52 TV seasons. 1 Year. 2021 edition

RatskyWatsky · Dec 31, 2020

In the spirit of the '52 Games. 1 Year' & '50 Books. 50 movies. One year' threads, TV ERA decided that we needed a thread of our own! Except unlike those threads, no one will be tracking your progress or updating because it looks hard and I also don't know how! So this will just be for fun! :)

Rules (which I just copy/pasted from the book/movie thread)

1 - Watch 52 seasons of television before Jan 1st 2022
2 - 1 season = 1 entry
3 - You can join the challenge at any time
4 - Be honest! Nobody is going to be making sure you actually watched that show

Q&A:

What counts as a season? Anything that's more than 1 episode!
Does anime count? Yep!
What about shows I've already seen? Affirmative!
What about documentaries? Mhm.

If you need stars for reviews:

★
★★
★★★
★★★★
★★★★★

2020 thread

Credits

GK86, Everything Shiny, and everyone else who came up with these kinds of threads in the past. And Rhaknar for forcing me to make this thread~

vypek · Dec 31, 2020

Cannot wait! I'm already mid-progress on some seasons. Those count too, right? Also that OP reminds me that I need to keep an eye out for Nora from Queens season 2 and South Side season 2. I feel like there was another show I watched around the same time I wanted to keep an eye out for too. Added the thread to my watch list!

RatskyWatsky · Dec 31, 2020

vypek said:
Cannot wait! I'm already mid-progress on some seasons. Those count too, right?

Why not!

vypek · Dec 31, 2020

RatskyWatsky said:
Why not!

Nice! Sounds good. Going to try to beat my 2020 count :)

EvilChameleon · Dec 31, 2020

Alright sure, I'll partake in this! Going to start with my first watch of season 1 of Big City Greens on Disney+.

EssBeeVee · Dec 31, 2020

good time to start up S4 of Sabrina on netflix.

KingFox · Dec 31, 2020

Soliloquy of a Dogge · Dec 31, 2020

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**	(27) *Sailor Moon Crystal S3 [[Netflix]]* - ★★★★☆**	(40) *Ben 10: Omniverse S8 [[CN]]* - ★★★½☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**	(28) *The Underground Railroad [[Prime]]* - ★★★★★**	(41) *Outer Banks S2 [[Netflix]]* - ☆☆☆☆☆**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**	(29) Drive To Survive S3 [[Netflix]] - ★★★☆☆	*(42) Another Life S2 [[Netflix]]* - ★**☆☆☆☆
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**	(30) Charmed S1 [[The CW]] - ★★★½☆	(43) *Truth Be Told S2 [[Apple TV+]]* - ★★½☆☆**
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**	(31) *Charmed S2 [[The CW]]* - ★★½☆☆**	(44) *Star Trek Lower Decks S2 [[Paramount+]]* - ★★½☆☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆	*(32) Charmed S3 [[The CW]]* - ★★★☆☆**	*(45) Clickbait [[Netflix]]* - ★★☆☆☆**
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**	(33) *Ben 10: Omniverse S1 [[CN]]* - ★★★☆☆**	*(46) Locke and Key S2 [[Netflix]]* - ★**☆☆☆☆
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**	(34) *Ben 10: Omniverse S2 [[CN]]* - ★★★½☆**	*(47) Titans S3 [[HBO Max]]* - ★★★½☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**	(35) *Ben 10: Omniverse S3 [[CN]]* - ★★☆☆☆**	(48) *You S3 [[Netflix]]* - ★★★½☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**	(36) *Ben 10: Omniverse S4 [[CN]]* - ★★★½☆**	(49) *Squid Game S1 [[Netflix]]* - ★★★★☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½	(37) Ben 10: Omniverse S5 [[CN]] - ★★★★☆	(50) *Sex Education S3 [[Netflix]]* - ★★★★½**
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**	(38) *Ben 10: Omniverse S6 [[CN]]* - ★★½☆☆**	(51) *Midnight Mass [[Netflix]]* - ★★★★½**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**	(39) Ben 10: Omniverse S7 [[CN]] - ★★½☆☆	(52) The Morning Show S2 [[Apple TV+]] - ★★★☆☆

(1) Servant S2 [[Apple TV+]] - ★★★½☆

Most people sleep on Apple TV's offerings but while they may not offer up the breadth of content Netflix, HBO or Prime do, their hitters hit hard and are right up there with other services' best. Servant is one of those gems – adept at combining the psychological and ethereal horror of its tragic core juxtaposed against the brilliant black humor and comedic beats, Servant layers its easy-to-invest-in complex characters, their lives and the situations they find themselves in against all the twists and turns inflicted upon them. Not knowing whether you should feel sorry for them or terrified of their actions makes its ongoing mystery and the ruses along the way captivating television. The series is carried on the backs of standout performances from its impressive main cast with Rupert Grint turning in the best performance of his career as Julian. He is mesmerizingly effective balancing character moments that range between unfeelingly humorous and curiously profound, the appeal of the guilt his character shoulders and the façade of presumptuousness he hides it behind it serving as an effective vehicle through with the show is able to drive its narrative forward. There's a whimsical and macabre clarity to the ruses offered up forcing characters to formulate plots that inevitably spiral out of control – Julian offers the viewer an essential reprieve from the dread of this world.

The disparate coping mechanisms Sean, Dorothy and others display in grappling with the loss of Jericho shrewdly evolve in real time to placate the psychological breaks these characters endure, the thematic and allegorical biblical symbolism as well as the metaphorical representations of renewal and rebirth lurking around the periphery of every scene in both obvious and obscure well-placed manners. This deepens the supernatural perplexities of Servant, heightens the diversionary tactics that keep you guessing and allows plot devices such as memory erasure to feel like fully committed parts of the show's premise. Roscoe's hypnotic entrancement – an unsettling scene with a creepy tenor reminiscent of Get Out, dovetails nicely with Dorothy's exhausted state and inability to recall Jericho's death that allows the show to lay out stimulating directions it could take as it reveals how everything ties together. The desperation and compartmentalization of Dorothy is a splendid example of the way Servant navigates the torture its characters inflict on themselves and each other. Her outwardly cruel and bizarre extremes manifest alongside humorous beats while she navigates her personal trauma in parallel with her inability to cope with the ramifications of her own reality and the mistakes she's made. These boundaries are bumped up against but not overstepped allowing a delicate tonal balance that serves the framework of the show effectively. Leanne's character arc this season is also captivating and well earned; the insight into her history and the abusive household she was raised in serving as a foil to her own agency, purpose and reconciliation from her past. The measure of humanity and independence she regains through her victimization at the hands of Dorothy sets in motion the Biblical framing of her supernatural abilities and the potential roles grief, resentment and tragedy impart on both the circumstances of her character and the parallels with those she's entrusted to. I love the fact that the supernatural aspects and correlation between those and unexplainable events was leaned into more frequently this season.

At times it was at the expense of tight narrative plotting and mystery giving way to fleshing out characterization but the directorial work in Servant sets the mood and tenor fantastically – especially when it comes to the energy and malice imbued in conversations centered around preternatural implications set forth by characters like George. The literal and metaphorical blurring of its mysteries deepens them with a tedious meticulousness that never feels overbearing because the connecting tissue offers up just enough satisfying payoff to make them feel worth it. While I have slight problems with the non-linear introductions that further convolute the plotting and its insistence on creating confusion as to what's real or not, the tacitly intelligent studies of Servant's themes – and the cathartic nature of it, highlight the humanity of its characters and the evolution of their arcs through a visual storytelling that you can't help but become engrossed in. I do get the feeling, because of the poignant imagery reinforcing the thematic elements of the series, that Servant takes place in a conceptual purgatory where those who are unable to confront their sins and accept their fallibility are destined to entrapment until they're able to save themselves. I just hope the show continues to be its unpredictable idiosyncratic self, subverting expectations and answering its own questions with bewildering revelations. The tantalizing mystery, supernatural dread, grounded world and grim moodiness raised the tension and stakes to a level that made its action and character development feel purposeful in its second season. In a landscape filled with disposable dramas, Servant's supernatural mystery thriller flair and the compelling narrative paths it teases are a must watch.

(2) The Expanse S5 [[Prime]] - ★★★½☆

Whereas season 4 heavily focused on the threat of the Protomolecule and its destabilizing influence in the system, the fifth season of The Expanse returns to a pointedly focused expository exploration of its characters while laying the groundwork for James, Naomi, Alex, Bobbie, Amos and Avasarala each forging their own paths forward. Their desires and disparate objectives don't entirely align with one another but the parallels between them drives a more engaging narrative arc and better realized stakes by breaking up the core cast and forcing them to confront their pasts, make amends and repair broken relationships. It pushes them in interesting directions, fleshes out introspective facets of their characters we haven't seen before and balances this character driven exploration in a quandary of moral dilemmas and mystery.

In particular, Amos is a character who has always been swollen with traits of toxic masculinity but The Expanse subverts expectations by expounding on his personality through expository breadcrumbs and the exploration of his relationship with his mother as the vehicle in which the bonds he forges through compassion and kinship with others is cerebrally framed. Wes Chatham offers up his most convincing performance yet this season and I appreciate the fact that the writers aren't afraid to let this character defer to stronger or smarter women and men without ever letting it be interpreted as a reflection on his own intelligence or strength. Avasarala's trademark wit, charm and interminable stubbornness come back for another go as well but this time from a position of weakness after being sidelined by Cho's election as the new Secretary General. This relegates her to more of a reactionary mindset and being more reliant on others but it adds another layer of resilience to the character by heightening the political intrigue and edge of despair her arc encompasses. The way it beautifully parallels the powerlessness of her station and thematically incorporates sorrow, confusion and grief to exacerbate the vulnerability of her circumstances is top notch writing and acting. I'd give Shorhreh Aghdashloo an Emmy for her work here; the actress – and the profundity of her costuming framing the thematic elements of her arc are wonderfully executed. Marco Inaras is, hands down, the most fully realized and compelling antagonist The Expanse has introduced. His self-righteous morality, the cunning manipulativeness with which he's cultivated a dedicated following devoted to his preordained cause and the subtle ruthless charisma Keon Alexander portrays him with is emotionally affecting.

The history of oppression, empowering the Belters with a hopeful vision of prosperity and luring those amenable to his grievances into acquiescence rather than demonizing Earthers or Martians is smart because it blurs the line between his ideological supremacy behind the curtain of righteousness and ambition. This is played out through Drummer's confrontations with Marco and how at a basic human level our instincts shape relationships and decisions – through the complicity he forces upon various Belter factions, Marco forces them into resentfulness and breaks apart tribal allegiances. The gravity of Drummer's situation takes on new complexities since her grief and guilt over Ashford's murder pit her loyalty to her crew and moral righteousness against the vengeance she thirsts for. The familial dynamics between Naomi and Filip are fascinating in their exploration of the undercurrents of abandonment as the crux of the emotional conflict between them. Acceptance framed against fear, desperation and jealousy build tension without condemning characters but does have the tendency of feeling overwrought in its desire to humanize Cyn's role in the abduction of Filip and his subservience to Marco. Dominique Tipper navigates this dysfunction with a helplessness and grief that crescendos into a powerful portrayal of hope and strength that defines everything she is fighting for.

For such an integral part of the core narrative and one whose bearing forebodes the majority of the conflict witnessed, the threat of the Ring and Protomolecule is largely absent for large swaths of this season. It feels like the uneven pacing and emphasis placed on the set up going forward focusses on getting from point A to point B at times which impacts the foundation of central arcs feeling like they're redundantly stalling and exploring central themes that have already been explored by relegating the wisdom its characters have earned to the sidelines instead of incorporating it into the plot. Would have liked to see this not relied upon as a familiar conflict resolution mechanic to drive the narrative forward as often as The Expanse relies upon it. While the season as a whole is structured effectively, albeit better in some moments more than others, the individual beats could explore more adventurous territory and allow some unexpected risks with its storytelling in order to portray the embodiment of regret, choices and validity of one's morality. This would help the pacing drive home the stakes more effectively and elevate the compelling science fiction storytelling and layered, contemporary sociopolitical themes The Expanse dissects so well. I do think it will be a heavy lift to satisfyingly wrap up the existential threats of the ring and Protomolecule with resolutions that make sense and tie everything together in the final 10 episodes. As always, the visual effects, presentation, commitment to the science of space, physics involved in its battles and set design here remains the gold standard.

(3) Paradise PD S1 [[Netflix]] - ★★★☆☆
(4) Paradise PD S2 [[Netflix]] - ★★½☆☆
(5) Paradise PD S3 [[Netflix]] - ★★½☆☆

Nobody will confuse themselves into thinking Paradise PD comes close to passing as an intelligently written show but that doesn't mean it doesn't make an admirable effort to remain relevant with its resolute determination of offering up an endless torrent of witty pop culture references and satirical insinuations on topical issues that serve as the backbone of its most entertaining moments. While your mileage may vary on the cleverness of these attempts, the well-known celebrities – and institutions, Paradise PD focusses its ire on can come off as entirely superficial in their worst moments but at their best the gags work as an effective counterpart to the less defined and all-encompassing crude humor most of the show's underlying structure relies upon. There's also an obvious inspiration taken from Brickleberry but it definitely feels as if the creators toe the line a little too dangerously between imitation of their previous property and their own originality to differentiate the two shows from a stylistic and comedic standpoint. The episodic format and overarching plots that stitches together derivative raunchiness, drugs and violence other shows before it previously explored ties together the focus of its comedic trappings effectively but it also snares the show's characters into derivative stereotypes without palpable individual traits to distinguish them from one another or their Brickleberry counterparts. Expanding the range of the jokes told and exploring loosely tied sketches that deviate from character arcs would allow for Paradise PD to build up a more engaging narrative and cut back on the recycled beats that find themselves too frequently relied upon to execute punchlines. The third season in particular feels hyperactively paced due to the frequency with which it introduces threads that get developed for an episode or two before segueing into unrelated sketches and beats that often feel aimless and lacking in purpose. The introduction of Gina and Kevin's relationship is one instance where Paradise PD eschews established characterization in order to advance beats that aren't entirely necessary. There are aspects here that are handled competently but far too often it feels contrived and little more than a forced necessity of the plot. The creators deserve kudos for attempting to utilize a serialized framework in order to establish a sense of continuity, flesh out its characters and elevate the formulaic trappings of its satire but there's some work to be done when it comes to weaving the adult humor into the narrative more cleverly and evolving the show's characters mannerisms and relationships alongside it.

Thematically I'd like to see the show devote more of an effort to more intelligently expound on some of the serious topics it explores and develop some semblance of a thematic core if it's going to deconstruct toxic masculinity, toxic femininity, drug addiction, race, female empowerment, body image and sexuality. There are opportunities to drive home a coherent through line that never materialize which is frustrating because not only does it come off as tone deaf, it wastes character centric narratives that could benefit from a different direction and imbue some more humanity into them. While Paradise PD isn't going to become Bojack Horseman, imparting some nuance to their sketches by taking certain topics more seriously would allow creative storytelling opportunities that otherwise aren't available. Both the animation and voice acting are highlights as well as the stylistic approach the show takes in bifurcating its characters and settlings from a visual and tonal perspective. Dana Snyder leads a talented and dynamic cast with a range and delivery that adds welcomed flair to the town of Paradise and is able to breathe some fantastic life into their crude existences. Having the town feel less constrained and unimaginative by fleshing out the world and establishing it more impactfully as well as not confusing bottom-of-the-barrel humor and whimsical plotting for creative writing would go a long way into shoring up some of the missteps Paradise PD makes though and it's something I hope the show is able to address. I'm always up for some breaking of the 4th wall however and this show does it in spades.

(6) The Chilling Adventures of Sabrina S4 [[Netflix]] - ★★★☆☆

One of the most interesting aspects Chilling Adventures of Sabrina offers is the fascinating mythology of its world; the rules magic is beholden to, relationships and encounters between its realms and the ramifications of decisions made by characters who upset that delicate balance. Sometimes these concepts are explored and embraced fully which leads to interesting plotting making certain resolutions feel rewarding and earned, other times they are forgotten about or ignored which can leave the viewer frustrated. Conceptually, the premise of season 4 is fascinating and gives the show opportunities to tonally tap into material that feels right in its wheelhouse. Chilling Adventures of Sabrina has always hit its highest notes when focused on the existential threats its antagonists present and the witchcraft used to deal with them – as a byproduct, this gives room for supporting characters to flesh out their roles and offers up emotional stakes that otherwise resemble plot mechanics instead. CAOS still struggles with finding the right balance here during season 4 but there are moments scattered throughout where it does manage to get it right. The Eldritch terrors are, unsurprisingly, the overarching narrative (along with the usual teen romance drama beats) focused on in Sabrina's final season. I actually quite like the monster-of-the-week flavor here and feel like it serves the show's interest plotting wise but I think that some of them, such as The Uninvited, aren't realized fully and come off as too simplistic becoming a hindrance to the threats these monsters represent. Father Blackwood's desire towards a singular cause and using the Eldritch Terrors as his vehicle to achieve it leads to overly busy plotting and awkward tonal shifts that muddy their introductions and stall our understanding of his motivations in the use of them.

That said, one of the most enjoyable episodes of television I've seen transpires in CAOS' penultimate episode. The brilliant plotting and a more focused (and mature) Sabrina Morningstar present us a wonderful deconstruction of this world that subverts expectations deftly, conceptually toys with self-referential satire and offers up a tonal back and forth that waltzes between uneasy dramatic and hilariously campy beats. The fact that it's able to keep the threat of the Eldritch terrors at the forefront with effective storytelling while at the same time breaking the fourth wall by poking fun at the previous incarnation's sitcom roots is worthy of praise. Bringing back Caroline Rhea and Beth Broderick (the animatronic Salem) is an exhibit in fan service done right – not only are their original personifications honored, they're given the opportunity to explore some dramatic threads that reveal them to be vessels of The Void. The action sequences in this episode are genuinely enthralling as well; characters murdering each other, Salem throwing out on-the-fly rewrites – it's simply fantastic as is the atmospheric creepiness that came across perfectly throughout the entire episode.

Unfortunately, the finale doesn't stick the landing as well. It suffers from over plotting, an absence of character moments and emotional pay off, too many unanswered questions and forgotten character development. I'm not sure how much of an effect the cancellation had here but it feels like it played some part in the failed commitment to explore and maintain the show's pathos. Abandoned plots such as Lilith's long game to become the Queen of Hell, Lucifer's banishment to the mortal realm, who the Trinket Man was supposed to be a representation of, Baron Samedi's offer and reveal, Hecate not saving Sabrina and Zelda witnessing an older version of Sabrina with her met tet Edward all deserve resolution. Where Sabrina finds herself is also a question as the paintings in the Void-like room suggest and are framed in a manner that put her in neither the mortal, infernal or celestial realms. The problematic romanticizing of Nick's suicide, how he ended up in the same place as Sabrina and the finality of her demise considering the pathos allows for numerous ways to revive her are all a little hard to believe. Perhaps those questions will eventually be answered in some form. The writers at times seemed to struggle in exploring the power structures of the different realms, the logic surrounding beliefs, magic and mythos – all which could have done with a little more consistency. Ending on a positive, the sing song verbiage of the chants and incantations in Chilling Adventures of Sabrina are constructed wonderfully - the thought put into them is easily better than any other show I've seen dealing with magic.

(7) American Horror Story: Murder House [[FX]] - ★★★½☆

I've been planning on re-watching this entire anthology series as it's been a while since I've checked out the early seasons and it still remains something I regularly recommend, at least the first few seasons, to friends and family. Murder House does hold up surprisingly well almost a decade after the iconic FX anthology series took television by storm and though it feels dated in some respects, these fallbacks aren't enough to impact my opinion on how well crafted it feels. I appreciate the fact that instead of relying on traditional horror elements, as its name belies, American Horror Story whetted its appetite by investing in psychological drama to atmospherically set the stage for its characters and locale in its first season. Whereas following seasons tended to become convoluted by the midpoint of their narrative arcs with little resolution or care for its plot points and a reliance on cheap tropes as mechanics, Murder House executes its beats skillfully – never wavering when it comes to focusing on the deeply flawed occupants who are entrapped in its orbit. Ryan Murphy's ability to skirt the conventions of traditional horror and storytelling by dancing around tropes and whimsically tying the narrative to them in order to put the puzzle pieces together is a stroke of genius that works well and feels fresh. Another thing I hadn't realized is how much I was missing Jessica Lange in the later seasons of the series until revisiting her performance as Constance Langdon; I'd love to see her reprise her role as a new character at least once more before the series calls it quits but unfortunately that doesn't seem to be in the cards. Murder House's characters, their secrets, the relationships they have with one another and the complexities of human nature give this season its emotional weight and keeps it storyline captivating. The unraveling of the house's mysteries, its history and how all the individual parts of the whole came together so effectively by the finale was satisfyingly wholesome in its resolution and is something I wish future installments of the series had been able to navigate as effectively.

(8) Band of Brothers [[HBO]] - ★★★★½

This was a re-watch for me so I'm not going to write a dissertation on Band of Brothers but suffice it to say that not only does it remain one of the greatest miniseries ever conceived still to this day but it is one of the most consequential pieces of entertainment ever produced. The setting of World War II is the focus here and not the war itself; through the eyes of Easy Company, we're transported into the hellish landscape of war, the brotherhood and humanity of those who suffered through it, the morality – or lack thereof, of lives often boiled down to simple statistics and the courage it took for these scarred and imperfect soldiers to find some sense of normalcy afterwards. Band of Brothers focusses on the important elements with a brutal honesty that forsakes the gratuitous in favor of personal stories and experiences that allows the viewer to connect with them. The quality of production, direction and acting is a masterclass. At the end of the day Band of Brothers is about comradery and what war does to a group of men; the emotional resonance of this and the investment in its characters is mentally exhausting but well worth the effort. The powerful stories throughout this theater of war are all powerfully depicted but Bastogne and Why We Fight still remain as impactful on repeat viewings as they were the first time I watched them – the forging of these bonds and having to rely on others in life and death situations gives a unique, if sometimes factually and historically incorrect, insight into the horrors these men experienced. The melancholic atmosphere in the final episode and seeing how the war has changed the world and impacted those who fought in it is beautifully composed and does a great job in providing just enough closure to Easy Company's nightmare without losing the palpable sense of sadness and uncertainty that looms ahead for many of these men. Definitely a series that should be required viewing.

(9) Chernobyl [[HBO]] - ★★★★½

HBO simply can't miss when it comes to producing high quality historical miniseries and Chernobyl is yet another in a long string of masterful adaptations. This was my second (or third) re-watch and it remains the same unique horror it was upon my first viewing. The evocative and haunting tenor that permeates every scene, the infuriating lies, denials and deceptions of an Authoritarian regime, the devastating human toll enacted and the heroism of those who sacrificed everything is poignant, authentic and contemplatively depicted in a fictionalized account that feels as true-to-life as can be. The performances of Jared Harris, Stellan Skarsgard and Emily Watson are masterful as they individually and collectively navigate their own dismissal, understanding and acceptance of this disaster. The direction, writing and production values offer a dramatic representation that never strays far from its linear depiction through the use of scientific narration, effectively expounding on the web of lies and deceptions that define the toll of the disaster. The cinematography and staging – from the harrowing scenes of irradiated skin peeling off of Vasily's deteriorating body in the hospital to a brood of puppies and domesticated animals being executed in the Exclusion Zone or the mundane scenes of people watching and children playing in the falling irradiated ash while first responders unknowingly come into contact with the graphite of Chernobyl's core are all difficult to watch but compelling in their magnitude. Chernobyl is effectual because it's heartbreaking and difficult to watch and it reminds us, every step of the way, that the incompetence and greed of those who willfully ignore the truth enacts an unnecessary peril. And ultimately, those who are tasked with confronting their foibles are the people who sacrifice the most in ensuring a greater good – quietly, dutifully and at a cost far too high.

(10) Black Summer S2 [[Netflix]] - ★☆☆☆☆

There's a balance to be found between a grittier depiction of a zombie apocalypse, the moral calculations of its characters, fragility of the human psyche and the intricacies of commonality, or lack thereof, in a world unshackled from any pretense. Black Summer didn't get it right in its first batch of episodes and while it has the odd moment where things sort of click in its 2nd season, the vast majority of its 8-episode runtime feels like more of the same packaged with a new coat of paint and a frustratingly convoluted framework. The idea of a safe-haven from a zombie apocalypse is conceptually tiring at this point and doesn't offer any intriguing abstract ideas in order to flesh out characters or plotlines which is a problem when you're already having trouble finding a reason to invest in very few of them to begin with. The relationship between Rose and her daughter, Anna, are a great pairing and regularly carry the show through their desire to survive and the emotional trauma that impacts them. Though there are far too many logical loopholes and senseless decisions made that come across feeling like contrived plot mechanics, it has the (perhaps unintended) effect of grounding their experiences and making their story feel like it's not ripped straight out of a fantastical depiction of a post-apocalyptic world. Spears gets an excellent bottle episode in this season too where he's forced to confront his past and grapple with his own mortality through Brathwaite, a character who acts as a metaphorical embodiment of absolution and forgiveness. There's a lot of existentialism throughout this particular chapter and it really highlights how badly Black Summer drops the ball when it comes to unpacking the personalities and objectives of its other character studies.

Perhaps the biggest turn-off and an almost deal-breaking misfire is the pretentious narrative structure and it's vexing insistence on screen titles that have the opposite effect of feeling original and make large swaths of episodes feel unimportant at best and like a slog to get through at worst. I'm not sure why the showrunners thought that locking themselves into such rigid storyboarding and distorting the timelines of events was a good idea but it makes the show lack any coherent through line and relegates the vast majority of its characters to background bit actors. There were points where I pulled out my phone in sheer boredom throughout the season because I wasn't sure if I was supposed to care about characters who had already died trying to be shoehorned into previous events through the non-linear storytelling. Really head scratching how this ever felt like a good idea in the first place and furthermore, how anybody greenlighted it from an artistic point of view. The change in locale from the urban setting of the first season also stripped away far too much of the uneasy tension and atmospheric foreboding for my liking. The absence of zombies isn't bothersome by itself but the deficiency of fleshed out characterization and creative plotting through character interaction or dialogue is as barren as the frozen tundra every rag-tag band of humanity finds themselves traversing. I'm not entirely where the show goes from here or if it even deserves a 3rd season to continue stringing us along but considering the cliffhanger in the finale, I do think there is potential for the show to reset itself and focus more on the unpredictability of its world and make its characters feel more distinct. Less of a reliance on force-feeding exposition through its structure would help as well but I'm not entirely sure the writers are up to that. I guess if there's one positive, Black Summer is better than The Walking Dead and its avalanche of spinoff properties.

(11) Your Honor [[Showtime]] - ★★★½☆

Your Honor makes a concerted effort to present the groundwork of its premise in a manner that is carefully crafted and deliberate without ever giving too much away through the process of entangling the predicaments of its main characters in a series of constantly escalating fated decisions. The contextual framing and ambiguity here serve their purpose in counterbalancing the thematic threads of race, racial justice, privilege, authority and morality that reoccur with an omnipresent resolve. Bryan Cranston is brilliant as always and even though there is a risk of typecasting himself in the morally compromised archetypal role, there are enough distinctions between his portrayal of Walter White and Michael Desiato to make these two characters disparate from one another. Both men are thrust into fraught situations where compromises lead to increasingly abhorrent calculations but whereas Walter White was frustrated with the mundanity of his live wanting import and power, Michael uses his position of privilege to wield the influence he already possesses to protect himself and his son. The intentions of both characters and the sympathy they attempt to garner dovetail but the failure of these men is measuredly different. The themes of how racial justice is administered, the dichotomies between the rich and powerful and the degrees of separation between the privileged and underprivileged are ruminated on intelligently and expose Michael's moral fortitude as a mere convenience. Interpersonally, Adam's sense of guilt, despair and desire to implicate himself contrast themselves against his father's attempts to remedy the situation.

At times Your Honor tries too hard here and some of his decisions feel like manipulative mechanics to build suspense behind indecision leaving the plotting feeling unearned and contrived but it doesn't sidetrack the overall narrative too much. I would have liked to see more characterization independent of his instinctual desires and self interest in favor of the compromises and injustices threatening the control of their own fates and self-preservation however as it would've caricaturized him less. I love the fact that the show never misses a beat in reminding the Desiato's of their sins at the most inopportune moments; whether it's Django regurgitating a piece of brain matter or connections unwittingly involved in the cover-up serving to incriminate him, the burden of a guilty conscience is never allowed to be diminished. The strongest beats are where the show balances its framing of the plot against the social issues dramatized. The weight of loss in underprivileged communities who have to resort to crime to escape a systematic cycle of poverty, the humiliating encounters of being black and having white cops reminding us that the scales of justice don't care how successful or accomplished you are while others are given impunity to manipulate systemic levers –allegories and metaphors thoughtfully opined on relating to the black underclass, racial injustice, politicians, law enforcement, family ties and morality are woven throughout every machination in Your Honor's story. These consequences don't get pushed aside or sidestepped but there is a callous disregard, at times, to the human consequences and impact of them which drives home and captures the inhumane reality.

The courtroom drama is brilliantly framed and the elements of the cuts to Jimmy Baxter, a prosecutorial case laid bare and Michael finessing the jury by discrediting evidence all serve to translate the underlying threat effectively. It's unnerving to watch a man presiding as judge over his own sins and trivializing the circumstances of instances transpired to Kofi, his family and others caught in the crosshairs. There is a point here that's made in identifying racial justice and black experiences as collateral damage when it's suitable to white authority in positions of power and how quickly their devotion to racial justice is abandoned when it suits a certain narrative. The finale gives itself almost too many loose ends to be tied up but it feels well earned and satisfying getting to see each character confront the tragedy in their own manner as they come to implicate Michael through their own discoveries. The most powerful scene of the season, and there were a number of them, is Lee confronting Michael in his chambers and eviscerating his justifications, perversion of justice and attempt to guilt her into the shame of uncovering his truth. She tears down the altruistic fairy tale Michael's concocted where he's the hero of his own fantasies and refuses to affirm his belief that he's not a part of a failed justice system that is designed to tip the scales for only some. A suspension of belief and refusal to acknowledge a testimony full of holes that crumbles under cross examination is required to believe the jury's verdict and I wish there had been more effort to convince the viewer that this was anything other than a plot mechanic to further the story. The death of Michael's wife is also sidelined and doesn't feel integral to the plot but instead tacked on thematically as another secret kept hidden. Through 10 episodes of morality and injustice, Your Honor does its job effectively and appropriately ends with justice and punishment administered by machinations that parallel the tragic circumstances the series began with. Fate and moral failings are often interconnected while leaving a debt that eventually needs to be collected and Michael ends up paying the ultimate price for his sins. It's a frustratingly sensical poetic justice but does leave you wanting more – since Showtime billed Your Honor as a limited miniseries and a follow-up is unlikely, I'm not sure I'm entirely satisfied.

(12) Magic Knight Rayearth S1 [[Prime]] - ★★★½☆
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★★☆

Magic Knight Rayearth is able to take a rather simple premise but manages to turn it into an engaging and genre-bending work of fiction that blurs elements of a fantasy roleplaying game brought to life. The world of Cephiro is a living, breathing, imaginative land constructed with a whimsical beauty that effectively frames its narrative and conjures up a sense of mystery by endowing its characters with rich histories steeped in enchanting lore, a sprawling scope and intriguing legacy. There are aspects to Cephiro that could certainly use more time devoted to their backstory – particularly historical events that have shaped its modern-day iteration, the extended history of the Rune Gods and their importance in resolving events that have been put into motion. Oftentimes a lot of these beats are relegated to plot mechanics that fail to build upon the narrative or provide resolutions to questions that beg for answers but it doesn't make Cephiro's current events any less interesting or break the viewer's immersion in the Universe. Placing the world in the hands of those who have the power to control its destiny isn't entirely original but its execution feels unique with the overarching thematic elements of friendship and fate organically fleshing out the kinship of its three main characters – Hikaru, Umi and Fuu through the emotional stakes of their shared destinies. Love is a constant driving force of character motivations here with the juxtaposition of its pros as an empowering solution opposed to it being a debilitating hindrance serving as an effective vehicle through which much of Cephiro's conflict is depicted.

There's an undeniable charm and spirit that makes this and the overall ambiance of Cephiro alluring and even though this anime was developed in the 1990's, the artwork often comes across surprisingly contemporary in its design. The static shots, deformed characters and stock shoujo techniques aren't overemphasized excessively and the art compliments the tonal narrative shifts from serious drama to whimsical slapstick humor with a sophisticated palpability that makes the world feel lived in and integral to the plot. Character's magical abilities are more dependent on stills and repetition prone to suffering from minimal movement that neutralizes their impact but the distinctively rendered models, background art design, magical musical score with its rich variety of instrumentation and the wide variety of cultural cues in the second season's design work introduce a distinctive stylistic approach that all receive top marks. When it comes to the storytelling, Magic Knight Rayearth opts for an episodic approach which has its own pros and cons. The advantages it offers is in tethering the plotting to its characters with a perfect tonal balance of comedy and humor, conveying its central thematic threads through an engaging narrative and memorable characters as well as offering up compelling antagonists that flesh out the world of Cephiro cleverly. Sometimes the formulaic structure is relied on to a fault and has the tendency of introducing filler that disrupts the pacing by relying on a monster of the week approach a little too frequently – though, to the show's credit, it is able to differentiate its scenarios enough to keep each new adventure appealing and the journeys something you want to invest in.

In particular, the merging of RPG elements with the mecha genre distinguishes Magic Knight Rayearth from other animes and allows it to engage with fictional tropes that give its evolving weaponry and armor, unique magical spells and progression like quests a delightful self-awareness and subversion of expectations. Nowhere is this more apparent than in the first season finale with its tight plotting, perfect pacing and additional degree of depth to Zagato's true motivations that casts the story in a new light. The show is willing to examine morality and sacrifice in order to give its story the extra edge needed to drive home the thematic underpinnings the climax stakes its emotional resonance on; the fact that it's not afraid to explore and embrace the fallibility of its characters builds to a climax that feels well-earned and truly rewarding. Angst and desperation take the second season in a darker direction tonally but it is never overwhelming and introduces a compelling plot, distinctive characterizations and motivations through its invading factions of Autozahm, Chizeta and Fahren. The integration of the stylistic differences between these antagonists are used to good effect in contrast to Cephiro – their scientific, magical and mystical bases skillfully employed as competing plot devices that expound on the underpinnings of their societies. Magic Knight Rayearth feels most engaged with its narrative here and heightens the dramatic buildup to its major confrontations more effectively than the first season due to the more emotionally invested characterization and the history of the Pillar becoming a central focus in expounding upon the interpersonal dynamics between its protagonists. The downfalls of the Pillar system's arcane traditions and the sacrifices it demands manages to establish and humanize former antagonists by having them emotionally invest in familiar characters and fully develops the invading factions by representing them thoughtfully with complex motivations instead of boiling their depictions down to a ruthless conquering force. While no less engrossing, it's a welcome evolution from the persecution complexes, materialistic desires and loyalty objectives that served as the driving force of conflict early on in the series.

The characters and the evolution of their friendships with one another is definitely the most enjoyable aspect of Magic Knight Rayearth; Hikaru's self confidence that manifests into bravery, Umi's endearing impulsiveness and comedic foibles along with Fuu's empathetic tendencies complement one another well. Through the use of romance and love as plot points, Hikaru does receive quite a bit of development in the final season that manages to shed her naivety for a more mature persona. She isn't the only character the mechanic is used for but the complexity of her feelings for Lantis and conflict with Nova provide the crux of her character work and counterbalances the recurring motifs of guilt, suffering and moral uncertainty. The final episode wraps everything up with an artful execution and ideal resolution that neatly utilizes the power of the Pillar to provide closure. Magic Knight Rayearth is by no means a perfect series but it feels like an underappreciated gem that seems to have been forgotten compared to the more popular animes of the 1990's. While it will likely never happen, I'd love to see it receive a modern-day adaptation.

(14) Ben 10: Alien Force S1 [[CN]] - ★★★½☆
(15) Ben 10: Alien Force S2 [[CN]] - ★★★★☆
(16) Ben 10: Alien Force S3 [[CN]] - ★★★☆☆

Alien Force being my first foray into Ben 10's universe, I was pleasantly surprised to discover the series' almost deliberate willingness to explore serious and complex themes while opining on them through intelligent characterization and layered plot mechanics that expound on the typical cartoon and sci-fi tropes it would be easy for a show of this nature to rely upon. That isn't to say that Alien Force doesn't fall into this trap at times, mainly during the final season, but it is more the exception than the rule. The expansive world building gives Alien Force a wonderful foundation from which it's able to branch out its layered plot threads and distinguish them from one another through easy to digest pacing and narrative structure. While the underpinnings of most of these arcs are dark in tone, the show does an excellent job finding the right balance between its humorous and serious beats effectively utilizing the atmosphere of its settings to distinguish them and allowing the conceptual risks taken to be effective. Though the art style and animation isn't particularly memorable, the various alien designs Ben transforms into through the use of his Omnitrix are excellent – each of them possessing their own unique abilities and powers as well as their own distinctive personalities.

Alien Force goes further in building out the lore of its world by instructively authoring backstories of these species and their places in this universe which adds depth to not only their individual personalities but also their ability to affect the plot in unexpected ways. If there is a complaint to be made, Ben's character progression being halted and regressed at the beginning of season 3 is an unforced error that didn't need to happen. Said to be a network influenced decision in an attempt to replicate the original series tone and structure, his character loses the self-awareness he built up in the first two seasons and reverts to being a childish brat. The course correction and meaningful development earned through the situations he had gone through painfully strips away the feelings and desires of other characters and those interpersonal relationships do tend to suffer as a result. The tonal character shifts and return to more procedural storytelling also affects Kevin's redemption arc making it feel a little too unearned. But overall, the dynamics between the three main characters are rewarding because of the bonds they forge with one another and the character development feeling organic. At times it develops at a pretty quick pace but Alien Force manages to escape falling into the trap of using these relationships as convenient plot devices.

The highpoint in Alien Force is, without any question, the Highbreed arc. Dealing with the thematic undercurrents of xenophobia, racism and the misnomer of genetic superiority, Ben 10 tackles these topics in a carefully crafted manner with intelligent writing and a desire to subvert the viewers expectations through the depth and nuance of its conflict resolution. The season 2 finale draws allegories to imperialism, colonialism and the misguided philosophical beliefs of racial superiority leading to attempted conquest as well as the desire to reject any threats against the dogmatic belief of this genetic purity. Alien Force even goes so far to loosely allegorize the one drop rule in having its antagonists preferring the extinction of their species to being tainted by the inferiority of others. In contrast to H.G. Wells' 'War of the Worlds', which season 2's finale is appropriately named after, the antagonists in Alien Force redeem themselves through the acceptance of other cultures thereby preventing the fate that befalls the Martians who succumb to their compromised immune systems in H.G. Wells' novel. The systematic rejection of colonialism and the fates that have befallen imperialists throughout history by extolling the virtues of diversity is in large part what makes Ben 10's resolution feel fully realized and compelling. Overall, Alien Force is an enjoyable series that boasts convincing antagonists, a fleshed-out world full of compelling lore and a cerebral narrative driven by strong characterization – all of these parts create an impressive whole that's very much worth the time invested.

(17) Ben 10: Ultimate Alien S1 [[CN]] - ★★★½☆
(18) Ben 10: Ultimate Alien S2 [[CN]] - ★★★★☆
(19) Ben 10: Ultimate Alien S3 [[CN]] - ★★½☆☆

The natural progression of Ultimate Alien feels like an essential continuation of the expansive lore and compelling world building that was fleshed out and built upon in Alien Force rather than the reintroduction approach sequel series sometimes fall victim to in order to reconstruct or tinker with narratives. While the thematic exploration of darker themes still remains – some of Ultimate Aliens best episodes including 'The Ultimate Sacrifice', 'Catch a Falling Star' and 'The Forge of Creation' fully commit to exploring morality, mental health and trauma – at times it does feel like there is a slight overcorrection towards the lighthearted comedic approach of the original series from a stylistic point of view. The filler episodes situated between arcs fall victim to this more than others but overall, the dialogue maintains its thoughtfulness, nuance and remains appropriately tailored to the lore, character development and established world they inhabit. Ultimate Alien also manages to salvage a good portion of the character growth, primarily Ben's, the final season of Alien Force retconned by blending Ben's personality of an overly inflated and immature ego with the down to Earth responsibility intrinsic to his development through the first two seasons of Alien Force. This benefits his growth by humanizing him and interpreting his personality in a more refined manner that is able to balance the struggle with fame and weight of responsibility protecting the Universe thrusts upon him. He still remains an intentionally unlikeable character at times whose narcissism and greediness are part and parcel of his self-absorbed personality and there is no unearned redemption arc but his desire to protect others from threats only he has the power to confront and the willingness to sacrifice himself for others is illustrated satisfyingly.

My favorite arc in the series focusses on the Andromeda Aliens escaping from Aggregor and the individual focus devoted to them through divergent framing and tonal tenor in order to keep their origins from feeling repetitive. Exploring each of their stories through flashbacks, self-conflict and role reversal makes their introductions more meaningful and fleshes out their abilities more effectively. Aggregor isn't the most compelling or thematically deferential antagonist the series offers but his pursuit of attaining the Amalgram form and the resulting journey it takes us on to The Forge of Creation serves up a number of coherent and satisfying plot beats that demand emotional investment and rewards viewers with a gratifying payoff by its climax. Ultimate Alien also does a good job fleshing out the dynamics between Ben, Gwen and Kevin without them feeling convoluted or forced. The dimensionality between them is more pronounced and believable but there are times when the execution of interesting ideas falls a bit short of being fully realized and can feel contrived. During the Ultimate Kevin subplot, Ben's characterization comes across as wonky and irrational, letting a character whose actions are inherently evil live but deciding that Kevin must be stopped at all costs, even if that includes killing him. This feels out of character for someone who has a tendency to forgive and fails to capitalize on the tastefully handled allegories of mental health disease that are prevalent in the analysis of Kevin's inability to control his own actions. It just feels like a convenient plot mechanic in order to force a particular resolution.

The introduction of Ultimate forms adds to the lore of the Universe and makes it feel more multilayered having the added benefit of reintroducing original series aliens with updated animations and forms. I would have enjoyed seeing forms for other aliens like Rath, Goop, Jetray and Diamondhead even if they only got brief cameos in the way of filler episodes and better execution for some forms like Wildmutt and Cannonbolt which feel like little more than simple redresses without their own differentiation or unique abilities. The actual concept of the Ultimate forms and their origin could have been fleshed out more since the groundwork of these evolutions is not established clearly. The only way I can describe the finale of Ultimate Alien is one that is entirely anticlimactic and disappointing in contrast to the rest of the better paced and smartly conceptualized Dagon arc. The cosmic horror and depiction of a malevolent Eldritch terror, the Flame Keepers Circle as an intriguing antagonist, the Forever Knights finally feeling intrinsic to the plot with an ultimate goal and actual purpose instead of the filler throwaway they had become and Vilgax receiving forceful plotting to flesh out his motivations are all solid. I still feel like Vilgax's intimidation factor and inability to adapt to Ben's tactics is an oversight the writers have never been able to overcome, Sir George's importance is vastly overstated as he ends up becoming a non-factor and Vilgax is defeated far too simply. Dagon being an entity with enormous cosmic power that Vilgax doesn't understand how to wield is sensical but better writing could've avoided the writers painting themselves in a corner having him be absorbed. Overall, the settings and locations Ultimate Alien explores in its episodes and the themes it tackles are a worthy successor to Alien Force before it and a welcome investment in the series.

(20) Love, Death & Robots S2 [[Netflix]] - ★★★☆☆

The most intriguing aspect season one of Netflix's Love, Death & Robots experiment introduced was the sense of wonderment its stories told and the endless imagination its worlds invoked while being able to lose themselves in enthralling narratives that gave each of the short stories a feeling of expansive potential just waiting to be explored. In the more condensed second season the shorts take on more of a novella approach, their more self-contained nature conceptually opting for a stylistic formula that gives us brief snapshots of narratives without ever committing to conveying ideas beyond the initial premise. This isn't problematic on its own but considering the condensed episode order and heavy reliance on hyper realistic rendered worlds, it does feel like the second season formulated its narrative beats around worlds after they were created trying to force certain stories into preconceived limitations. The first season manipulated its characters and worlds with a ton of experimental concepts and animation styles that felt distinctive from one another and felt engaging whereas this season circles around to similar premises in multiple episodes and doesn't seem interested in displaying any variety. The presentation and animation are still phenomenal and most of the episodes are entertaining but they feel lacking in terms of the stories they're telling and the risks they're willing to take. Compared to season one's thematic undertakings of psychological trauma, perverse manipulation, horror, existentialism, violent gore, belonging, dystopian allegories, survival, origin and purpose, faith, understanding of human society, comedy and so much more – this season feels so tame and safe in comparison so it's hard not to be disappointed. I think that the magic of the first season and how it's invested in pushing boundaries is rooted in those episodes feeling like proof-of-concept pitches instead of the fully formed stories season two offers and as such the characters feel less intricate and resemble set pieces and generic props without as much nuance or depth instead.

I think that 'Ice' is the only episode that feels undercooked and poorly executed here even though the animation style is the most unique out of all of the episodes. The story is ambiguous and doesn't ever make a point of making it feel like it has anything important to say about the underpinning of its concept and the ethical arguments for or against body modification. Episodes 'Life Hutch' and 'Automated Customer Service' both rely on killer robot tropes but the former has little going for it beyond its impressive animation whereas the latter's aesthetic feels more in line with one of my favorite episodes from the first season, 'Three Robots', right down to the topical comedic inferences and quirky animation. The episode 'Snow in the Desert' definitely feels like the most fully formed in terms of world building and embracing the humanity of its characters and their psychological motivations. 'Pop Squad' is another good example of this series finding something that works and piquing curiosity – the juxtaposition of utopian and dystopian societies and their superficial trappings present the opportunity for the exploration of existential ideologies through fascinating character studies. I think that two of the better offerings are certainly 'The Tall Grass', offering up a great atmospheric vibe and art style that feels like a homage to a Stephen King short story and 'All Through the House', a tonally brilliant story with perfect comedic timing that is part Krampus-inspired Eldritch Horror and part comedic interpretation on the consumeristic nature of what Christmas has become. Most conflicting is 'The Drowned Giant' and its convoluted self-reference through the use of allegorical and metaphorical soliloquizing. Its message about mortality, fatalism and the way we perceive the world is important and resonant but it just does not come off with the depth or nuance I think the episode was trying to go for.

Hopefully going forward the worlds feel more fantastical and we get more variety in the stories being told because there's nothing more frustrating than a premise feeling underutilized or ignored. I believe that all the animation this season came out of one studio instead of the multiple studios tasked with composing the first season's docket of episodes so perhaps the pandemic played a part in narrowing the creativity and quality of these 8 episodes. Regardless of whether that's true or not, I do think this season's episodes weren't terrible by any means and they are deserving of a watch but I can only hope that next season sees more of a return to what made the original batch feel so adventurous and engrossing.

(21) Them S1 [[Prime]] - ★★★☆☆

If I were to sum up Them, I'd say frustrating yet intriguing; obscene but tempered; relevant in its topical application of societal themes but outdated in how it goes about depicting them. The aesthetic here – from its musical inflections, goosebump-inducing framing and the permeating creepiness in its composition often times feels like it is lifted straight from the unsettling atmosphere Get Out conjured up. This isn't problematic on the surface by itself but because of Them's half measures in navigating some of its subject matter, the efforts it makes in exploring thematic undertones of racism, inequality and white supremacy feel subdued in comparison to better offerings that came before it. This isn't as damning as it could be thanks to the phenomenal performances turned in by the acting leads who slice through the material with a captivating ferocity that keeps you invested in the fate of the Emory family as they navigate through the ingrained structural systems that emboldened racial covenants in white communities during the mid-1900's.

I feel where Them excels most is in its exploration of those invested in preserving a racial hierarchy and how that foundational myth of America still bears a topical relevance in persistent attitudes with people holding positions of power still to this day. Through composition, pacing and staging to convey its character beats and advance its plot, Them is able to metaphorically and literally – as well as existentially, convey the horrors of racism with a tension and dread that feels constantly palpable. And though I'm not fond of a reliance on these effects stylistically, the vertigo shots and staccato editing are effectively utilized in honing white grievance while the split screen effects brilliantly juxtapose the traumatic emotional beats of fear, pain and the reality of their situation against the intimacy of Livia and Henry's relationship with each other. The recurring motifs that distinguish the past from the present in setting up the psychological battles of the Emory family are artfully presented, the simplicity of their statements and straightforward depictions of racism exacerbating the dreadful certainty to events you can't help but see coming. This is reinforced through sense of belonging, own self agency and the oppressive weight of experiences unable to be escaped that force the Emory family to capitulate to social constructs and further fuel the internal struggles amongst themselves. Almost all of this is framed by the primary faultline driving racist white mania in Them's story – the ideal nuclear family. Introduced through the hesitancy, and at times unwilling, nature of white characters whose mentalities contrast against one another as well as the lack of clarity around certain supernatural elements offers up ambiguity and a lack of clarity that really begs for more fleshed out development.

One of these subjects that certainly could have been fleshed out more is the overarching theme of war and the scars it has imparted on Them's characters but the allegorical exploration of these horrors and its relevance to underlying trauma that inhabits Henry's life are never fully committed to. On the other hand, the contextualization the Emory's trauma by tying them to distinct supernatural entities is effective and a convenient way to individually explore coping mechanisms from stress and grief. Henry's ghoulish minstrel man, the Tap Dance Man, taunts him for placating the white man and being one of the good ones; Doris is a representation of Ruby's self-hate and her desire to fit in; for Lucky, the Black Hat Man is the manifestation of torment; and Miss Vera represents oppressive doubt and fear for Gracie. The imagery here works but Them does have the annoying tendency to obfuscate between its social themes and its horror beats too frequently in an attempt to advance its plot and while it juggles both competently, too much of what it has to say rests on the hook of these apparitions and the juxtaposition between the paranoia, anxiety and grief they represent. It also has the tendency to beat its audience over the head with horrific, traumatizing and needlessly dramatized scenes that are played up with accompanying music and ostentatious cinematography to depict the horrors of racism. The "cat in the bag" scene takes a fire poker to the raw wound of black trauma and forgoes nuance in favor of being as explicit as it can possible be. This isn't needed to be impactful or and even though it contextualizes Lucky's mental state and her past experiences manifesting in the way they have; the psychological trauma doesn't need to be conveyed in this manner to drive home the point. On the other hand I loved the poignant offering that came in the form of the spoken word black empowerment creed dictated by the Watts Prophets. It's depressing how topical their opining on the conditions instituted to subjugate Black America, the Civil Rights activism of the 1960's, competing ideologies of the Black Panther Party and Nonviolent Coordinating Committee and white backlash against black property is still to this day. The persecution complexes and grievances in a demographically divergent America from what it once was still isn't acceptable to segments of today's population.

I also didn't mind the origin episode delving into the history of what took place on the land of current day East Compton – ignoring the expository flair and existentialism dripping in religious subtext, Them gets to the heart of the issue and explicitly depicts America's original sinful covenant that it's never been interested in escaping from. The manifestation of evil as white supremacy and parable of supernatural entities representing that infernal nature is an effective central metaphor combined with the show's agnostic suspicion of the concept of God. I do think the series gets in the way of its own message here as well though and wish it would let the horrors speak for themselves through imagery and dialogue instead of drumming home shock value through torturous scenes. Overall, Them doesn't offer much in the way of resolution during its finale and its thematic underpinnings often come up short in substantive value but the story is engaging and its aesthetic is compelling. The conflict the show has between exploring the grief and insecurity of the Emory's juxtaposed against the supernatural imagery that doubles as metaphorical exposition for the injustices America has fostered against black and brown bodies by channeling it through horrific imagery makes the subject matter difficult to watch without offering much in the way of fleshing out the story. It also makes Them's narrative feel open ended and one that offers little catharsis or triumph against racism which perhaps is appropriate considering blackness is still under a constant threat. The lows – Betty's bizarre and uneven character arc in particular, are weak and forgettable with their conclusions abruptly disregarded. The highs, when Them grounds itself in the overlapping latticework of power and prejudice built upon racism, patriarchy and misogyny to form an oppressive construct are poignant and memorable. I just wish there was more of the latter than the former.

(22) WandaVision [[Disney+]] - ★★★½☆

WandaVision is an iteration of the MCU that feels antithetical to almost everything that's preceded it which is both a welcome development and exciting path forward for its properties. In terms of execution, format and content, the first half of the season isn't as interested in its fundamental commitment to exploring the mysteries it offers up as it is in opting to serve as a showcase for Elizabeth Olsen and Paul Bettany to chew up the scenery and work their way through amusing homages, physical comedy and the intimacy of their relationship that underpins these beats. This has the tendency of leaving a compelling narrative and establishing mechanics that invest in its world on the sideline even as the escapism in its aesthetics and unsettling sitcom tropes raise intriguing questions about the nature of its reality. The composition and framing of this formulaic approach are complemented by switching camera set-ups and other techniques that build up tension and atmosphere effectively through the use of evolving set designs and the dichotomy of characters acclimating to the time periods they find themselves situated in. As such, the individual elements of the genres Disney appropriates work well tonally and find the right balance between artistic flair and the implementation of prose other mediums of entertainment have already explored.

This isn't to say that WandaVision doesn't make mistakes in its implementation – the conceptual framework of the show requires almost too much knowledge of certain intricacies of the Universe for it to work on its own as intended and it feels like some developments would land with more of an impact if they were tailored to a more expansive audience. Thankfully the juxtaposed motivations of characters both inside and outside of Westview frame the existential threat palpably enough and the creepy subtext in foreshadowing crucial plot points add to the mystery with narratively convenient mechanics long before the show establishes itself as an important expositional part of the MCU. Structurally approaching Wanda's emotional stability, mental health and coping mechanisms through the tragedy of the romantic relationship between herself and Vision is an effective avenue in peeling back the layers of her grief and even dips its toes into subverting genre defined stereotypes with psychological and spiritual examination of the human psyche. As the façade starts to crumble and Vision breaks down the walls of this fantastical paradise, Paul Bettany turns in a phenomenal performance navigating disgust, horror and shame in holding Wanda accountable for her actions – as an aside I have to say, if these MCU shows are going to allow its actors to actually display range in fleshing out these characters, it's well worth the investment and makes me a believer in their importance.

To the show's credit, it does excel at being incredibly vague throughout much of the season by conveniently stretching out the mystery as to whether or not Wanda is fully in control though the subversion of its tropes and tonally balancing the comedic beats against the emotional heft of intimate fraternal love as control of the situation seems to slip away. I think structurally framing the deterioration of Wanda's world by having it fluctuate wildly out of control between different timeframes while being narrated in a Modern Family-esque style confessional to set up Agatha's reveal was an effective choice. I'm not familiar with her character but the nuance, comedic timing and talking points did a good job foreshadowing the enigmatic nature of who she really was as the brilliant flashback reel depicting her affecting important moments throughout the season slaps us in the face with the benefit of hindsight. The comedic take on broad archetypes of classical American sitcoms and the metatextual shell they were encompassed in during the first 7 episodes piqued my interest but – on a fundamental level -- the final 2 episodes of WandaVision, with its sinister threads and tonal shifts between realities atmospherically imparted as Wanda traverses her loss and grief, hooks me line and sinker investing my attention into its narrative in a manner that feels incredibly rewarding.

The penultimate episode in particular frames its emotional stakes through the vehicle of Agatha taking Wanda back through defining periods of her life in order to force her to undertake a journey of self-actualization in uncovering the source of her Chaos Magic. The MCU, in its films, doesn't allow for the kind of nuanced exposition we get here; the silent love and desperate rage Elizabeth Olsen conveys throughout this episode as she peels back suppressed layers and adapts to personal loss, her role in the world and how to survive feels like a reintroduction to a character that lacks most of this dimensionality in her film appearances. Agatha serves her purpose as a fantastic anti-hero and foil nudging Wanda along with a sardonic nonchalance that effectively frames the duality of the relationship between the two in order to establish the boundaries of their abilities and the rules of the magic they possess. The character work here is downright fantastic in how it introduces new conflicts and teases mysteries that have the potential to take the MCU in entirely new directions moving forward. WandaVision is somewhat predictable in its machinations on navigating loss and grief though subverting genre tropes is a new concept for Marvel's properties and helps to ambitiously tie up its loose ends, find resolution to emotional conflicts and hints at intriguing avenues of exploration in the future. When the show taps into the philosophical exploration of self-agency and ethical motivations, the nature of existence and personhood with its storytelling, WandaVision doesn't feel bound by its science fiction trappings but by the heart of its pretense that's served as a coping mechanism for Wanda throughout her life and her desire to sacrifice her own happiness in order to begin healing from her trauma. Figuratively and literally the manipulation of loss and the manners in which they define us and our relationships make WandaVision shine and I certainly can't wait to see how the two end credit scenes factor into the next Captain Marvel and Doctor Strange films.

(23) Fate: The Winx Saga S1 [[Netflix]] - ★★½☆☆

The action sequences and CGI breathe a lot of life and into Fate and give the show a sturdy foundation on which it can build upon its strengths going forward. Not being familiar with the original animated series, I understand this interpretation is purposefully darker with an emphasis on relatability however the delicate balance between maintaining the fantastical and imaginative magic of Fate's otherworld has a tendency to ground its escapism too much which tonally blurs the otherworld aspects of Alfea. The subtleness of this framing does work better in particular moments more than others and serves its purpose from a plot mechanic convenience. I do appreciate the fact that there is a distinctiveness between the magic displayed and the manners in which particular magic serves a unique purpose or can be harnessed to suit a situation. Since the magic in Fate's universe is linked to emotion, pairing both of these together offers up intriguing segues that intelligently explore the discovery and personal growth of these characters relationships with one another. Of course, as it is with other teen dramas, love and romance is part and parcel of the plot – going forward, I would like to see the outdated love triangle tropes with characters pitted against one another become less entwined in Fate's overarching plot.

I also feel that this show deserved and definitely could have made use of a couple extra episodes to flesh out its world building, character development, overall premise and conflict resolution. The threat posed by the Burned Ones, the antagonists in Alfea, feels unconvincing at times because we're rapidly transported from one conflict to the next without having time to get to settle down with these characters or their situations. Even a few extra episodes would've allowed the narrative to breathe better and devote more of a focus on the central themes of the animated series which delved into friendship, empowerment and the interpersonal connections Fate's characters forge with each other. In a second season with less of an episodic constraint there are a handful of meaningful and compelling arcs that just scratched the surface in this season I would love to see expounded on at the expense of the romantic tropes. One of these is the complexities of the relationship between Stella and her mother, Queen Luna – and how their co-dependent oppressive relationship dovetails with the situation characters now find themselves in. Stella is an interesting character because her irresponsibility and manipulativeness stems from her own insecurities which manifest into the belittlement and intimidation of others. We eventually figure out that this is all borne out of the expectations and obligations placed upon her by Queen Luna because of the friendships she finally begins to forge with others empowering her sense of self-worth and rejecting what's defined her up until this point. More consistent world building to establish the rules of Alfea such as how students are able to communicate between worlds and the boundaries imposed when it comes to the rules of the academy are answers I'm looking for questions to. We do get to see some of the finer details of how students finesse control over their magical abilities during a lecture from Headmistress Dowling where she guides the fairies in harnessing their powers. Here again is where the distinctiveness of the magical abilities offers viewers glimpses into these characters on a more personal level – it's a fantastic scene that I'd love to see more of.

On the other hand, the relationship between Dane and Riven is problematic in its reliance of casual homophobia and the fetishization of queer relationships. Winx has the ability to do justice in portraying bisexuality tastefully instead of relegating its inclusion to self-hate and manipulative archetypal roles. Authentic representation matters and another area Winx can improve here in introducing new characters in season 2 after omitting a Latina character in Flora and white washing Musa's East Asian ethnicity away. Terra is a great character, her arc and development this season shows a plot of potential in peeling back the layers of discovery and empowerment here but they could've easily done this with an appropriately casted actress. This season feels like the preface to a much larger story yet to be told and the final two episodes do a great job teasing the potential that lies beneath with its interesting twists and entertaining developments. Better pacing to allow for more meaningful and memorable development, juxtaposition between characters and conflict resolution and more exposition fleshing out Alfea's history and key events so the overarching threat feels less confined are all things I think Fate can accomplish in its second season to become better.

(24) Invincible S1 [[Prime]] - ★★★★½

The fundamental exposition of Invincible's pilot is genius in the way it incorporates familiar and inviting superhero genre archetypes, combines satirical iconography of numerous different universes, establishes the idealistic core concepts its heroes are supposed to abide by, fleshes out emotional bonds intimately and then shockingly turns all of that on its head in a brutal and genuine holy-fucking-shit moment. The predilection is to automatically point to The Boys as a companion series to Invincible but the identity and building blocks of this Universe feel distinctive in their own right –notably the connective tissue that forms the interwoven framework of its narrative in exploring the human elements of its characters. It's easy to lose yourself in the intimate and relatable coming-of-age establishing mechanics that focus on the mundane existence of Mark Grayson because the patriarchal bonds that define his relationship with his parents, Nolan and Debbie, impart a solid foundation for the forthcoming less grounded elements. The organic progression of Omni-Man's ethically compromised twist is deftly navigated and deliberate in its intentions because Invincible doesn't feel the need to reveal his motivations but instead peels back the layers of his psyche at a slow boil in order to give his actions, the scope of his objectives and the subtext they're shrouded in more impactful. The world building helps in this regard with its fantastic history developed absent of any exposition or convoluted tropes so that the sense of discovery is aided by individual aspects being introduced as integral threads to the plot. This makes it feel like we get a front row seat to watch the machinations of dynamics between characters that riff off of Marvel and DC's established lore develop in real time.

Part and parcel of this is the emotional toll and responsibility of getting accustomed to being a superhero takes on Mark and his struggle in figuring out a balance between his two lives. This reoccurring motif allows supporting characters to supplement Mark's own experiences of trauma with their own perspectives and flesh out relationships between one another in a limited amount of screen time. Perhaps the most important of these relationships is Debbie and her relationship with her son acting as an emotional anchor point through which the developing friction with her husband and complexity of parenting establishes her own agency in tackling stereotypes, toxic masculinity, disparate world views and assumed gender roles. Her affection and proclivity towards sensitivity establish her personality through the use of emotional cues and a dimensionality in its portrayal that, thankfully, isn't littered with typical played out tropes but instead embraces complications to strengthen the relationship's foundation. Authentic LGBTQ+ representation without relegating a character's entire identity down to their orientation is not the case here, though it would have been nice to receive a little more focus on Will's character development this season. It manages to engage with the emotional intensity and desires Will has with an excitement and proactive subtext that filters into his friendship with Mark – with him now actively enveloped in the narrative after learning about his friend's secret, I'm interested in seeing how this relationship evolves in particular and the role it plays moving forward. Its shifting point of view and perspective is a good example of how Invincible's narrative rarely becomes predictable and generally opts to juxtapose the circumstances that shape the lives of its characters. Neither protagonist or antagonists have static roles in this world so the dichotomies of conflicts are able to be framed intelligently with tonal risks that set up relationships and reinforce motivations by investing in the humanity of its characters.

Whether it's Debbie pushing back against Nolan's privileged world view, the layers of identity piled upon a character like Titan whose circumstances belie the humanity of his actions or Eve's search for insight into her purpose in the world, the blend of influences in these various beats work well together and channel intriguing subversions of the genre without wearing out their welcome. Nolan's lack of empathy and morality is played out in a series of heightened tensions and suspicions throughout the season with the contrast between his persona as Nolan, who can be convincingly malleable to constructs of his marriage with Debbie, and Omni-Man's visceral brutality driving these plot points. The betrayal of his oaths and dereliction as a parent contextualize the extent of his actions and builds a permeating sense of dread in turning points that never come across as circumstantial or lack satisfying resolutions. If there's a core relationship in Invincible that isn't affected through emotional conflicts, I haven't noticed it. I love how the lack of trust in Mark and Amber's pairing parallels Debbie's marriage with Nolan; the inability to trust and be open with one's partner rarely has a fulfilling outcome.

The expository dump on Viltrumite in the finale is loaded with numerous allusions revealing Omni-Man's home world to be a nihilistic imperialistic empire that has taken it upon itself to be self-appointed rulers of the galaxy and arbiter of genetic worthiness. Benevolence as a guise isn't an original trope but Invincible is able to lend an emotional and psychological impact to this narrative by presenting this mindset as a justifiable notion in a society that embodies desensitization to murder. The allegories of this worldview have a topical relevance that's hard to ignore; empathy and compassion is viewed as a weakness and the empowerment of others is a threat to one's own inherent superiority. Through the use of structural techniques to frame the narrative with the same brutality of its fight scenes, Nolan's mindset when it comes to the insignificance of humanity is borne out during the entirety of the finale's conflict. Mark receiving a personal look at his father's true self is beautifully juxtaposed against the creeping suspicion and denial of his mother has had. It's heartbreaking watching the pain encompass her as she listens to Nolan marginalize what she meant to him. The reminder of Mark's childhood does manage to rekindle a semblance of the love and humanity Nolan possesses however and try as he might to suppress it, his colonial instincts are contextually pitted against the importance of his life on Earth. Flashbacks and interspersed personal moments are smartly used in order to avoid a disconnect here that could've left them feeling flat.

It has to be noted that the civilians who become collateral damage in the fight between Omni-Man and Invincible are framed with an unassuming ignorance that gives the death and destruction inflicted upon them a grounded real-world poignancy. Their lives are given significance in Invincible and though the spectacle of destruction captures the toll, it's the emotional cost their loss of life imparts on Nolan that gives these scenes a very personal connection. Personal trauma, reconciliation, coping mechanisms and the lingering effects that persist afterwards go hand in hand in fleshing out the relationship with mortality Invincible isn't afraid to explore – enriching the narrative and making it feel impactful. The stylistic aesthetic of Invincible, from the dynamic choreography and brutal artistry of its intricate fight scenes, to the nuanced expressions and gestures through which emotion is conveyed, the individualistic flair each scene, model, background and hero is rendered with and a phenomenal cast of A-list voice acting talent brings the world to life with aplomb. All of these aspects build momentum and make you want to invest by blending together the dynamic of modern and classic genre tropes by supplanting various aspects of them with more engaging thematic elements and an evolution of interpersonal relationships. The set-up for Invincible's 2nd season and beyond is teased by Allen the Alien who seems to have plans of using Mark as an intergalactic ambassador to fight back against Viltrumite's imperialistic march. I'm not sure how the show plans to balance planet hopping and the semblance of normality Mark still desires with his human lifestyle but the potential narrative beats waiting to be explored in this constantly evolving universe are limitless. Regardless of what's to come, Invincible couldn't have planted its narrative seeds or executed its introduction any more effectively – its characters are the heartbeat of the show and the ties between them have done a fabulous job in establishing the stakes moving forward.

(25) Sailor Moon Crystal S1 [[Netflix]] - ★★☆☆☆
(26) Sailor Moon Crystal S2 [[Netflix]] - ★★★☆☆
(27) Sailor Moon Crystal S3 [[Netflix]] - ★★★★☆

The first season of Sailor Moon Crystal does an excellent job crafting its world, contextualizing the history and lore of the Silver Millennium and delving into the backstory of Usagi's reincarnation as Princess Serenity. Establishing the fate of the Moon Kingdom and its impact on the Sailor Guardians relationships with one another in their past lives as well as the dynamics between Usagi and Prince Endymion are well thought out and compelling but leads to the impression of these individual parts feeling more important than the whole due to breakneck pacing that doesn't allow for much exposition or enough intelligent exploration of the mature vibe presented. Each of the Sailor Senshi are distinctively developed with their own personas – Ami is intellectual and acts as the group's strategist, Rei is attuned to her psychic abilities, Minako is fearless and easygoing, Makoto is physically imposing but softened by her familial interests of cooking and gardening. While they serve largely as support and protection for Usagi, the other Guardians and their interpersonal relationships are treated more maturely without an insistence on the juvenile personality traits found in the original animated series. The lack of needless confrontation allows these characters to forgo baselessly prejudging one another based on outward appearances and instead allows them to display an ability to empathize in natural ways which has the benefit of humanizing their characters effectively.

It would have been nice to see them mature into their roles and develop their abilities through earned experiences and plotting but instead a lot of this is conveniently summoned at opportune times in order to satisfy story beats as plot mechanics leading to plot holes and moments that feel disconnected from one another. More screen time devoted to personal experiences, growth and consequences related to the threats faced would've allowed for the viewer to see the Sailor Senshi discover who they are while effectively making their arcs feel earned and justified with a relatable emotional impact and meaningful interactions. The battle with Queen Metalia also feels anticlimactic, rushed and a little too convenient because the threat that's posed never really transpires on screen. The expository poking at Queen Beryl takes time to reveal her involvement with Endymion not utilizing itself as well as it could have to let us relate to or sympathize with her motivations – on the other hand, the revelation of Jadeite, Nephrite, Zoisite and Kunzite once being Endymion's bodyguards gives compelling reasons to invest in their stories. When it comes to the animation, Sailor Moon Crystal's first season is bright and colorful tending to capture the tonal tenor well but the animation, especially during transformation scenes is too reliant on CGI with characters drawn shoddily and transitions awkwardly drawn out.

In Sailor Moon Crystal's second season, the Dark Moon Clan is a much more compelling and fully realized antagonist because Prince Demande and his group's justifications are fleshed out and built upon core beliefs that feel well motivated and astutely contemplated. The validity of Neo Queen Serenity's actions going against the natural balance are threaded throughout in expository backstory that prevent the Dark Moon Clan from being evil just for the sake of it. In addition, Demande's infatuation and yearning for Queen Serenity provides validation for his actions and Wiseman serves as a puppet master who fixes the mistakes made with Queen Metalia because the emotional impact of the threat he poses is heightened through the apocalyptic danger, hatred and lack of humanity he presents. Saphir and Esmeraude don't feel as developed but provide a nice counterbalance with their own roles to fill in the story.

The most enjoyable aspect of season two is Sailor Pluto and her relationship with Chibiusa – we get to see these two characters, one who lacks emotional engagement with others due to being tasked with guarding the Door of Time and another who is isolated through no fault of her own interact and connect with each other. Setsuna's observations of events through time provide her with a maturity, nobility and selflessness that gives her character an emotionally affecting and thematically poignant arc with most of the good storytelling this season revolving around her character in some form. Chibiusa's relationship with Mamoru does pose some uncomfortable dynamics throughout and the focus of an underaged child infatuated with and desiring of a romantic relationship with her father is awkward to watch. The obvious parent-child offerings explored through Mamoru's affection and compassion for Chibiusa is fine but Usagi's interpretation of this is characterized as jealousy and angles toward a narrative beat that culminates with Chibiusa's transforming into Black Lady and becoming sexually attracted towards Mamoru. Unfortunately, the other Sailor Guardians get relegated to a background role this season due to plot machinations.

Season 3 of Sailor Moon Crystal is the moment this series takes flight and finds itself. This is easily the most ambitious and well realized arc capturing the mood and the spirit perfectly. It adapts the Death Busters arc and though Master Pharoh 90, Mistress 9, Kaolinite and Dr. Tomoe don't receive the expository development of the Dark Moon Clan, the intricacies of their plans and strong characterization formulates a contextual foundation that pulls you in. There's a unabashed ruthlessness here with thematic undercurrents of free will, choice, death and rebirth that frame the conflict effectively and the bonds forged between the Sailor Senshi are established without feeling like their connection is fabricated for convenience. Usagi's empowerment in the Death Busters arc feels like it's been a long time coming – seeing her act out of strength and concern for her fellow Guardians is refreshing and not having her rely on Mamoru or others to get her out of tight situations is appreciated. The Inner Senshi receive as little screen time as they received in the Dark Moon arc with their abilities serving as little more than intrigues to the plot but there are still a number of wonderful heartwarming moments between Usagi and them that showcase the evolution of their friendship and growth. Even the relationship between Usagi and Mamoru is healthier with the characters talking to one another more effectively. The only thing missing here was some more slice of life interactions and fun moments to ease up on the tension from time to time. Chibiusa finally gets incorporated as one of the Sailor Senshi and also gets a rewarding arc in which she displays a growth in maturity, empathy and kindness that serves as the foundation for heartwarming relationship with Hotaru. She's an entirely different and more enjoyable character when her characterization doesn't revolve around being a love interest for Mamoru and gives us a chance to see her outgoing personality juxtaposed nicely against Hotaru's reserved vulnerability and frailty.

Although the character development could've been better balanced, the heavy focus on the Outer Senshi works for the narrative Sailor Moon Crystal is going for this season. Haruka and Michiru are absolutely fantastic additions, the affection they have for one another framed thoughtfully and the complexity of their relationships with the Inner Senshi presented superbly through exposition that peels away their intentions and backstories. The depiction of Haruka's sexuality and gender identity to which she conforms is authentically portrayed and is well structured into the overarching plot – a mistake rectified in relation to the 90's anime. I love the fact that the show subverts our expectations in its climatic showdown with Hotaru taking charge and using her powers rooted in destruction as opposed to Usagi's powers of creation serving as the resolution. The animation here is beautiful, elegant, refined and pleasant to look at. The revamped transformation sequences forgo CGI while returning to traditional 2D animation reminiscent of the original series. Awkward movements, poor transitions, disproportionately affected limbs all give way to simplified character models, better attack animations and more consistent artwork. The delicate and innocence of Etsuko's vocal and building orchestral tenor of the OP encapsulates Usagi's strength; the rest of the OST fleshes out the atmosphere of Sailor Moon Crystals scenes with orchestral tracks and angelic vocals during transformation sequences conveying the heavenly power the Sailor Senshi possess. The series may have begun with two uneven seasons but this season is a very powerful entry and welcome segue into the excellent Eternal films.

(28) The Underground Railroad [[Prime]] - ★★★★★

"The savagery a man is capable of when he believes his cause to be just" is a thesis, absent any contextualization, that feels like a damning statement about humanity in general. The surreal and contextually disparate opening sequences of The Underground Railroad poignantly evoke a setting and tone that feels disinterested in succumbing to traditional depictions of Black disempowerment. It immediately subverts traditional tropes with a boundless inhibition in its narrative sequences that poetically affirm the pain, trauma, hope and joy of Black stories through Cora's journey traversing an Abolitionist network that offers no salvation or refuge from the realities of the horrors she must contend with. The storytelling, framing and archiving of individual narratives here radiate with complexity in their attention to detail of the circular horrors that cling to the identities of characters both existentially and literally through magical realism and upended genre conventions. This fleshes out the tenderness, passion, humanity and otherworldly resilience of these characters by building them up instead of defining them through their pain.

This is some of Jenkins' best work – the juxtaposition of contemporary testimony, evocative storytelling and a visual immediacy that subjectively frames scenes to evoke a hauntingly resonant depiction of black culture and identity being stolen while remaining unflinching and cohesively unapologetic in the perseverance that still reverberates to this day. The upsetting horrific visualizations of traumatic violence and grief associated with slavery are presented with a purpose and truthfulness that avoids sensationalizing it, having it serve as a morbid curiosity or relying on it as degradative imagery. Respectfully navigated, black humanity and dignity in the face of this communal and historical trauma comes from the depth of character, personhood and the avoidance of caricaturizing the privileged entitlement of antagonists so as to allow its viewers room to grieve. One of the most impressive things about The Underground Railroad is the ease in which its metacommentary reckons with America's repurposing of the dehumanization of black people and their experiences by and for the controlling class through genteel betterment policies and caricaturizing the black body. Cora and Caesar believing they've found refuge from the horrors of the plantation in Griffin is proof positive of this in which the realities of the world are laid bare. It's a risky and bold narrative decision to separate them from one another so quickly but further reinforces the palpability of tension and lack of sanctuary ever-present in the exploration of white complicity, consolidation of control and ideological justification of one's righteousness.

Barry Jenkins' visual cues – caved in tunnels blocking progress on the railroad, claustrophobic framing representing a small opportunity of escape, lingering shots of bodies swinging in the breeze on a stretch of road called "The Freedom Trail" are almost ethereal in the way they're able to transport us to these moments and places in time. And it doesn't stop there. Some of the ambiguously interspersed beats viewed through the perspective of alternate history dystopian-ism aren't a fictitious recanting but serve their purpose in allegorizing white saviorism and obfuscating the intentions of those whose actions are undercut by problematic motivations. The covenant of religious ideology and one's own inherent belief in their supremacy, how it influences perspectives and the manner in which it's interpreted is an inseparable reality that religious subtext is able to partially capture. This is why the unpacking of Arnold Ridgeway's relationship with his father, the purpose he seeks, the power he feels entitled to and the rejection of any divergent perspective that questions it is so powerful. There's no attempt at humanizing or redeeming Arnold because there's no complexity to his belief in the colonialist aspects of slavery as an institution or the merits of reductionism in distinguishing a freed man from a nigger. His perceived Manifest Destiny and the American Imperative that fuels his grievances and validates his actions don't provide a substitute for the purpose he seeks – something reinforced through the uncomfortably oppressive characterization of Homer and his loyalty to Arnold. The absence of childlike innocence and the comfort afforded to him by the adulation of his master is juxtaposed against base instincts that require him to psychologically rationalize chaining himself up at night to feel safe. It can be challenged how much freedom or agency Homer has but Ridgeway's history is integral in understanding that he views his responsibility to him as a twisted absolution for an inability to distinguish between love and admiration.

The arduous pilgrimage through charred hellish landscapes and oppressive environments we traverse feel like an existentialist parable juxtaposing captivity and freedom against the reality of a situation that has enjoined itself with a buttressed credo. Death and escape are obfuscated by an oppressive tonal dead that forces viewers into psychological submission through testimonies that have been lost to history by those who no longer have a chance to tell them – there's an agonizing beauty and care to their stories, like Fanny Briggs', offering agency and power in return. Loss and suffering are inescapable from the subjugated experience of African Americans so it's a nice reprieve and welcome subversion to behold Fanny Briggs rise from the ashes like a phoenix. Her story is one that often portends tragedy instead of triumph so getting to witness the embodiment of hope, the possibility of outrunning evil and the tender essence of wonder in dreaming of a better future through her provides some semblance of conquest. Her character being borrowed from Colson Whitehead's other works and representing an amalgamation inspired by Harriet Jacobs enriches the narrative and drives home lasting truths of historical fiction through her brilliant recontextualization.

Thuso Mbedu's portrayal of Cora is mesmerizing as well; her ability to shrink into herself with a down casted gaze and stifled emotion in order to deny satisfaction of her tormentors, the skittish surveillance of the situations she finds herself ensconced in and the submissive slurred speech is heartbreaking. It layers the contrast between Arnold Ridgeway and herself with care and detail in every interaction grossly blurring the boundaries between a slave catcher and a woman fighting for her freedom at times. One of many moments that sticks with me is when Cora mournfully recants her sorrow and guilt to the viewer through elegies referencing those who are no longer with her – this desire for contact and tactility gives The Underground Railroad's missive a sense of interaction and subtlety in capturing its truth. The construct of freedom is also refreshingly mitigated and amplified through Cora's romantic interests like Royal, a free man born privileged with an innocuous ignorance who can't entirely grasp the weight of her burden and the pieces she's missing.

Her dream sequence in Indiana Autumn encapsulates the feeling of a promise of new beginnings feeling like the end of them instead – tonally unsettling in its eeriness, it marks a major departure from the more jovial tender moments that came before it. The production design of the grand terminal she visits in her fugue-like dreamscape is truly extraordinary and summarizes the contributions, intrinsic value and desperate pleas of blackness throughout American history with ominous and foreboding imagery representing the battle being waged with-in her psyche. The wailing pleas of anguished ancestors beginning to crescendo in volume as books of testimony are opened to search for documentation of Cora's story really hits home here in a big way. What follows in Indiana Winter is a tour de force 80 minutes of perfection and has to be considered one of the greatest episodes of television ever conceived. It captures the tragedy of Cora's story, the intimacy of love, understanding and acceptance with a profundity in navigating black experiences and it grapples with the precariousness and fleeting nature of hard-won freedom. The essence of the debate between Mingo and John Valentine echo both the voices of our ancestors and the contemporary issues still affecting black and brown bodies – their philosophical monologues are framed from historical perspectives and referenced in experience and truths that have proven themselves to be self-evident in their circular nature. The writing and nuance are presented with so much subtext, metaphor and allegory sermonized into a powerful cry for autonomy even though these two men are ideologically opposed in their beliefs of the best manner to empower our people. The useful delusion in believing that white men value the sanctity of black independence and black intellectualism being tolerable is the root of what has always been the driving fear and motivating factor of anti-Blackness throughout history anytime white supremacy is threatened and it ends up being the useful truth both men fail to ultimately grasp. The argument of independence versus assimilation is beautifully borne out not only through their competing monologues but also their experiences and the manner in which they're perceived due to the nature of their complexions.

Barry Jenkins doesn't debase either argument opting to elevate the portraiture of their lived experiences – something he visually incorporates through tableau framing so we're forced to hear these characters speaking to us. The way they unflinchingly look directly into our souls through wordless emotional power as they unburden actualizes them as real people with important stories, their suffering real and effectual, not marginalized plot devices. Looming large over the entirety of The Underground Railroad's narrative and acting as a driving motivation for both Cora and Arnold Ridgeway is the ghost of Mabel. The sanctity of her life story and the trauma women on plantations were subjected to receives its resolution in the finale, the motifs and bereavement of its characters tragically tying the narrative together and ultimately revealing Mabel didn't leave Cora but actually died trying to return to her. Planting the okra seeds and watering them with her pain and sorrow signals a renewal and rebirth of sorts for Cora, letting go of the only constant companion she's had as she transitions into a future just as uncertain as her past. The nurturing love and will to survive just as her mother before her and plotting the epilogue around the matriarchal bonds of protection and parenthood is a smart conclusion to this epic and provides enough closure to this particular story to feel satisfying.

This series is certainly not designed to be binge-watched. Its intellectual density and contextual unpacking of its themes wills you to understand and give breathing room to the dark currents of psychological, physical and existential horrors permeating the rehumanization of its characters. The pursuit of truths it seeks to affirm through the resurrection of lost perspectives and unheard tribulations – and all their virtue and heartbreak, is rapturously presented. This will go down (along with Colson Whitehead's novel) as some of the most influential contributions to black culture on television right alongside Roots. The tactile beauty in Jenkins' ability to capture his characters and their emotional states connects this journey along every step of the way aided by impeccable sound design and episodic arcs that steer clear of the complications and internal pitfalls coddling the realities of the Antebellum South. The Underground Railroad is required viewing. Do yourself a favor and watch it.

(29) Drive To Survive S3 [[Netflix]] - ★★★☆☆

Drive to Survive returns with another gripping batch of episodes that skillfully dramatizes the mundane, brings the sport to life with moments that would otherwise be non-noteworthy, explores the aspects of a changed sporting world in the time of COVID and focuses on the human element of a sport whose gaps often go unplugged by the traditional press that follows F1. The behind-the-scenes fly-on-the-wall storytelling is accessible to both the hardcore and casual fan, longtime followers and newcomers alike and serves as a gateway drug into the world of Formula One with the added benefit of expanding the reach of the sport immeasurably. All the familiar talking points get new coats of paint and offer up different perspectives (occasionally with the added benefit of hindsight) than we're used to with an artfulness and attention to detail that keep storylines like the midfield battle and driver lineups captivating. I was a little disappointed with the short amount of time devoted to the impact of COVID, the divergent views leading to a lack of precautions by the FIA and its effect on the season in the premiere episode as looking back, the lack of preparedness and nonchalance of people's attitude towards the virus as it was spreading is shocking. I understand why as it wouldn't be a good look for the FIA but Instead of spending most of the time on pre-season testing, the drama surrounding Racing Point's car and Lawrence Stroll's domineering mob-boss-like introduction -- the priorities, as Lewis Hamilton succinctly put it, of cash being king over health and safety should've been chastised more.

Where this series really shines is in the interpersonal dynamics between team drivers and team principals; further to the point, the rivalry between Horner and Wolff is fun and intense without getting personal and gives a fantastic insight into these two men's perspectives. The pressure and atmosphere inside Red Bull is palpable though and it's certainly one of the main reasons Albon's time with the team didn't work out. While I don't agree with the show's insistence of dumbing down racing incidents in order to portray Hamilton as the villain in both the Brazil and Australian crashes where Albon's desperation had him failing to note the Mercedes' position, Albon's lack of confidence and his issues getting the most out of the car and lack of progress are factors that the show encapsulates effectively. Red Bull seems to do great when it comes to identifying and developing talent but their choices for #2 drivers tend to be poor and the inability to manage egos is a problem that is pretty evident. On the other hand, the Bottas centric Mercedes episode peels back the layers of perhaps the sport's most introverted personality by framing his desire to win, position at Merc and respect for Lewis through his view of himself in relation to his teammate. Drive to Survive knows how to humanize drivers often portrayed through curated media snippets and while there are editing decisions formed to frame certain narratives, the insistence on guiding narratives through multiple viewpoints instead of relying on a sole point of view is a change from previous seasons to add more authenticity. This is borne out in every Vettel interview that takes place; his shitting all over Ferrari wile giving no fucks is hilarious and is beautifully juxtaposed against Binotto doing his best to downplay tensions with-in the team by offering up empty clichés of direction and unity. I've never particularly cared for Vettel but the nuance of his self-depreciating humor and personality are uncomfortable to watch constrained with-in Ferrari's serious outlook and focus on being more of a luxury brand than a performance team.

I did have a problem with the dramatized portrayal of the Carlos and Lando storyline. Spliced slips and radios from past seasons and entirely separate incidents overlaid against what's shown on screen is unnecessary. There's already enough political intrigue in the sport that they don't need to erroneously portray dynamics and frame things out of context – instead, I would have loved a more compelling narrative of the friendship between these two and the effect it has on McLaren. The solemnity with which the intensity and horror of Romain Grosjean's crash is captured is amplified by the reactions and various shots interspersed with audio in order to contextualize how long it felt witnessing the crash live. This is a scene where dramatic liberty taken from reality is appreciated and puts the moment into perspective. Some other highlights from this season were Rosberg chiming in to remind us he beat Hamilton for a Championship, the slow-motion capture of Perez overtaking Albon in Dubai showing the precision and elegance of wheel-to-wheel racing and the cheeky Merc double stack pitstop intro. I would have enjoyed seeing more time devoted to Black Lives Matter, the reasoning behind Mercedes paint scheme and Hamilton's perspective on being black in a predominantly white sport as well as his experiences of being an outsider and dealing with the impact of racism throughout his career. The 5 minutes we do get feels like a tacked-on afterthought and could've factored into more storylines throughout the season but it was a poignant segment that highlighted a harsh reality of the sport and the lack of progress from the FIA and teams in confronting the issue. If you love behind the scenes machinations of sport and, in F1's case, the races themselves serving as an effective backdrop to frame personal drama then this series is for you. There are blurred lines and fabrication, some interesting moments go by the wayside and some of the non-linear storytelling feels rushed but Netflix manages to center every episode around compelling narratives that flesh out the intricacies of the World's greatest motorsport.

(30) Charmed S1 [[The CW]] - ★★★½☆
(31) Charmed S2 [[The CW]] - ★★½☆☆

The first season of CW's Charmed reboot has a coherent overarching plot, complex antagonists, intriguing world building and tremendous characterization that wastes no time setting the machinations of its world and the fates of those with-in it in motion. Its Universe playfully flirts with the desire of feeling expansive instead of self-contained and makes itself home to a variety of well-defined powers, motivations and experiences that feel, for the most part, logically formed and justified. Conceptually tying the source of magic that powers both Witches and Demons together forms the foundation of much of what underpins Charmed's lore and aids in helping to effectively flesh out conflicts and offer satisfying resolution through character growth and development by way of the sisterly bond between Macy, Mel and Maggie. Their unique magical abilities and the Power of Three gives the show a distinct underpinning that allows it to prioritize interpersonal connection and implement individualistic traits to work in conjunction with the more traditional magical aspects that underpin the genre.

While the pacing does suffer at times and a few too many subplots get thrown into the mix, the desire to implement a scientific quotient balances the plotting between a monster-of-the-week approach and the congruent narrative tied to it. Charmed also isn't afraid to tackle issues of toxic masculinity, female empowerment, race + identity, LGBTQ+ relationships and other social constructs. While well intentioned, at times these topics are awkwardly forced into relationships or situations where they aren't introduced through character driven moments and as such don't feel natural or written as effectively as they should be. Organically meshing with elements of the plotting to strengthen these core aspects of the message being portrayed didn't transpire as much as I would've preferred. Some of these manufactured moments also force tension between the Charmed One's due to a reliant focus on their individual love interests but generally speaking their sisterhood is built up with an intimacy and closeness that feels emotionally connected. Macy's kind temperament, intellect, psychological trauma of abandonment and sense of belonging; Mel's outgoing and opinionated extroverted sense of place and purpose in the world; Maggie's desire for emotional connection and an ambitious desire to be seen and heard – these defining characteristics, along with Harry's inimitably quirky British charm as their Whitelighter, define the parameters of the show's narrative with a stylistic flair that gives it a sense of purpose.

The hierarchy of magic, prophesies of power and various sects of witchcraft's competing ideologies contrasted against the Demonic world's motivations is a large part of what Charmed stakes its narrative around which makes it all the more frustrating it seems to bounce back and forth in committing to this aspect. The destruction of the Book of Shadows and resulting loss of access to their powers in the 2nd season is an unnecessary and convoluted attempt designed to re-establish characters through rediscovery. The evolution of the Charmed One's powers are enjoyable when they're eventually able to access them again but the lack of creativity and variety in the magic otherwise used in a show that revolves around it feels oddly out of place sometimes and should be better incorporated. A less expedited resolution to the Elder's involvement and influence on the magical world in the first season could've assuaged some of these shortcomings and made resolutions to these discoveries feel less binary and repetitive if they were utilized to flesh out the motivations of benevolent forces. Blurring the delineation of good versus evil in contextualizing the origin story of Whitelighters immediately comes to mind here - the exposition relating to their own agency and subjugation through a complex physical connection is the type of rich mythology that is able to introduce dark implications while avoiding boiling elements of magical societies down to traditional archetypes devoid of dimensionality.

The immediacy in which Charmed's antagonists, conceptually fascinating and constructed believably, are dealt with leaves a lot of these resolutions feeling anticlimactic and unfulfilling unfortunately. Charity and Fiona from the 1st season felt like characters whose knowledge could've been leveraged as an effective establishing mechanic to outline stakes, Julian and Vivienne, likewise, feel built up into a credible danger that threatens the magical community even if they sometimes feel a little undercooked as antagonists. Humans harnessing magic isn't a new concept but it is one that opens up possibilities of exploring the potential consequences it has but yet a monster-of-the-week approach where the sisters act to prevent it from happening isn't utilized enough to flesh this core narrative out and instead their actions feel more reactive instead of proactive. Some of this can be attributed to new showrunners altering the tenor of the show and making it feel tonally inconsistent from the first season but I feel the slower build up in its plotting makes individual arcs more engaging. Frustratingly, the lack of personal moments and absence of the Sisterhood element do take a backseat however giving the impression that Charmed feels caught between being a show that explores social issues filtered through a magical lens sometimes and one that veers more towards a fantasy action aesthetic at others. Looser casting and expanding the orbit of Macy, Mel and Maggie by introducing people from outside their inner-circle like Abigael and Jordan do give the writers more interesting scenarios to explore in terms of personal consequences while raising the stakes. Abigael's agency is as refreshing as the show's commitment is to her manipulative persona and thankfully no unearned redemption arc is shoehorned in here considering she serves as a mechanic and convenient get-out-of-jail-free card for the Charmed Ones while passive aggressively belittling and taunting them. The element of validation she desperately seeks is nicely weighted against how the show navigates rehabilitating aspects of her character and the consequences of her actions. Jordan adds a sorely needed grounding element and perspective that bridges the humanity and magical abilities of Charmed's characters – his story feels relatable and serves as a basis for organic evolution in fleshing out the machinations of a world that too often seems to center around a handful of people.

The identities of the sisters this season (and any pretense of commonality between them) certainly don't receive the same nuanced development they received in the first season but Maggie's emotional growth feels a whole lot more relatable and better executed while staying consistent in its characterization. I appreciate the fact her trauma was explored and there are no qualms about acknowledging the mental health aspects we often suppress behind coping mechanisms in dealing with psychological issues. Her powers transitioning from being more passive to an offensively based skillset cleverly mirrors her progression which is a nice touch also. Mel feels like a different character compared to her season one counterpart, the brashness and critically opinionated self that defined her personality is absent and she feels entirely disconnected from overarching plots. Macy's characterization can be boiled down to a battle between her analytical side and her magical persona where her cautious nature is played up as a detriment that gets fundamentally connected to her relationship with Harry even though she's proven to be someone who adapts to stress and trauma with certain tendencies when uncomfortable. Instead of fleshing out her impulsive emotional side and pitting it against the reckless sensibility she sometimes displays, Charmed depicts her romantic entanglement with Harry as a hesitant push and pull that doesn't empower her as an individual and diminishes her fear of being hurt. There's a lot of great ideas introduced in the second season but also a lot of concepts that feel overly complicated and too circuitous for their own good.

(32) Charmed S3 [[The CW]] - ★★★☆☆

The addition of the Perfecti and the Tomb of Chaos open new doors in expounding the scope and serving as an interesting conceptual framework to build upon the mythos of Charmed's universe while deconstructing how the balance of power resides between its supreme beings and regular magical practitioners. As overseers tasked with bringing order to chaos they've sowed and acting as agents of an idealistic world absent the capacity of contextualizing their actions, the Perfecti manage to present moral quandaries through a unique prism and offer up an ominous subtext to the ethical underpinnings that drive their purpose. The tomb, as its name implies, being a psychological torture chamber that forces its vanquished foes' psyches to capitulate to an adaptive labyrinth is perhaps my favorite concept the show has introduced so far though if I had it my way, I would like to see this element incorporate other magical creatures into its monster-of-the-week approach. Beyond the entombed ancient evils breaking free I believe seeing werewolves, vampires, other covens and warlocks, demonic factions and other magical creatures could amplify the construct of the magical world being untenable and serve as the basis for better developed and more fleshed out nuance of these forces at play. A good start is with the combination of Brujeria and Western magic being explored with the introduction of Josefina so the building blocks are there to further illustrate how these different types of magic operate and exist. This is something I hope to see more of a commitment to in the future and should have the added benefit of helping to ground the show's continuity issues and lack of consistency in maintaining previously established mechanics that get conveniently ignored or forgotten about at inopportune times.

The consistency of the Charmed One's characterization and evolution as individuals feel re-established more in line with their first season identities allowing their relationships with one another to serve as the foundation of their growth and a believable plot mechanic once again. While the emotional support between them still feels convoluted at times, the effort to ground their experiences with the support of one another gives the impression there's a rewarding sisterly bond waiting to be peeled back. It's also a welcome change to see the writers display more nuance in their desire to approach intersectionality between social issues in a manner that feels contextually driven and metatextualized as an aspect of their identities and lived experiences instead of grazing over the impact of harmful stereotypes without fully committing to their consequences. The pacing, dialogue, acting and writing sees its greatest improvement in concrete emotional investment which is encouraging moving forward if the priority of the show is to focus on existing characters' growth and reinventing elements that have already been established instead of introducing beats that require suspension of disbelief to effectively materialize.

The outstanding approach Charmed took towards balancing the magnetism Poppy Drayton portrays Abigael with and how her layers are compartmentalized through clever exposition and a desire to approach weighty subjects with earned characterization is wonderful. Exploring repression due to circumstance and upbringing is confronted beautifully and judiciously makes a point of contrasting itself against the hypersexual bisexual anti-hero desperate for empowerment who has, up until this point, clung to stereotypes for validation. This redemption arc wouldn't feel earned if the manipulative and sociopathic tendencies embedded throughout to contextualize Abby's experiences were paced too aggressively or handled with the inconsistency some other characters have been subjected to. Missed opportunities in fully committing to storylines is something I hope is improved in the 4th season. Rushed plotting leading to underdeveloped plotting and dragged-out arcs gives way to squandered opportunities which has prevented Charmed from being able to reaffirm the characters at its center, their magical abilities, the world they're charged with protecting and a desire to reconnect with the sister's embracing their identities as Witches at various points throughout its two most recent seasons. We've oscillated between the Sacred Flame being the source of all magic to the Black Amber Tree representing it; the symbolic stronghold being their home to a command center previously unbeknownst; their powers being discovered, explored, lost and re-discovered – and, to top it all off, their mother being a powerful Witch with foresight being reduced to a shortsighted unfaithful partner in marriage. The lack of consistency with lore and rules of the world bleed into characters adapting based on situations instead of adapting to situations. It hasn't achieved it yet but these are things that can be rectified so long as Charmed doesn't lack vision in the story it's interested in telling to set itself apart from the original series so that it can find a way to veer outside of its comfort zone while still retaining the conceptual underpinnings of its predecessor.

It always felt shortsighted inseparably tying Macy and Harry together in a relationship that limited their ability to grow as characters while overshadowing the relationships they had with others due to the tension between them taking up all the oxygen in the room. To focus on this interlude while confronting a danger that poses a threat to their existence made little sense and to make matters worse, handwaving away Harry's desire to live out his live as a mortal in the span of an episode makes the journey feel fruitless and wasteful. Both of these characters are far more interesting apart from one another than they are together so it's a shame to see the interesting and unique qualities that defined them reduced to who they love instead of actually they are. Instead of complementing their differences and building on the chemistry that established their relationship, what we get feels counterintuitive to their established characterization. The departure of Macy and Abigael is going to be difficult for Charmed to overcome but I thought both sendoffs provided satisfying closure in allowing both to exit on their own terms. It shouldn't have taken the writers being forced to provide a resolution to introduce sisterly moments that should have been interspersed throughout the first three seasons up until this point via the structural framing of Macy's dream sequence however. The bonding moments and commonality in the final episode are a reminder of what could've been if other subplots had made way for their familial connection to be fully realized and committed to.

It will be interesting to see how effectively the writers can effectively work Macy's transition towards becoming a Guardian into future plotting moving forward. I hope they take the time needed for her loss to be properly grieved instead of automatically skipping past the consequences and replacing her as that would diminish the impact her passing has on Mel and Maggie. Effectively formulating its conflict resolutions with proper buildup and payoff moving forward is something Charmed will need to succeed in doing if it wants to raise the stakes and make its main characters as compelling as the world they inhabit. The foundation is certainly there and the show is inching closer towards finding its groove after bouncing back from an uneven sophomore season.

(33) Ben 10: Omniverse S1 [[CN]] - ★★★☆☆
(34) Ben 10: Omniverse S2 [[CN]] - ★★★½☆
(35) Ben 10: Omniverse S3 [[CN]] - ★★☆☆☆
(36) Ben 10: Omniverse S4 [[CN]] - ★★★½☆

Omniverse is quite the departure from Ultimate Alien and Alien Force in terms of art style, animation, tone and establishing mechanics but it blends all of its elements together in a vibrant multilayered adventure that feels well designed and refreshing throughout the span of its narrative. The fluidity of its arcs and the tonal balance between serious and comedic examination complements a heavier focus on characterization, pre-established history and the Universe's lore while introducing conceptual ideas such as the Nemetrix and locations like Undertown that serve in fleshing out the motivations of its characters and the impact of their actions. I wasn't sure how the departure of Gwen and Kevin would be handled but the introduction of Rook adds a chemistry to character interactions that make the lack of commonality with others land superbly as well as offering up an interesting dimensionality to Ben's personality that allows him to explore quirkier sides of himself and old adversaries from a new point of view.

Almost immediately, the episode 'So Long and Thanks for All the Smoothies' presents a conceptually daring risk for the franchise in toying with the idea of committing to implications of its hero failing and the repercussions of that failure. It would have been fascinating to see Ben traverse the intricacies of his self-doubt, guilt and remorse in overcoming the realization of acceptance a little bit more than Omniverse is willing to hitch its narrative to and while rewinding time to create a duplicate Universe handles the implications well, a season long arc with lasting repercussions would've felt more impactful and like less of a plot mechanic.

Malware resides near the top of the list when it comes to ranking the best designed, most intimidating, charismatic and threatening antagonists in the Ben 10 Universe. His motivations and backstory being framed by tragedy that tethers him to Ben gives him a unique insight into possessing not only a physical threat but a psychological roadblock that needs to be confronted as well. Forcing Ben to grapple with his own past and emotional vulnerability as he navigates grief and depression in confronting the mistakes he made with Feedback is an integral part of his personal growth and it operates under the assumption that his experiences allow him to grapple with accountability. The transitions between his past and present selves get utilized to great effect here and frame the juxtaposition of the kid he used to be and the mature teenager he's become making the resolution of Feedback's form being regained feel like another stepping stone in his progression. Whether Feedback was always in the new Omnitrix stored in the Codon Stream and only accessible after Ben came to terms with his past or if coming into contact with Malware reintegrated the sample into the database is left purposefully ambiguous and though it's not a major inconvenience, it's not apparent if this is by design or an oversight on the part of the writers.

Khyber on the other hand is a little more conflicting because he has potential that feels underutilized in its application throughout his arc and being tied to Malware tends to relegate his own agency and characterization to the periphery. A hunter with access to predatory alien species who uses cunning strategy to affect his ability to prey on others is conceptually interesting on the surface but the abilities of the Nemetrix and its capability to counteract the versatility of Ben's alien forms with predators who've specifically adapted to them essentially reduces him to a reactive threat. Expounding on the resources of the Nemetrix and establishing whether or not it's limited to the specifically curated database of species the show presents comes across as a missed opportunity in fleshing out his intrigue.

Other than the odd exception, at their core, the characterization of every person we're introduced to makes them feel genuinely fun and entertaining with self-actualized goals connected to the interwoven fabric of Omniverse's world building taking place. Ranging from serious and melancholy, zany and malicious to unencumbered and downright silly, we get slice of life episodes that frame conflicts distanced from the influence of the Plumbers or Ben's direct involvement allowing us to invest in the exploration of Aliens and their cultures from an altered perspective. And while the humor in these stories does sometimes tend to be over present in episodes that deal with more serious themes, reinforcing the notion of Ben's flippant transitions between immature cockiness and sympathetic empathy, the jokes do land when utilized in the right moments. Episodes like 'Store 23' effectively utilize comedic beats in order to twist the parallels of origin stories, warp motivations and expand on the potential of giving prominence to settings situated on different worlds that exist from divergent timelines in an attempt to add more nuance and intricacy to the Universe's lore. The blend of humor and dramatic plotting doesn't tend to mesh in arcs like the 3rd season's Incursean storyline where the narrative itself is disjointed due to a tonally awkward balance between the antagonists acting as a comedic foil versus the intimidating threat they pose as a conquering force. This never really tends to come together like Omniverse tires to make it because numerous plotlines – the political conflict, ideology and fluctuating characterization of these characters constantly contradict one another in their aimless pursuits. It's a frustrating hindrance because the season itself gives way to some fantastic introductions of new side characters, cameos of crossover properties like The Saturday's and finds creative ways to familiarize aliens from previous series.

As much as some hammer away at the aesthetic of the show, I found the animation came across fluently in its expressiveness and allowed the idiosyncratic designs, transformation sequences and tenor of the world to come alive in way that fit the vibe the show was going for. It's definitely a sticking point for some though and your mileage will almost assuredly vary.

(37) Ben 10: Omniverse S5 [[CN]] - ★★★★☆
(38) Ben 10: Omniverse S6 [[CN]] - ★★½☆☆
(39) Ben 10: Omniverse S7 [[CN]] - ★★½☆☆
(40) Ben 10: Omniverse S8 [[CN]] - ★★★½☆

Conceptualizing characters and their motivations can often times fall into the trap of being too predictable and let the exposition of their studies feel relegated to simplified tropes. I struggle with Omniverse's insistence on pitting Albedo's intelligence against Azmuth's in an attempt to avenge his humiliation of being figuratively and literally imprisoned even if it is entirely justified. It's easy to be sympathetic to his plight and find vindication in his mindset of wanting to rectify the wrongs inflicted upon him but having regained his Galvan form, there's no concrete plotting to substantiate his role as an antagonist or his single-minded focus of trying to enact retribution on those he holds responsible. Ben's egotistical nature and the narcissistic lens through which he views the Universe contextualizes Albedo's backstory effectively without villainizing him or arguing against a redemption arc but the choice to downplay his intelligence (teaming up with antagonists like Khyber feel beneath his intellect) in an attempt to portray him as nefarious and confrontational threat feels like a purposeful tragedy. Introducing elements of forgiveness and illustrating Albedo's desires would have been a better direction to take and given a character whose potential was so alluring due to his ideological juxtaposition with Ben while possessing the same abilities some finality and resolution to an arc spanning numerous series. The throwback to Ultimate Alien and getting to see some updated Ultimate transformations was certainly a treat though and I think one would be hard pressed arguing against some of the best battles and most impressive animation sequences of the series tending to result from confrontations between Ben and Albedo.

A characteristic of Omniverse I enjoy at times and could live without in some cases is the approach it takes in loosely committing to overarching storylines and finding a balance between exploring them while incorporating filler episodes into the 8 blocks of 10-episode seasons that comprise its run. This poses the risk of feeling potentially disjointed and awkwardly paced if not situated correctly with-in the larger overall narrative -- as it failed to accomplish in the Incursean arc, but it also works to the show's advantage in tying together thinner stories absent of any major throughlines with a more creative approach. The Galactic Monsters arc in particular overlays a generally spooky aesthetic over each episode in order to reintroduce the Anur Alien species from the original series giving the unique commonality and thematic underpinnings that bind them to one another the time and space to shine. The vibe of the season predicates some its individual stories on a traditional monster-of-the-week structure with creative homages to other properties like Scooby Doo, Teen Titans and Star Trek: TNG that didn't feel out of place in the Ben 10 Universe and it was neat how holistic their incorporation felt. The Mad Nightmare arc attempts to replicate the same blueprint but lacks any of the connecting threads that are needed to make its collection of episodes feel like there is much commonality between them although getting to revisit MadBen's Universe and its setting is certainly a highlight.

The conceptual framework of 'And Then There Were None' + 'And Then There Was Ben' doesn't opt to focus on Ben Prime at all but instead invests in the origin story of an Omnitrix-less Ben to emotionally connect his story with the viewer making this two-parter one of the best things the franchise has ever done. The interactions between characters and lessons conveyed through Ben Prime's departing message, call-backs to previous iconic moments throughout the series' history and the epic battle between Ben's from multiple timelines gives these episodes a dauntless ambience and emotional core that takes full advantage of being unrestrained by plot mechanics. Time travel and the paradoxes that accompany them are tricky to execute without feeling convoluted or expediently written but Omniverse navigates these pitfalls deftly and at the same time poses interesting questions tantalizingly begging for further exploration.

The retcon of Kevin's history as an Osmosian feels entirely unnecessary in comparison though and relegating Osmos V to a fabrication, an alien species being revealed as human mutants and implanting false memories to handwave away established backstories of important characters didn't need to happen in order to justify Servantis' motivations. Framing the threat Ben poses due to his acquisition of the Omnitrix and juxtaposing it against the friendship that's developed between Kevin and him could've been explored without inventing a problematic narrative that forgoes backstory and lore in order to introduce conflict. The way this haphazardly wipes away the existence of naturally born human-alien hybrids by reducing their existences to lab experiments and insisting on tying their origin stories together neuters the agency of these characters and wraps them up in a grand conspiracy nobody is evidently aware of. It's all a little too much to digest and makes what the Rooters arc is trying to accomplish in challenging Kevin's loyalty fall flat. I would've preferred more time devoted to unpacking the amount of lore contained with-in Kevin's backstory instead of a deterministic quandary that requires so much suspension of belief; a story that utilized Osmosian genes being modified by Servantis to create a hybrid subspecies of human or something along those lines could've saved everybody a lot of frustration.

Even though it's a truncated and somewhat anticlimactic ending considering the series was planned to continue for an additional two seasons, the Time War arc and Maltruant's role felt like some of Omniverse's most interesting plotting. Witnessing familiar characters impact historical events, the Contemilia set the building blocks of life in motion as a result of Ben's actions (would've loved to see them represented in different forms from more points of view) and having Ben holding the Big Bang while cycling through his alien forms in chronological order is an epic scene and fanservice done properly without sacrificing the plot in order to achieve it. I do feel as though the failsafe of the Omnitrix making Ben essentially immortal does lessen the impact of the stakes at times and prevents some of the more serious moments from feeling as threatening as they should however. Omniverse's consistent world building and its insistence on tying Ben to it instead of it being reactive to his actions makes its story feel intuitively developed, striking a great balance between the adventures it takes us on and organically implementing the development of its main characters, their actions and the resulting consequences of them to their personal growth. At times less could feel like more and an effective story could be told while leaving something to the imagination through subtle cues and more purposeful plotting but for the most part, ideas are implemented well and concepts are fully realized.

(41) Outer Banks S2 [[Netflix]] - ☆☆☆☆☆

Calling the Outer Banks' core narrative simple and predictable would be an understatement. For a show that stakes its existence on tight-knit character dynamics to drive its adventurous shenanigans, it feels like a first-year storyboarding student was put in charge to dream up a fantastical world devoid of coherency whatsoever for this absolute shit-show of a 2nd season. Outer Banks is offensive to watch as a viewer, there's no other way to put it. The suspension of disbelief required for the plot to move along – characters escaping impossible situations, the willful incompetence of everybody in the world, dead-but-not-really-dead scenes and miraculous recoveries – constantly break any illusion that the show is interested in not being insulated from the realities of the world it purports to inhabit.

It's actually impressive that nobody here has any concept of how stupid every action they take is and there's clearly no shame in making the stakes feel contrived to the point where there's no palpable sense of consequence due to plot armor adapting based on the whim of the ill-fated idiocy that underpins the reasoning behind it all. Those shows where characters dream up the worst imaginable scenarios and then purposefully take actions to ensure their own stupidity is realized? This is it. Sequentially ramping up the levels of dumbfuckery to such a ridiculous extent isn't even the worst part of it all because the acting is equally horrendous and feels like everybody in the cast put together a horror reel of why the only show that would take them was this unmitigated disaster.

The first season actually did have a handful of redeeming qualities with its cat and mouse chase, predictable as it was, feeling like something Outer Banks could frame its conflict around. Other than the short jaunt in the Bahamas this season (Cleo is the singular redeeming character in this show) there is nothing in the way of establishing mechanics that seem invested in, well, establishing anything. The sense of mystery is gone, consequences aren't forced upon characters, repetitive plots are refreshed with the same unimaginative coats of paint and the interpersonal dynamics between characters are constructed with flimsy fallacies and perturbingly unnatural interactions where everybody really likes to scream at the top of their lungs. To make matters worse, the main antagonist's death is a lazily inspired fake-out and instead of introducing some intriguing conflict to a series that desperately needs it, the writers quickly find a contrived manner in which to bring him back.

The problem here is the core of this story isn't engrossing enough to feel like anybody wants to invest in it and the characters certainly aren't important enough to matter so Outer Banks relies on adrenaline-soaked set pieces that are horribly choreographed and red herrings that become an annoying hindrance after the first 30 minutes. Hints of conflict that are right around the corner? Well, they never materialize because the show isn't interested in making any sense or serving any purpose other than tying every revelation to characters returning from the grave so they can breathe new life into continuing a circuitous game of cat and mouse that endlessly repeats. An absence of earned plotting, juvenile romantic subplots, the inability to flesh out relationships and the reliance on outdated clichés makes Outer Banks 2nd season one of the worst things I've ever had the misfortune of watching. If you enjoy getting Rick Roll'd, this one's for you.

(42) Another Life S2 [[Netflix]] - ★☆☆☆☆

Taking analogues of more competent science fiction shows, Another Life resorts to transparent narrative design that takes pleasure in its concomitance to an entirely derivative design that gets more unimaginatively bland with every passing episode. The problematic plotting, convoluted dynamics and overstrained interactions serve little purpose other than functioning as poorly conceived devices to get the show from point A to point B without ever offering a persuasive resolution. The overarching plot isn't engaging in its mystery, the threat posed is never specifically defined beyond a cursory examination and the stakes are laughably unimportant since they're beholden to a shifting plot that is more devoted to inconsequential dialogue and immersion-breaking fallacies than a resolution.

The indulgence Another Life places on hearing characters drag out mundane arguments over trivial issues in a woeful attempt to present themselves as morally ambiguous makes the thin characterization and contradictory scientific underpinnings come apart the seams. The lack of any premise, and the outright reluctance to establish one through world building, makes any delineation between the concepts presented fail to materialize. Earth is apparently becoming inhospitable as it's ravaged by socioeconomic and ecological disaster but there's no explanation of how or why this has transpired and since the show's production budget confines itself to a singular outdoor set, there's no visual indication that conveys this. It's as if the writers deliberately avoid any dystopian themes that could've served as interesting concepts to flesh out occurrences that have transpired in order to build tension and explore the manner in which humanity has confronted its problems. The generic timeframe, lack of background characterization and absence of historical context that makes the world feel as empty as the show's plotting makes it abundantly clear that there's no desire to develop a story that has anything important to opine on.

Beyond the bad acting, senseless dialogue and logical inconsistencies every character on the Salvare has embedded into their subroutines, it's hard to contextualize the importance of anything that transpires since the actions they take don't actually appear to impact the parameters of their mission. Even the alien race that serves as the antagonistic threat remains an indeterminate boogeyman that seemingly has no motivation beyond being myopic and self-reverential in their judgement. Another Life finds it unimportant to postulate the origin of their creation or expound on their justifications but instead relies upon mysterious tidbits that present themselves as nonsensical gibberish lacking any coherent through line. It's perplexing how the writers are unable to formulate underlying motivations for any of its characters and thinks that throwing out faulty scientific faux pas that revolve around butchering established theories can make up for it.

I'm hard-pressed to recall more than a handful of the Salvare's crew because their only purpose seems to be dysfunctional annoyances that need to act irrationally. The emotional liabilities and the people on this ship and their inability to grasp basic fundamentals of scientific philosophy makes me question how terrible the selection process has to be, or how desperate humanity is, to send a collective bunch of misfits on a deep space exploratory mission. They're little more than nightmarish caricatures that lack any observable ethics or motivation and they lack any compelling traits whatsoever. There is so little meat on the bone to this plot, the show struggles to get through its 40-minute episodes without resorting to painfully insipid tropes. The only saving grace here is the musical selections with terribly edited montages that give Another Life a comedic flair that drives home how badly constructed this disaster of a series actually is. Hopefully it's run out of lives and Netflix will mercilessly put this one out of its misery.

(43) Truth Be Told S2 [[Apple TV+]] - ★★½☆☆

The built-in conflict Truth Be Told reckons with is at its zenith when it walks the line between exploring how those who wield power and influence are able to manipulate it to their advantage compared to those who choose to let themselves be influenced by the circumstances around them. There are notable instances in which the show does find the proper balance in infusing its intrigues with a taut sense of atmosphere by dedicating itself to a vigorous approach in peeling back inherent biases and the willingness to confront them but it does tend to stumble and resort to convoluted scenarios when these issues are intimately explored outside of the overarching narrative. The integral elements revolving around supporting characters just don't feel nuanced or well-drawn enough to elicit the emotional connection being put forth and whereas the interpersonal dynamics found space to breathe in the first season and delivered heightened stakes to keep characters off-balance, here they feel constrained and out of place. The social commentary on journalism, deconstructing the influence of sensationalism, the effect of misinformation and highlighting systemic racism and stereotypes around medical issues often finds itself begging to be artfully weaved into the narrative with more zest that tackles half-truths and untruths.

I wish there was less of a reliance on execution that feels pretentious in its dramatic emphasis as the tendency to detach characters from the proceedings makes them feel less invested in their own personal stories and the mystery than they have any right to be. It's the off-kilter orbiting of these subplots around the edges of the central mystery that strips away the intrigue of the murder mystery because it strings the viewer along at a leisurely pace while hinging stakes on bait and switch tactics. The unfortunate habit of layering facades on top of one another that invest in undercurrents that don't support character motives feels like poorly conceived and lazily inspired writing.

I was surprised that Truth Be Told found a renewal after its first season considering it was originally envisioned as a limited miniseries and had a definitive resolution that fit with-in the confines of a self-contained narrative arc. The new case does escape the shackles of feeling too derivative and there's enough complexity to make the secrets being harbored feel compelling but the absence of establishing mechanics and the idiosyncratic nature of the people it revolves around keeps the premise feeling a little to cautious in its staging. The rate at which the pretense between Poppy and Micah is stripped away is well executed however and makes the battle for their unfiltered truths the most persuasive argument Truth Be Told has going for it. The devolution of their friendship skillfully perfects the art of deceit and conceals their self-serving collateral by delineating stakes and the actual people behind their prudently manufactured public facing personas. Octavia Spencer and Kate Hudson work well enough opposite of one another but there are times when the unpredictability of their relationship, and the twists it encounters, feel like it's lacking much of a personal throughline. A lot of opportunities between them transpire where dramatic tension goes wanting or is resolved with less than satisfactory flair. Some of this is beholden to wonky storytelling but often it generally tends to find itself squandered with the tepidity and reluctance of a show that doesn't feel like it has any intention of exploring expository dilemmas. In order to feel ambiguous, the lack of revelatory development in Truth Be Told is its biggest mistake and though there is something here, it's not able to be fully realized thanks to a series of amateurish missteps.

(44) Star Trek Lower Decks S2 [[Paramount+]] - ★★½☆☆

Lower Decks' uneven commitment towards relying upon its character work makes a good portion of its humanistic understanding and the spirit of its interpersonal relationships fall flat too frequently. There's simply too much of an insistence on overly contingent plotting that stakes its humor in satirical callbacks, obscure references and visual homages to previous series that come at the expense of any original storytelling Lower Decks puts forth in attempting to carve out its own self-reliant niche and identity with-in this Universe. Instead of appealing to newcomers, this series seems more devoted to offering archetypal metacommentary and nostalgic back patting as opposed to presenting compelling narratives and inventive stories that flesh out Lower Decks' own mythology by supplementing it with the wealth of rich lore available to draw from.

What does work is the creative freedom to deconstruct the inflexible edicts Roddenberry originally envisioned Star Trek with and the willingness to poke fun at itself without feeling too self-defacing. In these moments, the delivery is less hyperactive, the dialogue isn't as self-referential and the overly bloated plotting that insisted on cramming 3 subplots into 20-minute episodes before is now more appropriately focused and trimmed back. This allows for more thoughtfully layered introspection while introducing actual stakes, emotional development and interconnectivity in exploring the U.S.S Cerritos' crew members vulnerabilities in an identifiable manner by utilizing conflicting tonal and stylistic backdrops with-in the same narrative framework. The metatextual opining on procedural vs serialized Star Trek and their ability to co-exist alongside one another while appealing to both traditionalists and modern fans is also creatively woven into some of Lower Decks' plots this season. The struggle in balancing these formulas has always been a problem for the franchise to some extent and undermining its own stories due to an insistence of retconning major decisions plays a big role in that. Even Lower Decks can't avoid this and resorts to bringing back Boimler from the Titan almost immediately. Seeing him overwhelmed in his experience on another ship was a great change of pace by finding more time for self-contained stories.

The denouements of mutual understanding and the epiphany of getting to really know people is a reoccurring theme Lower Decks emphasizes this season by shaking up the dynamics of the Cerritos through new relationships that skillfully navigate resentment and unfamiliarity. Respect and recognition fades into the background and sharing in each other's company becomes more important as hierarchies fall away and people begin to accept others for who they are. The platonic relationship between Boimler and Mariner in particular evolves to a point where he begins to value the solidarity of his friendships more-so than his future career and she confronts her feelings of abandonment in gaining a self-awareness about her own limitations. The dichotomy of how they deal with the weight of more responsibility and the consequences of their decisions is thoughtfully executed and delightfully dialogued. It still feels like there are missed opportunities in deconstructing tropes when it comes to the less utilized species in Star Trek. We get only a brief glimpse of Orion society in a Tendi subplot, Kayshon avoids the typical one-note metaphor gag for Tamarians and the Pakled's simplistic structure breeding efficiency through chaos is an amusing contrast to the advanced, complex nature of other civilizations but this all feels like window-dressing. The itch is briefly scratched when Lower Decks devotes an episode to Hysperia's egalitarian society and gives a peak into a mashup of futurism with ren faire trappings that offers a depiction of a post-scarcity economy in a constitutional monarchy but it's an exception to the norm. The fantastical tropes offer a great interruption from the traditional variety Star Trek explores even it if is beholden to a satirical take on Lwaxana Troi and lazy reliance on stereotypes about asexuality that lack the emotional depth to offer commentary on identity.

Character continuity and canonical references do eventually feel more natural once the series transitions towards finding an equilibrium between episodic adventures and stories that aid in character progression by extolling the virtues of commonality despite idiosyncrasies. This makes Lower Decks' resolutions feel more rewarding and promotes individual strengths and weaknesses instead of resorting to flanderization. Though episode structure can sometimes feel confusing and aspirations can feel disconnected from previous development, Lower Decks, for the most part, feels like an origin story of a future crew discovering their purpose. One thing that gives me hope for future seasons is the interwoven motifs of experiencing lower deck crews on other ships and incorporating them into the overarching narrative. Expounding the premise of the show and fleshing out the mythos organically without being reliant on monoculture is one area in which patronizing fanservice that relies on an encyclopedic rundown of the franchise's more referential moments caters less to the established fandom and more towards newcomers. The season finale presents a lot of intriguing setup for the 3rd season and although the cliffhanger is annoyingly cumbersome in its execution, Lower Decks finally seems inclined to telling its own new stories.

(45) Clickbait [[Netflix]] - ★★☆☆☆

Clickbait pins its premise on the concept of manipulation, judgement and the danger of how these factors are amplified by anonymity provided through the internet and social media but the execution of its mystery and refusal to commit to the characters involved when it tries to assert itself fails to capitalize on the important issues beyond a rudimentary level. Structuring itself into episodic sub stories that focus on individual perspectives to unravel Nick's life story isn't a problem in and of itself but the reliance on caricaturizing their grief has the tendency of relegating his family to character studies that are hard to invest any emotional capital into. An episode devoted to Nick's character, or at least one framed from his point of view, would've enabled the series to lend some emotional weight to a family dynamic that comes off as perpetually rehearsed and detached from the events transpiring.

Pia and Sophie encapsulate characters being unable to transcend their archetypes through their narrowly presented objectives which coalesce around protecting Nick, Ethan and Kai with repetitive conflict that feels designed to invoke resentment at the expense of any personality or interiority. It feels narratively convenient and defines their characterization to a point where their mannerisms and predictable responses make Clickbait's central mystery fade into the background. All of these missteps add up to a show that feels like it's often going through the motions up until it's forced to confront an investigation that lacks credibility to begin with but eventually winds up at a point where increasingly bizarre red herrings and convoluted pivots take the viewer far past the point of believability. The most compelling plotting tends to revolve around periphery individuals and their nuanced interactions with one another – detective Roshan Amiri, grieving mistress Emma Beesley and reporter Ben Park do have interesting material to work with that teases emotional contours waiting to be fleshed out. The problem is we spend so little time with them it makes the callousness of grief get distilled through a simulacrum of the internet that feels impractical, half-hearted condemnations of racial issues go conveniently unmentioned and illustrations of ambition are framed so narcissistically it doesn't feel earned. Instead of abandoning under-represented backstories that draw on elements of societal commentary and refusing to explore their intersectionality with hinted at development, Clickbait refuses to add any dimensionality or humanity to the lives these people inhabit or how their actions affect others.

The implications made towards most of its characters, but particularly its female ones, often tend to come across as misogynistic and assumptive in their conclusions which doesn't help matters either. There are some decent elements sprinkled throughout the 8 episodes but instead of subverting our relationship with online media and offering compelling commentary on the lack of moral boundaries of its core thematic concerns, the validity of Clickbait's arguments doesn't add anything to the conversation previous series haven't already explored. The absence of comprehensive characterization and worldbuilding, the incremental drip-feed of revelations that obfuscate the realities of digital culture and the triviality of its denouement aren't deserving of the invested time and attention it asks us to devote into the sensationalist and deceptive components underpinning its narrative. Clickbait is worth a watch if you take its titular descriptor at face value and expect a bait-and-switch that serves to implicate itself as part of modern society's race towards the lowest common denominator.

(46) Locke and Key S2 [[Netflix]] - ★☆☆☆☆

Locke and Key doubles down on the shortcomings that hamstringed its narrative in the 1st season and devotes a ridiculous amount of time to exceedingly pointless interactions between characters that serve no apparent purpose. The reliance on empty plotting that doesn't affect the story and comes across as boringly predictable in its emotionless dialogue, lack of humanity and contrived decisions do little to flesh out the premise and is bizarrely reluctant to expound on the mysteries of magic in this world waiting to be uncovered. Shying away from establishing any semblance of lore and only taking a brief moment to shed light on the secrets of the titular keys and their correlation to the dangers that present themselves makes little sense and comes across as directionless storytelling that is unable to bridge the gap between source material and adaptation. The new keys can't be considered as anything besides a disappointment compared to the ones introduced in the first season either. While the concept was underdeveloped to an extent, they did open up intriguing possibilities as a device to illustrate how they could be employed in dealing with Locke and Key's overarching danger. Now they function as creatively deficient adaptations that come across as lazily inspired superhero copycats which struggle to make their powers feel compelling.

The setting and lore could compensate for this, to an extent, if the supposed keepers of the keys were willing to utilize resources available to them that are more than willing to reveal the history behind the keys and provide answers to unsolved mysteries waiting to be incorporated into the fabric of the show. It's this absence of engaging confrontation that feels puzzling. With such obvious resolutions to the major problems Locke and Key puts forth feeling so eminently available, the badly written and executed moving parts feel more like a ball and chain unable to formulate compelling scenarios that are able to naturally string themselves along. Compounding the issue is Gabe and Eden failing to work as adequate antagonists because their intentions fluctuate between plainly telegraphed and completely inept throughout the 2nd season. Their established motivations rarely move beyond a vague desire to possess the keys and there's no consistent rhythm to define their purpose other than a game of cat and mouse that stalls for an inevitable confrontation instead of imparting actualized threats. The scenarios here don't feel plausible because every development serves as a device to shelter them from being exposed. If only Locke and Key leaned into the concept of reckoning with a reality where the characters actually have to grapple with losing their knowledge about magic after turning 18. Instead, it's reduced to a fleeting mention here and there that conveniently serves as a forgettable element in formulaic teenage subplots that stake their intentions on miscommunication and faux tension.

The pretentiousness in how the show uses circular logic to justify magic not being worth remembering by advocating ignorance instead of confronting the terrible things it can represent eventually leaves itself feeling like a parody. Poor character dynamics, contextually wanting flashbacks and poor pacing leave this outing unable to pin down what it wants to be. The loose smattering or horror elements overlaid against a family- friendly adult drama with beats of comedy, teen romance and fantasy resemble a poorly stitched together Frankenstein that traffics in inconsistencies that ensure Locke and Key buckles under the weight of its clichés and deus ex machinas.

molnizzle · Dec 31, 2020

Yeah right lol. Of all the 52's...

KOfLegend · Dec 31, 2020

KOfLegend - 60/52 Seasons!

Complete! - October 7th

January - 4 Seasons

1. 1/2 - Star Wars Rebels (S2) [Disney XD] | ★★★ | Okay-ish season with a really, really good finale.

2. 1/3 - Chilling Adventures of Sabrina (S3) [Netflix] | ★★★ | Definitely liked Part 4 more than 3, but it still failed to recapture the magic of Part 1 for me. Going from Chapter 35 (which is now my favorite episode of the show) to the absolute mess of a series finale that was Chapter 36 gave me whiplash.

3. 1/10 - Star Wars Rebels (S3) [Disney XD] | ★★★ | A bit better than S2. High highs but low lows.

4. 1/12 - Star Wars Rebels (S4) [Disney XD] | ★★★½ | Easily the best season of the show, but not as good as I was led to believe. Still, it was an enjoyable watch, and "A World Between Worlds" is my favorite animated Star Wars anything for sure.

February - 1 Season

5. 2/15 - Insecure (S1) [HBO] | ★★★★ | Finally got around to watching this! As good as everyone has said it was, can't wait to watch more!

March - 6 Seasons

6. 3/3 - Insecure (S2) [HBO] | ★★★★ | Just as good if not slightly better than Season 1. Can't wait to watch the rest!

7. 3/5 - WandaVision (S1) [DP] | ★★★★½ | Easily my favorite thing that has come out of the MCU by far. This is really, really special.

8. 3/8 - The Other Two (S1) [CC] | ★★★½ I will forever have a bias towards shows with gay leads.

9. 3/20 - Rupaul's Drag Race UK (S2) [BBC] | ★★★★ | A really solid season of Drag Race, especially compared to the currently airing US season. Disappointing winner, but it is what it is.

10. 3/21 - Insecure (S3) [HBO] | ★★★½ | Found this to be a little weaker than the previous two seasons, but it's some good stuff!

11. 3/25 - Insecure (S4) [HBO] | ★★★★ | Best season yet!

April - 11 Seasons

12. 4/2 - Survivor (S2) [CBS] | ★★★½ | Another really solid season of Survivor!

13. 4/8 - Survivor (S3) [CBS] | ★★★ | My least favorite season so far, but still a fun watch. This could start getting old, though.

14. 4/10 - Survivor (S4) [CBS] | ★★★½ | A much better cast than last time!

15. 4/12 - Survivor (S5) [CBS] | ★½ | Dreadful cast, dreadful winner, dreadful season.

16. 4/12 - The Walking Dead (S10.5) [AMC] | ★★½ | Extremely unnecessary six episodes. two great episodes out of six is not a good result.

17. 4/14 - Survivor (S6) [CBS] | ★★★½ | Definitely one of the better seasons of Survivor so far!

18. 4/16 - Survivor (S7) [CBS] | ★★★½ | This might be my favorite season yet? Tons of shocking moments for sure.

19. 4/17 - RuPaul's Drag Race: Untucked (S13) [VH1] | ★★½ | An extremely awkward season of Untucked.

20. 4/20 - Survivor (S8) [CBS] | ★★ | A predictable season of Survivor is a boring season of Survivor.

21. 4/23 - The Falcon and the Winter Soldier [DP] | ★★★½ | This was great! Sam and Bucky have fantastic chemistry, and they're the highlight of the show alongside Isaiah Bradley, John Walker, and Zemo.

The big, bombastic action sequences were all great, but the best parts of the show were definitely the quieter, dialogue-heavy scenes. I went into the show not expecting Marvel to tackle some of the racial aspects of what was happening because it's, well, Disney, but I was pleasantly surprised. I thought all of that was handled very well.

I can't say the same about the Flagsmashers, unfortunately. They're what drag the show down, I think. There's a lot of potential there, but it all just comes off as rushed. I wish they set them up more because I genuinely like Karli. All of it just kind of...fizzles out in the finale.

Other than that, the MCU shows have been 2/2 so far. Can't wait for Loki!

22. 4/24 - RuPaul's Drag Race (S13) [VH1] | ★★★½ | An underwhelming season after S12, but not bad by any means. It was just stretched too thin. great winner, though!

May - 2 Seasons

23. 5/3 - Invincible (S1) [Amazon] | ★★★½ | Not as obsessed with this as everyone else seems to be. Still looking forward to S2, though.

24. 5/28 - This is Us (S5) [NBC] | ★★★ | Definitely the messiest and weakest season of This is Us, but still good.

June - 6 Seasons

25. 6/9 - Pose (S3) [FX] | ★★ | This show deserved so much more than a sloppy final season.

26. 6/17 - Legendary (S2) [FX] | ★★★★ | Not as good as S1 due to the COVID restrictions, but still a really fun watch.

27. 6/20 - Rupaul's Drag Race Down Under (S1) [WPP] | ★★ | This is the worst season of Drag Race. Point blank.

28. 6/20 - Good Trouble (S3) [Freeform] | ★★ | Watching this out of obligation, just like last season.

29. 6/22 - Fear the Walking Dead (S6) [AMC] | ★★★ | This was fine I guess?

30. 6/25 - Raven's Home (S4) [DC] | ★★ | I think that was supposed to be the final season?

July - 6 Seasons

31. 7/1 - Mythic Quest (S2) [Apple TV+] | ★★★★ | Another really great season of MQ. hopefully not the last.

32. 7/9 - Genera+ion (S1) [HBO Max] | ★★★½ | "Hey, let's make Euphoria without any of the nuance!" Still a fun show, though, and it got better as it went on.

33. 7/14 - Loki (S1) [DP] | ★★★★ | I am Khalifa, and I am burdened with having to write my thoughts on this show because it's really tough, you guys.

I'll start off by saying that they stuck the landing this time around. Not perfectly, mind you, the ending still leaves a bit to be desired, but they did a much better job than the rest of Phase 4 so far. WandaVision and TFATWS had messy finales, and Black Widow…didn't have an ending, really. The implications of it are exciting but also a bit worrying. The Marvel Cinematic Multiverse is now upon us, whether it's for better or for worse remains to be seen.

As for the show itself, it's tough. I think it's the only show out of the three so far that should've been a (long) movie, which is strange, considering the show had a larger amount of events and story beats than the other two. Episode 3 had probably my favorite part of the whole show (the train), but the rest of it could've been easily cut or condensed, and the same goes for Episode 5. The story's setup is interesting, and it's the only show out of the three that's not afraid to go places, but I failed to emotionally connect with it. I don't think that's necessarily a problem with the show though, it's just that depression and grief (WV) and social commentary on race and extremism (TFATWS) hit a lot closer to home. I was initially down on the show because I wanted to connect with it on that level, but it's unfair to expect everything Marvel pumps out to do that for me. I just got lucky and got two in a row.

I found myself appreciating it more after watching Black Widow, however. I'd forgotten that most of the MCU so far had operated on the same level of 'groundedness' as Black Widow, aside from a few exceptions. The TVA, the Time Keepers, pruning, the void, multiverses, different versions of the same person…it's all so ridiculous, in the best way. I found myself appreciating the level of creativity the show was constantly operating at, and I think I liked all of it? The only thing I disliked out of all of that was Loki's weird self-incest relationship with Sylvie. I would've preferred if that relationship had stayed platonic (especially since Sylvie is such a cool character that I'd hate to see be relegated to 'the love interest), but it is what it is. Jonathan Majors also killed it as Kang/He Who Remains, and I can't wait to see more of him. Gugu as Ravonna and Owen as Mobius, too. All the new characters were dope, now that I think about it. Also, Natalie Holt is the MVP. Wonderful soundtrack!

I still don't really know how I feel about the whole thing. There's a whole lot to appreciate and there's a whole lot to dislike. My feelings will definitely change in the future, but for now, I thought it was almost glorious.

Purpose. Glorious purpose. Had to throw it in there.

34. 7/15 - A Black Lady Sketch Show (S2) [HBO] | ★★★ | Not nearly as funny as Season 1 was, but still a fun time.

35. 7/25 - Good Girls (S4) [NBC] | ★★½ | Good Girls was not good this season. Sad to see it go out on a whimper.

36. 7/26 - Drag Race España (S1) [WPP] | ★★★★ | Easily one of the best international seasons of Drag Race, and a lovely palette cleanser Down Under, which was absolutely abysmal.

August - 5 Seasons

37. 8/7 - Crime Scene Kitchen (S1) [FOX] | ★★★ | A really, really unique idea for a cooking show. I just wish they spiced it up more because it got old rather quickly. Still a really fun watch, though.

38. 8/14 - Star Wars: The Bad Batch (S1) [DP] | ★★★ | I'm so over this franchise.

39. 8/19 - American Horror Stories (S1) [FX] | ★½ | A legitimately awful season of television.

40. 8/21 - Quantum Break (S1) [MS] | ★★½ | Bad on its own, but serviceable for the game.

41. 8/27 - iCarly (S1) [P+] | ★★★ | Definitely one of the better reboots!

September - 9 Seasons

42. 9/3 - Rupaul's Drag Race All Stars (S6) [P+] | ★★★½ | One of the better All Stars seasons. the only Drag Race season without a hint of drama, maybe? Sad but surprisingly refreshing. Not the winner I would've chosen, but I'm happy for her.

43. 9/3 - Rupaul's Drag Race All Stars: Untucked! (S6) [P+] | ★½ | Abolish Untucked for All Stars seasons.

44. 9/15 - Modern Family (S1) [ABC] | ★★★ | Comfy!

45. 9/18 - You (S1) [Netflix] | ★★★ | Predictable ending but I enjoyed the ride!

46. 9/22 - Modern Family (S2) [ABC] | ★★★ | Still comfy!

47. 9/23 - The Other Two (S2) [HBO Max] | ★★★★ | Just as good as S1. Really heartbreaking that this show isn't as popular as it should be.

48. 9/24 - Modern Family (S3) [ABC] | ★★★ | Still very comfy!

49. 9/26 - The Circle (S2) [NF] | ★★★½ | More enjoyable than S1! Can't wait to jump into S3.

50. 9/29 - The Circle (S3) [NF] | ★★★ | Probably my least favorite out of the US seasons, but it was still fun.

October - 6 Seasons

51. 10/6 - What If…? (S1) [DP] | ★★½ | What if….this season of television didn't exist? Aside from a few good moments, this is the biggest MCU miss since Ultron for me.

52. 10/7 - Modern Family (S4) [ABC] | ★★★ | Still very comfy, but I can definitely see the quality starting to dip.

53. 10/14 - Modern Family (S5) [ABC] | ★★★ | It's starting to get a little old.

54. 10/21 - American Horror Story (S10) [FX] | ★★½ | Easily the worst season of AHS. Started off really strong but went off the rails insanely quickly.

55. 10/23 - Modern Family (S6) [ABC] | ★★★ | More than halfway through! Still consistently good.

56. 10/31 - Modern Family (S7) [ABC] | ★★★ | Definitely the worst season so far, but still fun.

November

57. 11/21 - Modern Family (S8) [ABC] | ★★½ | A drop in quality for sure.

December

58. 12/11 - Modern Family (S9) [ABC] | ★★½

59. 12/13 - Succession (S3) [HBO] | ★★★★½ | Weakest Succession season by far, but still fantastic.

60. 12/22 - Hawkeye (S1) [DP] | ★★★½ | This probably had the weakest front half out of all of the Marvel Disney+ shows so far (excluding What If?), but the back half really picked it up, especially the fifth episode. Still, it's the only show so far that did nothing for the titular character, in my opinion. WandaVision made me care about Wanda, The Falcon and the Winter Soldier made me care about Sam, Loki made me care about Loki. Hawkeye made me care about…everyone other than Clint. Clint Barton is still the same Clint Barton to me.

It was also the first one out of all of these that felt like a network TV show. Awful CGI, noticeably bad choreography, weird cuts, and pacing, etc.
Still, I enjoyed it quite a bit and would rank it a little higher than TFTAWS (which I also liked quite a bit), but I wish it was as solid as WandaVision or Loki. Out of all of them, Clint needed it the most.

[/QUOTE]

Other Challenges:
52 Games. 1 Year. 2021.
52 TV seasons. 1 Year. 2021 edition - Completed! (71/52)
52 Games. 1 Year. 2020. - Completed! (163/52)

dead souls · Dec 31, 2020

KOfLegend said:
Well, here we go again!

Indeed.

I'm ready.

LonestarZues · Dec 31, 2020

LonestarZues - 4/52 seasons

January 2021

1. Detention (S1)
2. Transformers: War for Cybertron - Earthrise
3. The Third Day
4. Coyote

February 2021

5. The Stand
6. 30 Monedas
7. Vikings S1

Sadsic · Dec 31, 2020

Did 75 seasons in 2020, looking to just do 52 seasons in 2021 and focus elsewhere

★

10/52 TV Shows

1. 1/2 - Cobra Kai S3 - ★★★★
2. 1/3 - Des Miniseries - ★★★★
3. 1/13 - Big Mouth S4 - ★★★★
4. 1/28 - Search Party S4 - ★★★
5.1/30 - Attack on Titan S1 - ★★★★
6. 2/2 - Attack on Titan S2 - ★★★
7. 2/5 - Attack on Titan S3 - ★★★★
8. 3/5 - WandaVision S1 - ★★★★
9. 3/20 - My Hero Academia S1 - ★★★
10. 3/28 - Attack on Titan S4 - ★★★★

Things I'm currently in the middle of -

Pose S2
Amphibia S2
Neon Joe, Werewolf Hunter S2
For All Mankind S2

Things I might watch soon -

I May Destroy You S1
Adventure Time Distant Lands Miniseries
Dave S1
Ted Lasso S1
Bridgerton S1

RatskyWatsky · Dec 31, 2020

Soliloquy of a Dogge said:
Got some to add to 2020 still (Dark, Bly Manor, Discovery, Breaking Bad S1-S5 re-watch) but will be interested to see if I can top the 40 or so from this year in 2021.

Hard for me to hit 52 as I generally tend to only add series I haven't seen before to these lists.

I only add new shows as well and hit 175 seasons in 2020!

KtotheRoc · Dec 31, 2020

After completing the 2020 challenge, I am ready to give it another go in 2021.

January

1: JoJo's Bizarre Adventure (S3) - ★★★★
2: Cobra Kai (S3) - ★★★★
3: Demon Slayer Kimetsu no Yaiba (S1) - ★★★
4: One Punch Man (S2) - ★★★

February

5: A.P. Bio (S3) - ★★★★
6: Jojo's Bizarre Adventure (S4) - ★★★★
7: Thus Spoke Kishibe Rohan (S1) - ★★★★★
8: Mr. Mayor (S1) - ★★★

March

9: High-Rise Invasion (S1) - ★
10: Lovecraft Country (S1) - ★★★
11: WandaVision (S1) - ★★★
12: Yashahime (S1) - ★★
13: Stargirl (S1) - ★★★

April

14: The Looney Tunes Show (S1) - ★★★★
15: The Looney Tunes Show (S2) - ★★★★
16: The Falcon and the Winter Soldier (S1) - ★★★
17: Invincible (S1) - ★★★½

May

18: Kenan (S1) - ★★★
19: Yasuke (S1) - ★★
20: Rutherford Falls (S1) - ★★★
21: Jujutsu Kaisen (S1) - ★★★
22: Castlevania (S4) - ★★★
23: Girls5Eva (S1) - ★★★

July

24: DuckTales 2017 (S1) - ★★★★
25: Higehiro (S1) - ★
26: Eden (2021 Netflix S1) - ★★★
27: Resident Evil Infinite Darkness (S1) - ★★
28: DuckTales 2017 (S2) - ★★★★
29: Loki (S1) - ★★★
30: DuckTales 2017 (S3) - ★★★★
31: The Flash (S7) - ★★
32: Gravity Falls (S1) - ★★★★

August

33: Gravity Falls (S2) - ★★★★
34: Dr. Stone (S2) - ★★★
35: Mythic Quest (S1) - ★★★★½
36: Mythic Quest (S2) - ★★★★½
37: Batman: The Brave and the Bold (S1) - ★★★½
38: Superman and Lois (S1) - ★★★★
39: For All Mankind (S1) - ★★★★

September

40: For All Mankind (S2) - ★★★★½
41: Batman: The Brave and the Bold (S2) - ★★★
42: Batman: The Brave and the Bold (S3) - ★★★
43: A.P. Bio (S4) - ★★★
44: Dug Days (S1) - ★★★★
45: Rick and Morty (S1) - ★★★½
46: Rick and Morty (S2) - ★★★★
47: Rick and Morty (S3) - ★★★★
48: Rick and Morty (S4) - ★★★½
49: Brooklyn Nine-Nine (S8) - ★★★½

October

50: Legends of Tomorrow (S6) - ★★★½
51: What If? (S1) - ★★½
52: Riverdale (S5) - ★★★

November

53: Last Week Tonight with John Oliver (S8) - ★★★★★
54: Cowboy Bebop (Netflix S1) - ★½

December

55: Hawkeye (S1) - ★★★

Punished Goku · Dec 31, 2020

I giggled.

asc3nsi0n · Dec 31, 2020

asc3nsi0n - 41/52 Seasons

1. 1/2 - Code Geass: Lelouch of the Rebellion R2* - ★★★★½
2. 1/5 - Vikings (S5) - ★★★★
3. 1/10 - Vikings (S6) - ★★★★
4. 1/21 - That Time I Got Reincarnated as a Slime (S1) - ★★★★
5. 2/1 - JoJo's Bizarre Adventure (S1)* - ★★★★½
6. 3/1 - Haikyu!! (S1)* - ★★★★
7. 3/26 - Jujutsu Kaisen - ★★★★½
8. 3/28 - Attack on Titan (S4) - ★★★★★
9. 3/30 - B: The Beginning - ★★★★
10. 4/10 - Prison Break (S1)* - ★★★★
11. 4/13 - Prison Break (S2)* - ★★★½
12. 4/16 - Prison Break (S3)* - ★★★½
13. 5/3 - Yasuke - ★★★
14. 5/16 - Castlevania (S1) - ★★★★
15. 5/17 - Castlevania (S2) - ★★★★½
16. 6/6 - Fate/Stay Night: Unlimited Blade Works* - ★★★★
17. 6/25 - Fate/Zero* - ★★★★½
18. 6/28 - Lord El-Melloi II's Case Files - ★★★★
19. 7/5 - Prison Break (S4) - ★★★
20. 7/8 - No Game No Life - ★★★½
21. 7/20 - Hunter x Hunter (2011)* - ★★★★★
22. 7/31 - Mushoku Tensei: Jobless Reincarnation - ★★★★
23. 8/11 - Haikyu!! (S2)* - ★★★★½
24. 8/15 - Orphan Black (S1)* - ★★★★½
25. 8/17 - Orphan Black (S2)* - ★★★★½
26. 8/23 - Orphan Black (S3)* - ★★★★
27. 8/26 - Orphan Black (S4)* - ★★★★½
28. 9/10 - The Wire (S1)* - ★★★★★
29 .9/13 - The Wire (S2)* - ★★★★
30. 9/16 - Orphan Black (S5) - ★★★★½
31 .9/21 - The Wire (S3)* - ★★★★½
32. 9/22 - That Time I Got Reincarnated as a Slime (S2) - ★★★★
33. 9/28 - The Wire (S4)* - ★★★★½
34. 10/3 - The Wire (S5)* - ★★★★
35. 10/17 - Game of Thrones (S1)* - ★★★★★
36. 10/23 - American Horror Story (S1)* - ★★★★
37. 10/24 - Haikyu!! (S3)* - ★★★★½
38. 10/29 - Dark Side of the Ring (S3) - ★★★
39. 11/06 - Baki The Grappler (S1) - ★★★½
40. 12/24 - The Witcher (S1) - ★★★★½
41. 12/26 - The Witcher (S2) - ★★★★½

*Rewatch

Foundation

ThisOneHasNoName · Dec 31, 2020

ThisOneHasNoName - 16/52 Seasons

This time will be the time, right?

01. Queendom - ★★★★★
02. Star Wars: The Clone Wars (S1) - ★★★
03. I-LAND - ★★★★
04. Sixteen - ★★½
05. Produce 101 - ★★★½
06. Good Girl - ★★★★½
07. So Not Worth It (S1) - ★★★½
08. Be My Boyfriend - ★★★½
09. Kingdom - ★★★
10. Aoharu x Machine Gun - ★★★
11. WandaVision - ★★★★★
12. The Falcon and the Winter Soldier - - ★★★
13. Loki - ★★★★★
14. Her Private Life - ★★★½
15. Arcane - ★★★★★
16. Girls Planet 999 - ★★★
17.

Imitation
Kung Fu (S1)
Inuyasha
Healin' Good PreCure
Yashahime
Sailor Moon S

Soliloquy of a Dogge · Dec 31, 2020

RatskyWatsky said:
I only add new shows as well and hit 175 seasons in 2020!

Ridiculously impressive. I don't know how you manage it lol.

poutmeter · Dec 31, 2020

The only challenge I'm super confident I'll clear this year!

September Update: Managed to reach 100 shows by the end of Sept 💯🎉🎊
Just in time before I start grad school.

J a n u a r y:
⤷ completed
01. The Wire S2 — Frank Sobotka is such a tragic character.
02. Equinox — That was a waste of an interesting first episode.
03. Alice in Borderland
04. The Wire S3
05. The Wire S4 — So much frustration and heartbreak, on both sides, told in an extremely gripping storytelling.
06. History of Swear Words — FUUUUUUUUUUUUUUUUCK!
07. The Wire S5 — Watching that final montage was so bittersweet. What a ride.
08. Person of Interest S1
09. Six Feet Under S1 — that's a lot of issues for one single family.
10. Six Feet Under S2 — I miss the 'ghosts' :(
11. Six Feet Under S3
12. Six Feet Under S4
13. Six Feet Under S5 — I just wanna celebrate ♫
14. 12 Monkeys S1
15. The Sopranos S1
16. Person of Interest S2
17. Search Party S1
18. The Sopranos S2
19. London Spy — might have had some good performances, but that was such a convoluted borefest.
20. The Sopranos S3
21. The Sopranos S4
22. The Sopranos S5
23. The Sopranos S6 — ♫ Don't Stop ..........

F e b r u a r y:
⤷ completed
24. The Undoing — Great cast wasted on a terrible story/writing.
25. The Expanse S5
26. Scissor Seven S1
27. The Mandalorian S2
28. Hap and Leonard S1
29. Scissor Seven S2
30. Servant S1
31. Derry Girls S1
32. Behind Her Eyes
33. Dead to Me S2

M a r c h:
⤷ completed
34. WandaVision
35. Pacific Rim: The Black

A p r i l:
⤷ completed
36. The Promised Neverland S2
37. The Legend of Korra S1
38. The Legend of Korra S2
39. The Legend of Korra S3
40. The Legend of Korra S4
41. The Circle US S1
42. The Circle UK S1
43. Yasuke ...
44. Invincible S1

M a y:
⤷ completed
45. Wizards: Tales of Arcadia
46. Succession S1
47. The Americans S1
48. The Americans S2
49. The Americans S3
50. The Americans S4
51. The Americans S5
52. The Americans S6
53. Castlevania S1
54. Castlevania S2
55. Castlevania S3
56. Castlevania S4

J u n e:
⤷ completed
57. Panic 🐯
58. Channel Zero S1 🦷
59. Sweet Tooth 🦌
60. Kim's Convenience S1
61. Kim's Convenience S2
62. Kim's Convenience S3
63. Kim's Convenience S4
64. Kim's Convenience S5 - okay, see you 😢
65. Great Pretender Pt.2
66. Infinity Train S1
67. Infinity Train S2
68. Infinity Train S3

J u l y:
⤷ completed
69. Loki
70. Masters of the Universe: Revelation
71. Odd Taxi
72. Mare of Easttown that baby's life is already ruined
73. Episodes S1

A u g u s t:
⤷ completed
74. Episodes S2
75. Episodes S3
76. Episodes S4
77. Episodes S5
78. Dr. Death
79. Cardinal S1
80. Cardinal S2
81. Angel Beats
82. Little Fires Everywhere
83. BNA
84. Brand New Cherry Flavor
85. Disparu à Jamais
86. Higurashi When they Cry 🔪
87. High-rise Invasion 🏦
88. Black Lagoon S1

S e p t e m b e r:
⤷ completed
89. Clickbait
90. Post Mortem
91. Good Girls S4
92. For Life S1
93. Awkwafina is Nora From Queens S1
94. Ted Lasso
95. BoJack Horseman S6
96. Defending Jacob
97. The Cleaner S1
98. Wolfe S1
99. The Chair
100. Squid Game

O c t o b e r:
⤷ completed
101. Made in Abyss
102. Wonder Egg Priority 🍳
103. Banshee S1
104. Banshee S2
105. Midnight Mass
106. You S3
107. Only Murders in the Building S1
108. Inside Job 🐬
109. Cruel Summer S1
110. Good Morning, Veronica
111. What If...

N o v e m b e r:
⤷ completed
112. Star Trek: Lower Decks S1
113. Star Trek: Lower Decks S2
114. Squid Game
115. Cowboy Bebop

D e c e m b e r:
⤷ completed
116. Arcane
117. Newton's Cradle
118. Seinfeld S1
119. Seinfeld S2
120. Seinfeld S3
121. Seinfeld S4
122. Seinfeld S5
123. The Witcher S2

Hennessy · Jan 1, 2021

52/52

January

01. Fargo S4
02. Chappelle's Show S2
03. Star Wars Rebels S4
04. Chappelle's Show S3
05. Norsemen S3
06. Alice in Borderland
07. Ted Lasso
08. The Cabin with Bert Kreischer
09. The Ultimate Fighter S13
10. Inside Bill's Brain: Decoding Bill Gates
11. The Ultimate Fighter S17
12. Impractical Jokers S2
13. Sons of Anarchy S4
14. Curb Your Enthusiasm S5
15. The Queen's Gambit
16. A Teacher
17. Sweet Home
18. We Are Who We Are
19. Attack on Titan S1
20. Attack on Titan S2
21. Attack on Titan S3
22. Tower of God
23. One Piece S1
24. One Piece S2

February

25. The Crown S2
26. One Piece S3
27. My Hero Academia S4
28. The Expanse S5
29. Curb Your Enthusiasm S6
30. Vikings S6
31. One Piece S4
32. One Piece S5
33. Cobra Kai S1
34. Cobra Kai S2

March

35. Wandavision
36. One Piece S6
37. One Piece S7
38. The Crown S3
39. The Promised Neverland S2
40. Dota Dragon's Blood S1

April

41. Rise of Empires: Ottoman
42. The Crown S4
43. Mocro Maffia S3
44. The Walking Dead S10
45. Mushoku Tensei: Jobless Reincarnation
46. Attack on Titan S4
47. Rome
48. The Falcon and the Winter Soldier S1
49. One Piece S8
50. Twin Peaks S1
51. Cowboy Bebop
52. Jujutsu Kaisen S1

ok bye.

ISureKnowMyStuff · Jan 1, 2021

Prediction/rough draft for my 2021 New Year's Resolution 52: (52/52 Complete)

1. Search Party (Season 4)
2. Amazing Race (Season 1)
3. Amazing Race (Season 2)
4. Amazing Race (Season 3)
5. Amazing Race (Season 4)
6. Amazing Race (Season 5)
7. Amazing Race (Season 6)
8. Amazing Race (Season 7)
9. Amazing Race (Season 8)
10. Amazing Race (Season 9)
11. Amazing Race (Season 10)
12. Amazing Race (Season 11)
13. Amazing Race (Season 12)
14. Amazing Race (Season 13)
15. Amazing Race (Season 14)
16. Amazing Race (Season 15)
17. Amazing Race (Season 16)
18. Amazing Race (Season 17)
19. Amazing Race (Season 18)
~~20. Amazing Race (Season 19~~)
21. Survivor (Season 10)
22. Survivor (Season 12)
23. Zoey's Extraordinary Playlist (Season 2)
24. Stargirl (Season 2)
25. Walking Dead (Unofficial But Official to Me Season 11)
26. Walking Dead World Beyond (Season 2)
~~27. Better Call Saul (Season 6)~~ 2022
28. Ben 10 Reboot (Season 5)
29. Love Life (Season 2)
30. Big Brother (Season 23)
31. Animaniacs (Season 2)
32. Doctor Who (Series 13)
~~33. Killing Eve (Season 4)~~ 2022
34. Rick and Morty (Season 5)
~~35. The Flight Attendant (Season 2)~~ 2022
36. Survivor (Season 41)
~~37. Survivor (Season 42)~~ 2022
38. Infinity Train (Season 4)
39. American Dad (Season 18)
40. Close Enough (Season 2)
41. Assassination Classroom (Season 2)
42. Dr. Stone (Season 2)
43. My Hero Academia (Season 5)
~~44. Demon Slayer (Season 2)~~ Spills into 2022
45. Wipeout Revival (Season 1)
46. Monsters at Work (Season 1)
47. iCarly Revival (Season 1)
~~48. Proud Family Louder and Prouder (Season 1)~~ 2022
~~49. South Park (Season 24)~~ 2022
~~50. Jodie (Season 1)~~ Confusing lack of updates despite announced 3 years ago
~~51. Pretty Little Liars: Original Sin (Season 1)~~ Doesn't finish filming until March 2022
~~52. Live Action Avatar the Last Airbender (Season 1~~ Doesn't finish filming until April 2022
53. Clone High (Season 1)
54. Made for Love (Season 1)
55. Rugrats Revival (Season 1)
~~56. Miraculous Ladybug (Season 4)~~ Likely now to spill into 2022
~~57. Jellystone (Season 1)~~ No guarantee of Season 1 Part Two in 2021
58. Chuck (Season 1)
59. Chuck (Season 2)
60. Chuck (Season 3)
61. Chuck (Season 4)
62. Chuck (Season 5)
63. Joe Pera Talks With You (Season 3)
64. Looney Tunes Cartoons (Season 2)
65. Looney Tunes Cartoons (Season 3)

A lot could go sideways with production times or just airing into 2022 so if need be I'll look backwards or hope for surprises in drops

Spectromixer · Jan 1, 2021

Spectromixer - 85/52 Seasons

Seasons:

Chilling Adventures of Sabrina | Part 4
Cobra Kai | S1
Star Trek: Discovery | S3
Once Upon a Time | S6
Cobra Kai | S2
Once Upon a Time | S7
Disenchantment | Part 3
Cobra Kai | S3
American Gods | S2
Sequester | S4
The Expanse | S5
Lucifer | S1
Crime Scene: Vanishing at the Cecil Hotel
Night Stalker: The Hunt for a Serial Killer
For All Mankind | S1
Lucifer | S2
Attack on Titan | S3
WandaVision
American Gods | S3
Lucifer | S3
Lucifer | S4
Attack on Titan | S4A
The Walking Dead | S10
Prank Encounters | S2
Solar Opposites | S2
Pennyworth | S2
Infinity Train | Book 4
The Falcon and the Winter Soldier
For All Mankind | S2
Invincible | S1
Shadow and Bone | S1
Castlevania | S4
Love, Death, + Robots | S2
Haunted | S3
90 Day Fiancé: The Single Life | S1
Babylon 5 | S1
Shrill | S3
Lucifer | S5
Cowboy Bebop | S1
Fear the Walking Dead | S6
The Handmaid's Tale | S4
Sister Wives | S1
Batwoman | S2
Mythic Quest | S2
Loki | S1
The Staircase
The Jinx: The Life and Deaths of Robert Durst
The Case Against Adnan Sayed
The Flash | S7
Sweet Tooth | S1
High School Musical: The Musical: The Series | S2
I Think You Should Leave with Tim Robinson | S1
I Think You Should Leave with Tim Robinson | S2
Star Wars: The Bad Batch | S1
The OA | S2
American Horror Stories | S1
90 Day Fiancé: Happily Ever After | S6
Superman & Lois | S1
Rick and Morty | S5
Legends of Tomorrow | S6
Ted Lasso | S1
Big Brother | S23
What If... ? | S1
Riverdale | S5
Star Trek: Lower Decks | S2
Squid Game | S1
American Horror Story | S10
Titans | S3
Midnight Mass
What We Do in the Shadows | S3
Big Mouth | S5
Eli Roth's History of Horror | S3
Foundation | S1
Supergirl | S6
Doom Patrol | S2
Doctor Who: Flux | S13
Survivor | S41
PEN15 | S2
Hawkeye
The Wheel of Time | S1
Hanna | S3
Locke & Key | S2
The Witcher | S2
The Walking Dead: World Beyond | S3
The Family Chanel | S3

Old challenges

🎉 2020 - 105/52 Seasons 🎉

vypek · Jan 1, 2021

That post made me realize that American Dad season 17 did end within 2020 so I missed it on my list. Damn lol

The Real Paddington · Jan 1, 2021

I'm ready to do this all over again.

The Real Paddington: 83/52

Completed:
01/03 - Cobra Kai (S3) - ★★★1/2 *New
01/04 - Breaking Bad (S2) - ★★★★ *Rewatch
01/07 - Breaking Bad (S3) - ★★★★1/2 *Rewatch
01/10 - Breaking Bad (S4) - ★★★★1/2 *Rewatch
01/14 - Breaking Bad (S5) - ★★★★1/2 *Rewatch
01/16 - Search Party (S1) - ★★★★ *New
01/18 - Search Party (S2) - ★★★★ *New
01/20 - Search Party (S3) - ★★★1/2 *New
01/25 - Euphoria (S1) + Specials - ★★★1/2 *Rewatch
01/28 - Search Party (S4) - ★★★1/2 *New
01/30 - Ted Lasso (S1) - ★★★1/2 *Rewatch
02/03 - BoJack Horseman (S1) - ★★★1/2 *Rewatch
02/12 - It's a Sin - ★★★★1/2 *New
02/13 - Attack On Titan (S1) - ★★★★ *New
02/16 - Attack On Titan (S2) - ★★★1/2 *New
02/20 - Attack On Titan (S3) - ★★★★ *New
03/05 - WandaVision - ★★★ *New
03/10 - Violet Evergarden - ★★★★ *New
03/13 - Deadwood (S1) - ★★★★ *Rewatch
03/17 - Deadwood (S2) - ★★★★1/2 *Rewatch
03/19 - Servant (S2) - ★★1/2 *New
03/21 - Deadwood (S3) - ★★★★ *Rewatch
03/24 - Sharp Objects - ★★★★ *Rewatch
03/24 - Beartown - ★★★1/2 *New
03/26 - Calls - ★★★ *New
03/28 - Attack On Titan (S4) - ★★★1/2 *New
03/30 - Party Down (S1) - ★★★★ *New
03/31 - Party Down (S2) - ★★★★ *New
04/05 - Show Me A Hero - ★★★★ *New
04/17 - Love Death & Robots (S1) - ★★★ *New
04/19 - Made Fore Love - ★★★1/2 *New
04/22 - Warrior (S1) - ★★★1/2 *New
04/23 - The Falcon/Winter Soldier - ★★1/2 *New
04/26 - Warrior (S2) - ★★★1/2 *New
04/29 - Invincible (S1) - ★★★★ *New
05/03 - Vinland Saga - ★★★1/2 *New
05/06 - The Plot Against America - ★★★★ *Rewatch
05/10 - 30 Rock (S1) - ★★★1/2 *New
05/14 - Love Death & Robots (S2) - ★★1/2 *New
05/15 - 30 Rock (S2) - ★★★★ *New
05/17 - The Underground Railroad - ★★★★1/2 *New
05/20 - 30 Rock (S3) - ★★★★ *New
05/25 - 30 Rock (S4) - ★★★★ *New
05/30 - The Sopranos (S1) - ★★★★ *Rewatch
05/31 - Mare of Easttown - ★★★1/2 *New
05/31 - 30 Rock (S5) - ★★★1/2 *New
06/04 - 30 Rock (S6) - ★★★1/2 *New
06/05 - The Sopranos (S2) - ★★★★ *Rewatch
06/07 - 30 Rock (S7) - ★★★★ *New
06/11 - Hacks (S1) - ★★★★ *New
06/13 - Fleabag (S1) - ★★★★1/2 *Rewatch
06/15 - Fleabag (S2) - ★★★★★ *Rewatch
06/22 - Girls5eva (S1) - ★★★★ *New
06/29 - The Sopranos (S3) - ★★★★1/2 *Rewatch
07/08 - The Sopranos (S4) - ★★★★1/2 *Rewatch
07/11 - The Sopranos (S5) - ★★★★ *Rewatch
07/14 - Loki (S1) - ★★★ *New
07/17 - The Sopranos (S6) - ★★★★1/2 *Rewatch
07/17 - Betty (S2) - ★★1/2 *New
07/19 - Primal (S1) - ★★★★ *Rewatch
07/28 - Undone (S1) - ★★★★ *Rewatch
08/04 - Mad Men (S1) - ★★★★ *New
08/10 - Mad Men (S2) - ★★★★ *New
08/13 - Schmigadoon! - ★★★ *New
08/15 - The White Lotus (S1) - ★★★★ *New
08/16 - The Other Two (S1) - ★★★★ *New
08/18 - Mad Men (S3) - ★★★★ *New
08/20 - Brand New Cherry Flavor - ★★★1/2 *New
08/26 - Mad Men (S4) - ★★★★1/2 *New
09/02 - Mad Men (S5) - ★★★★ *New
09/04 - Kevin Can F**k Himself (S1) - ★★★ *New
09/08 - Mad Men (S6) - ★★★1/2 *New
09/15 - Mad Men (S7) - ★★★★ *New
09/24 - Sex Education (S3) - ★★★1/2 *New
10/04 - Reservation Dogs (S1) - ★★★★ *New
10/08 - Ted Lasso (S2) - ★★★1/2 *New
10/14 - Scenes from a Marriage - ★★★ *New
10/19 - Only Murders in the Building (S1) - ★★★1/2 *New
10/30 - What We Do In The Shadows (S3) - ★★★1/2 *New
11/23 - Arcane (S1) - ★★★★1/2 *New
11/28 - The Great (S2) - ★★★★ *New

Currently:
Yellowjackets *New
Succession Season 3 *New
Curb Your Enthusiasm Season 11 *New
How to with John Wilson Season 2 *New

Quake1028 · Jan 1, 2021

Current Progress: 3/52 Completed

Finished
Barry: Season 1 ★★★★

The Boys: Season 2 ★★★★★
The Good Place: Season 2 ★★★★

Currently Watching
The Good Place: Season 3
Barry: Season 2

Future Watches

Barry: Season 1
Barry: Season 2
Big Mouth: Season 2
Big Mouth: Season 3
Big Mouth: Season 4
Blood of Zeus: Season 1
Cobra Kai: Season 1
Cobra Kai: Season 2
Cobra Kai: Season 3
Lovecraft Country: Season 1
Mythic Quest: Raven's Banquet: Season 1
Raised By Wolves: Season 1
Ramy: Season 1
Ramy: Season 2
Russian Doll: Season 1
Servant: Season 1
Ted Lasso: Season 1
The Flight Attendant: Season 1
The Good Place: Season 4
The Last Dance
The Mandalorian: Season 1
The Mandalorian: Season 2
The Queens Gambit
The Umbrella Academy: Season 2
What We Do In The Shadows: Season 1
What We Do In The Shadows: Season 2
Zoey's Extraordinary Playlist: Season 1

The Boys Season 2
Ozark Season 3
Warrior Nun Season 1
Bosch Season 6
Dead to Me Season 2
Teenage Bounty Hunters Season 1

Rhaknar · Jan 3, 2021

It begins

Season #1 - History of Swear Words
Episodes: 6
Rating: ★★★★

Super fun documentary series about, well, swear words, with a mix of actual scholars and a bunch of stand up comedians. Very breezy, very funny, surprisingly educational. Wish it was longer and there are some obvious swear word omissions, maybe they will make another one. Netflix documentaries are always good man.

Season #2 - Cobra Kai Season 3
Episodes: 10
Rating: ★★★★★

The show that perpetually continues to be way better than it has any right to be, since at it's core it's basically a highschool YA show, not something most of us would be going bananas for, and yet it's so damn compelling and fun and captivating. The lean hard into Karate Kid 2 this time around, again bringing in actors from that movie which is still awesome, and while a lot of the things feel a bit rushed (Miguel's recovery, Billy's heel turn and Hawk's face turn) it's so damn fun that I don't care.

Season #3 - Night Stalker The Hunt For a Serial Killer
Episodes: 4
Rating: ★★★

An average true crime documentary from Netflix who usually knocks it out of the park with these, however for some reason it didn't captivate (weird choice of words given the subject matter I know) as some others. Maybe it's the killer being such a horrible fucking piece of human garbage (I know, every serial killer is, but Richard Rodriguez is especially nasty), the presentation being a bit flat and the overuse of "dramatization" scenes, but something here just didn't grab me. The Keepers this is not (now that one is a fantastic true crime doc) but if you are a fan of the genre and want to learn about a truly monster of a human being, it's still worth a watch since it's pretty short.

Season #4 - Orphan Black Season 3
Episodes: 10
Rating: ★★★★★

A huge return to form picking up from the already better half of season 2, with all the crazyness that the male army clones angle introduced, this season was just a ton of fun, with Ari Millen doing a great job portraying the various clones (he's no Maslany but he gets the job done), Helena getting some great moments, and the story just moving into crazytown territory, in a good way, before it moves into the crazytown territory in a bad way later on. But for now, I just loved season 3 and feel it's up there with the first one.

Season #5 - The Ripper
Episodes: 4
Rating: ★★★★

Another true crime documentary (I'm in a real kick for these lately) and I enjoyed this a lot more than Night Stalker. It documents the events of the Yorkshire Ripper, a 70s/80s serial killer in the UK and between the better presentation, the better "story" with the botched investigation and the social impact of the killings in a era where feminism was on the rise and seeing how mysoginistic both the killer (obviously) but also the investigators (!) were, it's all really interesting (and depressing as usual) and it kept me captizated (again, it's super weird to say that about these true crime docus given it's real people that were murdered but I'm not sure how else to describe it).

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Season #6 - Evil Genius
Episodes: 4
Rating: ★★★★

Continuing my true crime kick, I finally got around to watch this bizarre one, and it truly is a strange (and sad) case. Lots of twists and turns, lots of not very nice people plotting not very nice things. I really liked the documentary presentation of it aswell as it seemed quite professional compared to others in the genre, and the story/case was truly fascinating.

Season #7 - Crime Scene The Vanishing at the Cecil Hotel
Episodes: 4
Rating: ★★★

Very torn on this one as I was enjoying it for the first half as it seemed like quite a strange case, but then the documentary devolves into all sorts of conspiracy theory bullshit with way too much focus put on the wannabe internet detectives, before concluding it was simply a very sad case of mental health ruining a young woman's life. It's well done but the conspiacy shit and the fact that these internet "detectives" manage to basically ruin some dude's life that had nothing to do with the case really rubbed me the wrong way. Maybe I should check out Don't Fuck With Cats to see internet detectives actually providing positive results?

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Season #8 - Don't F**k With Cats
Episodes: 3
Rating: ★★★

Watching this after the Cecil Hotel documentary just made me conclude that I kinda hate these so called "internet detectives", no matter what good intentions they might have (or think they have). The documentary itself is really well made, probably has the highest production values I've seen in these so far, but the overuse of the Facebook group people that were tracking / borderline stalking this (admittedly horrible) person rubbed me the wrong way, much like it did with the Cecil Hotel one, and also bringing in Luka Magnotta's mom to say he was innocent and there was a mysterious mastermind behind the murder felt almost like "both sides"-ing it. Oh and fuck that ending, the audacity to try to shame the viewer for watching the documentary lol. Still, it's very well made and quite disturbing to learn about, so for the true-crime genre it does a good job, just a lot of things in it that are NOT the horrible acts annoyed me.

Season #9 - Ozark Season 3
Episodes: 10
Rating: ★★★★★

Once again I'm not sure why I wait so long to watch a new season of Ozark since I always end up loving it but here we are. Show continues to improve as the Byrdes get deeper and deeper into the cartel business, leading to all sorts of shenanigans with the family, the new casino business, the cartel and the FBI. Super entertaining, super bleak as usual, Ruth continues to be awesome and the show just grabs you from start to end. Bittersweet that it's ending with season 4 but at least they go out on their own terms, and hopefully go out with a bang.

Season #10 - Wandavision Season 1
Episodes: 9
Rating: ★★★★

I'll preface this by saying I'm a big Marvel fanboy, and thus MCU fanboy, so this was always going to score high with me, and as expected, I ended up liking it a lot, even if they don't stick the landing. The sitcom schtick gets a bit old and it makes for some odd pacing early on, and the SWORD stuff wasnt the best, but at the same time I finally get my proper Scarlet Witch on screen, I get my twins, and all sorts of other things that I don't want to spoil but made my inner teenage comic book nerd geek out, and in the end, that's all I ask for from the MCU stuff.

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Season #11 - James Acaster Repertoire
Episodes: 4
Rating: ★★★★★

Easily one of the best stand-up acts I've ever seen, still as funny as the first time I watched it last year. The bizarre and interconnected stories he comes up with throughout the 4 episodes is brilliant and his performance is just hilarious. Probably my current favorite stand-up comedian (it helps that for all accounts he seems to be a decent human being too unlike many of them), this is a absolute must watch for any fan of stand up comedy.

Season #12 - Disenchantment Season 1
Episodes: 10
Rating: ★★★

Matt Groening's big return since Futurama ended up being... ok? It's alright, but very uneven. Sometimes it looks great but sometimes the animation is awful, sometimes it's quite clever and funny but sometimes it's super flat, even the voice acting is uneven. It's not terrible by any means and I enjoyed it enough, but it's not something I would be upset if it got cancelled either (did it get cancelled? I actually don't know). I do like that there's a season wide narrative going on tho.

Season #13 - Disenchantment Season 2
Episodes: 10
Rating: ★★★

Season 2 picks up right where Season 1 left off, and by heading in a more serialized direction, I think the show improved a bit, but it still feels very uneven and half the jokes fall flat (although the show is leaning on the comedy less and less it seems). On the other hand I like the overall story, and the relationship between Bean, Luci and Elfo continues to carry the show. It's also strangely dark at times, much like season 1 was towards the end, and the end of the season leading to season 3 is great and actually has be looking forward to more.

Season #14 - Falcon and the Winter Soldier Season 1
Episodes: 6
Rating: ★★★★

Season #15 - Brooklyn Nine Nine Season 1
Episodes: 22
Rating: ★★★★

Season #16 - Brooklyn Nine Nine Season 2
Episodes: 23
Rating: ★★★★★

Season #17 - Brooklyn Nine Nine Season 3
Episodes: 23
Rating: ★★★★★

Season #18 - Brooklyn Nine Nine Season 4
Episodes: 22
Rating: ★★★★

Season #19 - Brooklyn Nine Nine Season 5
Episodes: 22
Rating: ★★★★

Season #20 - Brooklyn Nine Nine Season 6
Episodes: 18
Rating: ★★★★

Season #21 - Brooklyn Nine Nine Season 7
Episodes: 13
Rating: ★★★

Season #22 - Brooklyn Nine Nine Season 8
Episodes: 10
Rating: ★★

Season #23 - Loki Season 1
Episodes: 6
Rating: ★★★

Season #24 - House Season 1
Episodes: 22
Rating: ★★★

Season #25 - House Season 2
Episodes: 24
Rating: ★★★

Season #26 - House Season 3
Episodes: 24
Rating: ★★★★

Season #27 - House Season 4
Episodes: 16
Rating: ★★★★

Season #28 - House Season 5
Episodes: 24
Rating: ★★★

Season #29 - Brand New Cherry Flavor
Episodes: 8
Rating: ★★★★

Season #30 - The Movies That Made Us Season 2
Episodes: 4
Rating: ★★★

Season #31 - You Season 1
Episodes: 10
Rating: ★★★

Season #32 - You Season 2
Episodes: 10
Rating: ★★★★

Season #33 - The Holiday Movies That Made Us
Episodes: 2
Rating: ★★

Season #34 - Midnight Mass
Episodes: 7
Rating: ★★★★★

Season #35 - Big Mouth Season 5
Episodes: 10
Rating: ★★★★★

Season #36 - Arcane League of Legends Season 1
Episodes: 9
Rating: ★★★★★

Season #37 - The Movies That Made Us Season 3
Episodes: 6
Rating: ★★★★

Season #38 - Castlevania Season 4
Episodes: 10
Rating: ★★★★ but also fuck Warren Ellis

Season #39 - Hawkeye Season 1
Episodes: 6
Rating: ★★★

Season #40 - Burn Notice Season 1
Episodes: 12
Rating: ★★★

Season #41 - Burn Notice Season 2
Episodes: 16
Rating: ★★★

Season #42 - Burn Notice Season 3
Episodes: 16
Rating: ★★★★

opus · Jan 3, 2021

This seems like fun, especially since I'm working from home, I'm mostly streaming shows in the background while I work.

January:

Completed:

Las Vegas S2 (fell into the E! marathon, and I have a soft spot for this cheeseball, nonsensical show)

In progress:

Las Vegas S3

American Housewife S5

The Goldbergs S8

Black-ish S7

Ravelle · Jan 4, 2021

I almost made it last time! Let's try this again! ( I really wish Letterboxd had shows as well)

Finished Series:
Cobra Kai Season 3 ★★★★
Deadly Class Season 1 ★★★★

Currently Watching:

Spectromixer · Jan 4, 2021

Ravelle said:
I almost made it last time! Let's try this again! ( I really wish Letterboxd had shows as well)

Same, I saw a tweet from the Letterboxd account where they said if they were to ever add shows they would want to do it the right way so they are taking their time with implementing it.

Naijaboy · Jan 4, 2021

Well RatskyWatsky , I'm finally checking out Harlots. The first episode was pretty good.

I'm through with Impulse, so I'll put that in later after finishing another show.

As for the summer, I plan to to through the entirely of The Goldbergs as well as hit the nostalgia train by rewatching Samantha Who? and Eli Stone while checking on Better off Ted for the first time.

Winter binging... is a bit of a mystery. I'm thinking it will be between Wakfu (hopefully with the last season airing on time), The Lion Guard, the episodes of She-Ra I missed and Welcome to Sweden, a run back years in the making. After that, I'm done jumping in on shows without watching them in the beginning.

And after that... the only big binge I'm currently interested in will be the DCAU.

RatskyWatsky · Jan 4, 2021

Naijaboy said:
Well RatskyWatsky , I'm finally checking out Harlots.

Yes!

Spectromixer · Jan 4, 2021

Just finished my first season, Sabrina Part 4, and yeah that was bad, especially the final scene.

qtamir1 · Jan 5, 2021

Great Thread, I always watch a ton of TV & Movies instead of Playing Games so i'll try to beat the challenge!

Watched

#1 - Chuck - Season 5 (Final Season)

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2020 was such a rough year so i resorted to rewatching pretty much my favourite show ever - CHUCK!

Right at the start of the year my journey sadly came to an end with the 5th season, which is really great. Probably the least favourite out of the five, but i still loved it.
The arc that is the relationship between Chuck and Sarah is so devestating to watch this season, and to this day the ending just makes me cry over and over again.
The characters purely has big hearts, especially Chuck (Zachary Levy was born to play Chuck Bartowski), and the dialogue, just proves over and over how the show can balance comedy and emotional drama so beautifully.

Up til today, there wasn't a show i gravitated to more that chuck, as it preaches that everyone can become heroes, and not feel like their potential is unfulfilled, and that nerd who loves playing video games and watch geeky movies & tv show can be the guy that is friendly with everyone! I adore everything about this show, and i felt so sad to again be over with the show... at least until i decide to watch again and feel everything all over again :)

BTW, everyone needs to hear the amazing soundtrack of this show!

#2 - Kakegurui - Season 1

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First anime i've seen in a long time after finishing the incredibly long naruto shippuden. that was when i decided to try weird animes i don't know, and i came across Kakegurui, a gambling heavy anime where we follow a gambling addicted student to a school that has is revolved basically entirely around betting your life in gambling games. not to get into plot details, the first season was a pleasent suprise for me even though the characters weren't more than eye candy. the gambling games were what pulled me to like the show, and there is a lot of adrenaline in the air constantly.

sometimes the show feels a bit overly sexy, which can go the good or bad side, depending on your taste. all in all, Fun season!
a bit dissapointing at the final episode, but still left me wanting to go on to the next season which is also available at netflix right now, so i'll be jumping there next.

#3 - Supernatural - Season 15 (Final Season)

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What an amazing show, with a beautiful ending. Watching supernatural feels like a journey, in a way i grew up with the characters of sam and dean winchester.
The entire season felt like a final ride, with a lot of closing loose ends, and a lot of very powerful performances. I watched all the 15 seasons of the show and never felt like the show wasn't great (season 7 sometimes though lol), and it was always entertaining because of those main characters.

Just wanted to express how incredible this show is, and i recommend to pretty much everyone to try it out! What a season to end on...

In Progress

The Rookie - Season 3
Kakegurui - Season 2 (Anime)

Plidex · Jan 5, 2021

26/52 Seasons Watched

Watched

January

1. Disney Gallery: The Mandalorian - S01 - ★★★★★
2. Schitt's Creek - S01 - ★★★★☆
3. Schitt's Creek - S02 - ★★★★★
4. Schitt's Creek - S03 - ★★★★★
5. Schitt's Creek - S04 - ★★★★★
6. The Expanse - S01 - ★★★★☆
7. The Expanse - S02 - ★★★★★
8. The Expanse - S03 - ★★★★★
9. Schitt's Creek - S05 - ★★★★★
10. The Expanse - S04 - ★★★★☆

February

11. The Wire - S01 - ★★★★★
12. The Wilds - S01 - ★★★☆☆
13. Schitt's Creek - S06 - ★★★★★★
14. Our Planet - S01 - ★★★★☆
15. The Wire - S02 - ★★★★★
16. The Wire - S03 - ★★★★★
17. WandaVision - S01 - ★★★★☆
18. The Wire - S04 - ★★★★★
19. The Wire - S05 - ★★★★★

March

20. The One - S01 - ★★☆☆☆
21. Lupin - S01 - ★★☆☆☆

April

22. The Falcon and the Winter Soldier - S01 - ★★★★☆
23. Shadow and Bone - S01 - ★★★★★
24. Formula 1: Drive to Survive - S01 - ★★★★★
25. Formula 1: Drive to Survive - S02 - ★★★★★
26. Formula 1: Drive to Survive - S03 - ★★★★★

June

27. Mythic Quest - S01 - ★★★☆☆

Ravelle · Jan 7, 2021

Finished Deadly Class.

Took me a while to get warmed up to it but was pretty enjoyable at the end, expected a different kind of show. A shame it got canceled though.

Rhaknar · Jan 9, 2021

RatskyWatsky said:
And Rhaknar for forcing me to make this thread~

Season #1 - History of Swear Words
Episodes: 6
Rating: ★★★★

Super fun documentary series about, well, swear words, with a mix of actual scholars and a bunch of stand up comedians. Very breezy, very funny, surprisingly educational. Wish it was longer and there are some obvious swear word omissions, maybe they will make another one. Netflix documentaries are always good man.

Main Post

poutmeter · Jan 10, 2021

Spectromixer said:
Just finished my first season, Sabrina Part 4, and yeah that was bad, especially the final scene.

I was thinking of watching it, since I've seen the other seasons, but I really can't manage to care about it. Anything past S1 was just bad TV and the only character I cared about was Aunt Hilda past that point.

Guess I'll skip the last season, then.

RatskyWatsky · Jan 10, 2021

Naijaboy · Jan 10, 2021

1. 01/02 Impulse (S2) ★★★★ ½ God dammit. Why did it have to end when it was just about to expand its universe. Alas, this is the danger of starting out slow in your world building. You don't always get the chance to say what you want to say. Not much has changed from the first season. Everyone was killing it acting wise. Who I thought would have been an expendable character ended up having the best episode in the entire series. It was a great watching experience and I may have to reevaluate my show of the decade list.

2. 01/03 Fetch With Ruff Ruffman (S4) ★★ ½ Once upon a time my siblings and I were huge fans of the show from PBS. It was basically a game show with kids starting a fictional character (I'll look into how they do it after the finale). Season one was great, but it was season two where the show truly shined. New character Blossum was a nice foil to the naive game show host. Then season three took a nose dive. New character Chet turned out to be the best character, but Ruff ended up being even more stupid while Blossum started to go into the mean cat stereotype. Not to mention that two contestants basically laid waste to the rest of the cast. It didn't help that the bonus points felt completely unbalanced. This season was more of the same with the characterizations. At least this time around the contestants were more balanced and interesing. But it basically continued with the show going through the motions and lazily awarding points without making it seem that it was earned.

3. 01/10 Harlots (S3) ★★★★ Finally starting to check it out, and I'm impressed with the world around it. It sprinkles in just enough so that even the supporting characters have its fans. It's a lot like GLOW in that regard. I was afraid that the plot points would end up destroying the structure of the season, but it they made it look easy seemlessly putting everything together to where the directions of our characters make sense. I'm looking forward to the next couple seasons.

Spectromixer · Jan 11, 2021

poutmeter said:
I was thinking of watching it, since I've seen the other seasons, but I really can't manage to care about it. Anything past S1 was just bad TV and the only character I cared about was Aunt Hilda past that point.

Guess I'll skip the last season, then.

yeah... it's probably worth skipping unless you were really invested

Rhaknar · Jan 18, 2021

Season #2 - Cobra Kai Season 3
Episodes: 10
Rating: ★★★★★

The show that perpetually continues to be way better than it has any right to be, since at it's core it's basically a highschool YA show, not something most of us would be going bananas for, and yet it's so damn compelling and fun and captivating. The lean hard into Karate Kid 2 this time around, again bringing in actors from that movie which is still awesome, and while a lot of the things feel a bit rushed (Miguel's recovery, Billy's heel turn and Hawk's face turn) it's so damn fun that I don't care.

Season #3 - Night Stalker The Hunt For a Serial Killer
Episodes: 4
Rating: ★★★

An average true crime documentary from Netflix who usually knocks it out of the park with these, however for some reason it didn't captivate (weird choice of words given the subject matter I know) as some others. Maybe it's the killer being such a horrible fucking piece of human garbage (I know, every serial killer is, but Richard Rodriguez is especially nasty), the presentation being a bit flat and the overuse of "dramatization" scenes, but something here just didn't grab me. The Keepers this is not (now that one is a fantastic true crime doc) but if you are a fan of the genre and want to learn about a truly monster of a human being, it's still worth a watch since it's pretty short.

Main Post

Rhaknar · Jan 30, 2021

where is everyone this year? :(

Season #4 - Orphan Black Season 3
Episodes: 10
Rating: ★★★★★

A huge return to form picking up from the already better half of season 2, with all the crazyness that the male army clones angle introduced, this season was just a ton of fun, with Ari Millen doing a great job portraying the various clones (he's no Maslany but he gets the job done), Helena getting some great moments, and the story just moving into crazytown territory, in a good way, before it moves into the crazytown territory in a bad way later on. But for now, I just loved season 3 and feel it's up there with the first one.

Season #5 - The Ripper
Episodes: 4
Rating: ★★★★

Another true crime documentary (I'm in a real kick for these lately) and I enjoyed this a lot more than Night Stalker. It documents the events of the Yorkshire Ripper, a 70s/80s serial killer in the UK and between the better presentation, the better "story" with the botched investigation and the social impact of the killings in a era where feminism was on the rise and seeing how mysoginistic both the killer (obviously) but also the investigators (!) were, it's all really interesting (and depressing as usual) and it kept me captizated (again, it's super weird to say that about these true crime docus given it's real people that were murdered but I'm not sure how else to describe it).

Naijaboy · Jan 30, 2021

1. 01/02 Impulse (S2) ★★★★ ½

2. 01/03 Fetch With Ruff Ruffman (S4) ★★ ½

3. 01/10 Harlots (S1) ★★★★ ½

6. 01/18 Harlots (S2) ★★★★ ½ There is only one significant loss in the roster, yet it is more than made up for by new players added into the intrigue. The very first episode raised the stakes for the girls at Greek Street and they only continue to rise as they take on old rivals and new enemies alike. The second season goes into overdrive with all sorts of new plot lines with ever changing dynamics yet it never feels like it would collapse on itself. All of this ends with one main character facing the consequences so that the others may survive. In the end, it just felt right where everyone ended up regarding their actions.

2. 01/25 Fetch With Ruff Ruffman (S5) ★★ ★ It seems like the show listened to complains of flanderization as everything is toned down from Ruff's ditziness to Blossum's passive-aggressive tendencies (Chet's basically a love it or hate it for the mouse's mishaps). And the overall arc this season is its most interesting yet. It's just a shame that this is happening with the most bland group of contestants and challenges yet. It's not for a lack of trying though. They go all out on the special guests, but I wish they did more to make the challenges mean something. The bonus points variation is less of a problem, but that doesn't matter much given how little the points allocation meant. At least the winner was a surprise. I thought one character would dominate, and that did happen... but it just didn't work out in the finale. Still, at least the show got to go out wrapping everything up. My rankings 2>1>5>4>3

6. 01/26 Harlots (S3) ★★★★ It felt like the show was feeling a budget crunch as the show straight up dropped a whole lot of people, and even more would go down throughout the season. The newcomers also aren't quite as memorable as in the previous seasons and the main characters that are left don't feel like they are up to snuff to survive (some of it was out of their control, but this was all the more reason they should have fought to keep more people). Thankfully, the fewer amount of characters allow others to shine and have their stories end nicely as well. It just felt like the heroes stumbled into a forcing a draw intstead of outsmarting their opponents. With that said, it was still relatively enjoyable and everything that could be wrapped up did get wrapped up.

LonestarZues · Jan 30, 2021

January update :

January 2021

1. Detention (S1) : Enjoyed it enough that I bought the video game it's based out of.

2. Transformers: War for Cybertron - Earthrise : Didn't quite enjoy it as much as the 1st part of the trilogy series.

3. The Third Day - Started really strong, lagged in the middle and ended strong imo.

4. Coyote - It was all over the place, but I'm a sucker for any show taking place on the Mexican/American border.

Currently watching:

1. 30 Monedas - Currently streaming on HBO Max and season is planned to end in February.

2. The Stand - Watching on CBS All Access and series should also be ending in February.

3. WandaVision - Really loved the last 3 episodes after being lukewarm on the 1st episode.

4. Attack on Titan Season 4 - Loving it so far.

5. Promised Neverland Season 2 - Same as above.

TripOpt55 · Jan 30, 2021

I basically just stopped watching TV halfway through last year. Anyway, I've been back into it a bit this year. I'll see if I can do this challenge.

1. Umbrella Academy Season 1
2. Umbrella Academy Season 2

Had a lot of fun catching up with this show. I like all the siblings, it has a fun sense of humor and can be pretty surprising at times. I also love a lot of the fight scenes and the music they set them to.

Currently watching: Servant Season 2, Sabrina Part 4 and Zoey's Extraordinary Playlist Season 2.

Bing147 · Feb 1, 2021

One of the few challenges I actually completed last year, might as well do it again:

Progress: 8/52

1. Transparent Season 1
2. Transparent Season 2
3. Transparent Season 3
4. Transparent Season 4
5. Transparent Season 5 (sort of, more of a finale movie, but Amazon calls it season 5 so...)
6. Extreme Chef Season 1
7. Extreme Chef Season 2
8. The Mandalorian Season 2

Comrade Grogu · Feb 1, 2021

Give me something to watch.

kurahador · Feb 2, 2021

Lets go, I'm joining in!!

Konosuba (S1) --- ★★★½
Konosuba (S2) --- ★★★½
Fear The Walking Dead (S2) --- ★★★★
Colony (S3) --- ★★★★
When They See Us (Miniseries) --- ★★★★½
Astra Lost in Space (Complete) --- ★★★★
Law & Order: SVU (S21) --- ★★★
Swort Art Online Alicization: War of the Underworld --- ★½
Wandavision (Miniseries) --- ★★★★
Pacific Rim: The Black (S1) --- ★★★★½
BBC's The War of the Worlds (Miniseries) --- ★★½
Locke & Key (S1) --- ★★★
Fear The Walking Dead (S3) --- ★★★★½
The Umbrella Academy (S1) --- ★★★½
Jujutsu Kaisen (S1) --- ★★★★★
The Boys (S2) --- ★★★★
Attack on Titan (S4) Part 1 --- ★★★★
Dr. Stone (S1) --- ★★★
DOTA: Dragon's Blood (Book 1) --- ★★★★
Wild Wild Country --- ★★★½
The Umbrella Academy (S2) --- ★★★★½
Falcon & The Winter Soldier (S1) --- ★★★½
Yasuke --- ★★½
My Hero Academia (S3) --- ★★★½
Love, Death & Robots (Volume 2) --- ★★★½
A Place Further Than the Universe (Complete) --- ★★★★½
My Hero Academia (S4) --- ★★½
Debris (S1) --- ★★½
How To Get Away With Murder (S4) --- ★★½
Manifest (S3) --- ★★★½
The Expanse (S4) --- ★★★★★
Law & Order: SVU (S22) --- ★★★
Law & Order: Organized Crime (S1) --- ★★★★
Creepshow (S2) --- ★★★
How To Get Away With Murder (S5) --- ★★★★
Katla (S1) --- ★★★½
How To Get Away With Murder (S6) --- ★★★½
Sophie: A Murder in West Corks --- ★★★
iZombie (S1) --- ★★★½
iZombie (S2) --- ★★★★
iZombie (S3) --- ★★★★★
Loki (S1) --- ★★★★★
iZombie (S4) --- ★★★½
iZombie (S5) --- ★★★★
Watchmen (Limited Series) --- ★★★★★
Hinterland (S1) --- ★★★
Hinterland (S2) --- ★★★½
Hinterland (S3) --- ★★★
Castlevania (S4) --- ★★★★
The Expanse (S5) --- ★★★★
The 100 (S1) --- ★★★
The 100 (S2) --- ★★★★
The Haunting of Bly Manor --- ★★★★½
The Rising of the Shield Hero (S1) --- ★★★
The 100 (S3) --- ★★½
Kingdom: Ashin of the North (Special) --- ★★★★★
86 (S1) --- ★★★½
Edens Zero (S1) --- ★★★
The 100 (S4) --- ★★★
My Hero Academia (S5) --- ★★
Squid Game (S1) --- ★★★½
Midnight Mass (Miniseries) --- ★★★★
The 100 (S5) --- ★★★
The 100 (S6) --- ★★½
Locke & Key (S2) --- ★★½
Dr. Stone (S2) --- ★★★
Another Life (S2) --- ★★½

dead souls · Feb 3, 2021

Damn, are we really already a month into 2021?

deadsouls 11/52

01. Cobra Kai (S3)- ★★★★
02. Superstore (S2)- ★★★1/2
03. Star Trek: Discovery (S3)- ★★★
04. Pure (S1)- ★★1/2
05. Chilling Adventures of Sabrina (S4)- ★★
06. Big Mouth (S1)- ★★1/2
07. History of Swear Words- ★★★
08. Lupin (Part 1)- ★★★★
09. Search Party (S4)- ★★★★1/2
10. Heaven's Gate: The Cult of Cults- ★★★
11. The Expanse (S5)- ★★★★★

52 TV seasons. 1 Year. 2021 edition

Are we human or are we dancer?

Are we human or are we dancer?

Are we human or are we dancer?

One Winged Slayer

Are we human or are we dancer?

Are we human or are we dancer?