ completely letting loose with a rare vulnerability in his on court interview and in the locker room writhing on the floor after beating the Sonics is remarkable to witness. The Last Dance feels incomplete because Michael is going to tell the story he wants but it feels like even though the narrative has been framed and re-framed there is still a lot of unfulfilled resentfulness and doubt that must be vanquished for him to find the happiness and peace he's still chasing and you wonder, if he could get everything he desires instead of everything he achieved, would he? The conflict between invincibility and helplessness author a fascinating dichotomy.
"That wasn't Michael Jordan out there. It was God disguised as Michael Jordan" … you're god damn right, Bird.
(22) Unsolved Mysteries [[Netflix]] - ★★★☆☆
Can't mention True Crime without invoking the cultural resonance of the original Unsolved Mysteries that ran for two decades towards the end of the 20th century. So, when I heard Netflix was bringing a classic back -- albeit re-imagined and updated to 21st century standards, I was a tad hesitant. Suffice it to say, the reboot is more grounded, authentic and stylistically appropriate in exploring the human tragedies it depicts and reconciles than the original and has, at the same time, thankfully done away with aspects that allow for more breathing room. What worked for the original, a formulaic and ridiculously over-the-top reenactment spectacle, is nowhere to be found in the reboot and the mysteries' emphasis and focus are squarely centered around familial grief and trauma while being unraveled by eyewitnesses, authorities and friends. The original series tended to also veer into the paranormal, miraculous and extraterrestrial a little too often for its own good and its stories found themselves veering into conspiratorial wonderlands rife with supposition, implausible claims and a lack of verifiable evidence. The reboot grounds itself in intriguing mysteries that vary in terms of the degree to which they've been solved but are all connected in terms of presenting questions that range from being seemingly obvious to impossible to tantalizingly close to being answered. Going forward I'd love to see more contemporary mysteries like the Alonzo Brooks episode explored – an African Hispanic man who was clearly murdered and possibly tortured by racists in rural small-town Kansas is one of those cases where you can't help but seethe at the obvious reality that local authorities, its residents and others conspired to protect those who carried out a modern day lynching of a non-white person in their sundown town. Seeing Unsolved Mysteries dare to confront and tackle issues such as this is both necessary and much welcomed and I look forward to seeing what they have coming in the next 6 episodes.
(23) Away S1 [[Netflix]] - ★★½☆☆
For a show that draws its inspiration from Astronaut Scott Kelly's yearlong assignment on the International Space Station, Away would be better served by hiring him on in a consulting role as a foundation for its scientific exploration going forward. Before committing, it serves the viewer well to understand that the first season pins its hopes on being a space soap opera instead of a space epic grounded in real-world science. Interpersonal conflict often feels like an unearned plot device here because the balance between the humanity of characters and the broken families they've left behind on Earth constantly compete in an awkward tug of war with the technical difficulties of sending a crewed capsule to Mars. Perhaps hesitant in looking too far forward and establishing itself and its characters instead, Away often finds itself looking backwards making a deliberate choice to delve into exploration of the difficulty of coping with long distance relationships and how one's personal ambitions and mental wellbeing often is of less import than sacrificing one's ethos in the pursuit of a greater good. To be fair, while the plotting of these narratives between the crew of the Atlas and those back on Earth can be pedantic and disjointed, flashbacks from before the launch do an effective job of fleshing out and peeling back the layers of the Atlas crew and tying together the thematic threads of abandonment, guilt and loneliness these characters are trying to navigate. Some of these – Misha's relationship with his daughter and Lu's relationship with someone she loves being inhibited by a xenophobic nationalistic society -- are beautifully crafted and nuanced efforts that feel authentic. For other characters, less so with the heavy reliance on their backstories serving as vehicles to lock the show into what can admittedly become a wearisome character driven narrative cycle where conflicts and emergencies are always resolved by, unsurprisingly, discovering commonality between one another. This makes Away feel frustratingly predictable as a viewer and leaves a lot of scenes devoid of impact in a show that should be keeping the viewer on the edge of their seat. Hillary Swank's character, Emma, is done a disservice having the majority of her character arc revolve around her relationship with her Husband and Daughter back on Earth which comes off without the depth and nuance the writers were going for and her Husband, Matt, seems to always be caught somewhere between overwhelmed and angry or supporting and loving as he tries to balance his roles as father, spouse and NASA engineer leaving his character and performance stretched thin. Going forward, Away would benefit by exploring the destination of the Atlas crew's journey, its unknown quantities and the existential threat it provides instead of the known one they journeyed from. And perhaps somebody else besides Matt will be capable of coming up with solutions in NASA's control room.
(24) Star Trek Lower Decks S1 [[CBS AA]] - ★★½☆☆
In many ways, Lower Decks is a love letter to Star Trek that finds itself a little too infatuated for its own good in some moments and straddles that line adequately in others. It falls back on callbacks and references to previous series at the same time tending to invoke memorable scenes and characters with a unique flair and nostalgic sincerity that does work pretty well but its frustrating reliance on these moments comes at the cost of the show embarking on its own unique adventures and telling its own original stories. Perhaps this is more by design in an attempt to establish a foothold before differentiating itself tonally and plot wise moving forward but one can't help but feel that Lower Decks is caught in a weird purgatory without knowing if it wants to be comedy or parody. Satire as a plot device is fine in doses but hinting at character development and teasing adult themes without ever committing to doesn't give me confidence that the creators ever fully intend to – or even know, if they want to explore thematic issues this series is perfectly capable of tackling. If that's the case and Lower Decks chooses to not sacrifice interesting ideas by forcing hastily B-plots into episodes that don't have enough time or space to acclimatize to them, this will allow the show to dedicate the resources it's sorely lacked thus far in fleshing out the overarching plotlines it often neglected throughout the first season. Conceptually Lower Decks has a ton of potential, the main characters of the series are a diverse cast with their own unique niches; Beckett is a rebel with a cause whose brilliance is as outsized as her personality, Brad's obsession to duty is overbearing, Tendi's naivete and curiosity is refreshing and Rutherford is a nice counterbalance to her. Their interpersonal relationships with each other and the crew are humorous and interesting even if their adventures aren't anywhere as intriguing. I did really love seeing Jonathan Frakes and Martina Sirtis in the season finale on the bridge of the Titan. John de Lancie's return as Q, JG Hertzler reprising a Klingon – it will be interesting to see which alumni reprise roles or play new characters throughout this series.
(25) Challenger: The Final Flight [[Netflix]] - ★★★★☆
If there's one thing the viewer unquestionably, and so frustratingly, takes away from Challenger: The Final Flight, it's once again being reminded at how preventable this tragedy was and why it should have never happened. The regressive arrogance and culture of entitlement at NASA that trivialized the human equation at the expense of funding and adulation from the public is contextualized in an unflinchingly honest and powerful prosecution of those at fault through a comprehensive bevy of interviews, archives and news footage further incriminating and indicting those involved in the space program at NASA and the solid rocket booster development at Morton Thiokol. A lot of this information is already known of course and most of us are more than familiar with the Challenger tragedy but The Final Flight emphasizes and discerningly humanizes Dick Scobee, Michael Smith, Christa McAuliffe, Greg Jarvis, Judy Resnik, Ellison Onizuka and Ronald McNair by exploring the unbounded hope with which they lived their lives anecdotally through their family members and friends – it's a heart wrenching recollection of the extraordinary lives lost and a sorrowful contemplation of what should have been. A lot of time throughout The Final Flight's four episodes is dedicated to the scientific and societal impacts of NASA embarking on its journey to transform space travel with the Shuttle Program, efforts to diversify a profession that lacked diversity and make space flight more accessible but these naked performative attempts and exploitation only serve to infuriate as the curtain is peeled back and these efforts are exposed as little more than jingoistic propagandization. Counterbalanced against the profound desires of a revering public who had come to deify NASA during one of the most hopeful and exciting times in American history and seeing a generation of dreams – a loss of innocence, the grief and sorrow that transfixes over children's faces as they watch Challenger explode after liftoff is soul crushing in a way that's impossible to put into words. Brian Russell, an engineer at Morton Thiokol, who repeatedly warned that the O-rings were bound to fail at colder temperatures but was overruled by his managers and NASA is a man who is clearly pained and carries the deaths of those onboard Challenger with him every waking moment but the same can't be said for William Lucas. This is a man who has nauseatingly compartmentalized his complicity in the murder of seven innocent souls and clearly possesses neither a conscience or any shame whatsoever by saying he'd do it again. He has the audacity to not only hold himself accountable for launching Challenger knowing full well he was playing Russian Roulette but also justifies his actions by trivializing their deaths as the cost of scientific advancement and equivocating the Challenger disaster with his ancestors crossing the Appalachian Mountains. One thing I would have liked to see The Final Flight devote more time to is the roadblocks put up by the Roger's Commission, the systemic issues at NASA that were glossed over and the research that went into redesigning Morton Thiokol's solid rocket boosters instead of lending credence to Christa McAullife constituting a safety risk. I'd be interested in seeing Netflix offer a similar miniseries on Columbia because space exploration, inclusive institutions in STEM fields, our cultural mood towards them, transparency and lack of faith in the systems, policies and people designed to protect us are still as relevant today as they were back in 1986 and 2003.
(26) Blood of Zeus S1 [[Netflix]] - ★★★★☆
Netflix is becoming an animation powerhouse and their latest offering is, in many ways, one of their best efforts so far. Blood of Zeus brilliantly creates a wholesome contextual groundwork of its setting and takes careful aim in crafting its plotting in order to build its world in a thoughtful nuanced manner. The amount of scenery explored in a scant 8 episodes – running at less than 30 minutes each, is nothing short of impressive. Blood of Zeus also feels wholly original, looks unique and doesn't mind offering up a modern interpretation on Greek mythology in exploring its origin story while keeping the authenticity of familiar Olympian canon close to its vest. I find Zeus' fallibility doesn't get the attention it deserves often enough in Greek pantheon but Blood of Zeus, in balancing the conflicts on Olympus between the Gods and the conflict transpiring on Earth, offers an essential and dramatic interpretation of his (and plenty of others) foibles. If there is one minor complaint however, the heavy focus on Zeus' infidelity and Hera's resentful jealousy does comprise the vast majority of the conflict we're subjected to on Mount Olympus which often times leaves the other Gods on the periphery. Overall, the stories we do get are an enjoyable exploration of the pantheon and in future seasons there's plenty of expectation that the other gods should be getting a little more time devoted to their stories being fleshed out. Heron's story on its own leaves a little to be desired but balanced again Seraphim's, the expository efforts of thematic elements – identity, vengeance, redemption are tightly plotted and lead to a final confrontation that crescendos impactfully with both of these characters channeling their demons in starkly contrasted manners. The gorgeous animation, character design, weighty orchestral score and striking set pieces add an element of epic feeling to the package that elevates both the story Blood of Zeus is telling and makes this journey through the lore of the Greek pantheon feel rewarding and earned. The entire final battle, from the giants emerging from the sea approaching Olympus and the fight between them and the Gods is visually intoxicating and choreographed beautifully. In a potential second season I'll be looking to see how the future of Olympus shakes out without Zeus and whether his sacrifice and reconciliation with Hera affects Heron into being a unifying force whose battle with Seraphim and willingness to shift his morality drew parallels with Zeus' own. Seraphim's desire for autonomy in the mortal realm was a rewarding arc but with Hades likely eyeing up the same desires for him in the Underworld alongside harnessing the power of the souls he guards, there's a ton of potential for where the Parlapanides brothers can take this series moving forward. Looking forward to it.
(27) + (28) Scooby Doo Mystery Incorporated S1, S2 [[Cartoon Network]] - ★★★★½
Scooby Doo Mystery Incorporated transcends its roots and builds upon the lore of the series with an ambitious and fully realized entry that fleshes out its previously undeserved and neglected characters by infusing them with actual motivations, interpersonal dynamics and relationships that exist beyond the archetypal tropes the series has relied on in the past to help solve its mysteries. Mystery Incorporated doesn't do this at the expense of embodying the traditional formulaic approach Scooby Doo is known for however -- there are still plenty of running gags, self aware references and satirical homages to previous incarnations offering up the lovable goofy zaniness everybody has come to love but the difference here is these serve as a framework to drive an overarching plot that creates genuine suspense and affects the lives of those in Crystal Cove in measurable ways instead. As a result, the way in which the series is able to balance itself tonally between the innocuously lighthearted and harmless moments as well as its more structured sinister moments is brilliant and lends itself to delivering some truly heartbreaking emotional gut punches with an intelligence and maturity that elevates Mystery Incorporated into a satisfying package leaving its viewer fulfilled. Gone are the two-dimensional simplistic caricatures the main gang has typically embodied – Fred is ambitious but clueless, obsessed with one true love while oblivious to another; Daphne is alluring and intelligent but burdened by her station in life and the expectations placed upon her; Velma is quick witted and perceptive but insecure due to unrequited love that leaves her isolated; Shaggy and Scooby's relationship is still the co-dependent friendship it's always been but the complexity and empathy explored humanizes both characters beautifully. These characters now feel fleshed out and designed as they were originally intended helped in part by the addition of their parents and families who serve to introduce personal consequences and thematic undercurrents of betrayal and deceit throughout. The world building here is cleverly imagined as well aiding in grounding the adventures and characters we meet along the way. Crystal Cove feels like its own versatile unique entity with the atmosphere of a decidedly nostalgic small-town horror vibe that aesthetically resonates with the sophisticated tone, humor and motifs artistically developed throughout the overarching plotline. Pericles is diabolical and willing to eschew any modicum of morality in order to achieve his purpose – it's here that Scooby Doo reconstructs its mythos with its best imagined antagonist, never allowing him to become parody and offering up a rewarding conclusion to the series that crescendos in a well-earned finale. Mystery Incorporated took a risk on deconstructing its formula and exploring the versatility of the horror genre and in the process, introduced us to the best adaptation of the series yet. The exploration of cosmic horror and Lovecraftian monsters that both scares and amuses, the existential threads exploring the determination of fate and free will, the Babylonian mythology introduced – all of it is done with a genuine wit, scope and depth that makes Mystery Incorporated one of the best animated shows people have slept on. Whether Mystery Incorporated is a prequel to Where Are You or not is thrown into question in the finale but it is left open ended to potentially continuing with another season. Something that would be welcomed.
