52 TV seasons. 1 Year. 2021 edition

Dave. · Jul 13, 2021

Soliloquy of a Dogge said:
I guess there ain't gonna be a c-c-c-combo breaker in this thread lol.

Lol, I've been meaning to join in and dump my thoughts on maybe 30 seasons watched this year so far, but I've been waiting 6 months already and kinda didn't want to interrupt your flow! That and my one or two sentence write-ups might look rather lacking in comparison lol :D

Soliloquy of a Dogge · Jul 13, 2021

Dave. said:
Lol, I've been meaning to join in and dump my thoughts on maybe 30 seasons watched this year so far, but I've been waiting 6 months already and kinda didn't want to interrupt your flow! That and my one or two sentence write-ups might look rather lacking in comparison lol :D

Yeah it kind of feels like that's what most people are doing this time around with the TV, movie and book threads. The past couple years they definitely haven't been as active as they usually are.

I do feel like my write-ups are just a tad overboard haha. Habit from time on an old TV forum where people literally wrote essays on episodes of LOST and Breaking Bad lol. I do kind of like revisiting my initial thoughts after I go back and re-watch some of these things years afterwards though as it's always interesting to see if opinions change.

Soliloquy of a Dogge · Jul 14, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆

(2) The Expanse S5 [[Prime]] - ★★★½☆

(3) Paradise PD S1 [[Netflix]] - ★★★☆☆

(4) Paradise PD S2 [[Netflix]] - ★★½☆☆

(5) Paradise PD S3 [[Netflix]] - ★★½☆☆

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

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

(8) Band of Brothers [[HBO]] - ★★★★½

(9) Chernobyl [[HBO]] - ★★★★½

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

(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.

Soliloquy of a Dogge · Jul 15, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆

(2) The Expanse S5 [[Prime]] - ★★★½☆

(3) Paradise PD S1 [[Netflix]] - ★★★☆☆

(4) Paradise PD S2 [[Netflix]] - ★★½☆☆

(5) Paradise PD S3 [[Netflix]] - ★★½☆☆

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

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

(8) Band of Brothers [[HBO]] - ★★★★½

(9) Chernobyl [[HBO]] - ★★★★½

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

(11) Your Honor [[Showtime]] - ★★★½☆

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

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

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

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.

Soliloquy of a Dogge · Jul 16, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**
*(9) Chernobyl [[HBO]]* - ★★★★½**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆

(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.

Soliloquy of a Dogge · Jul 17, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**
*(9) Chernobyl [[HBO]]* - ★★★★½**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆

(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.

Soliloquy of a Dogge · Jul 18, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**
*(9) Chernobyl [[HBO]]* - ★★★★½**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆

(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.

Soliloquy of a Dogge · Jul 19, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆

(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.

Naijaboy · Jul 20, 2021

1. 01/02 Impulse (S2) ★★★★ ½

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

3. 01/10 Harlots (S1) ★★★★ ½

4. 01/18 Harlots (S2) ★★★★ ½

5. 01/25 Fetch With Ruff Ruffman (S5) ★★ ★

6. 01/26 Harlots (S3) ★★★★

7. 02/14 Transformers: War for Cybertron (S2) ★★ ★

8. 2/21 Bonding (S2) ★★★★

9. 3/11 Battlebots (S10) ★★★ ½

10. 3/13 Wandavision (S1) ★★★ ½

11. 3/18 grown-ish (S3b) ★★★ ½

12. 3/25 Superstore (S6) ★★★ ½

13. 3/27 RWBY (V8) ★★★ ½

14. 3/28 Attack on Titan (S4) ★★★

15. 4/23 RuPaul's Drag Race (S13) ★★★

16. 4/24 The Falcon and the Winter Soldier ★★★ ½

17. 4/30 Invincible (S1) ★★★

18. 5/2 Infinity Train (S4) ★★★ ½

19. 5/13 Mom (S7) ★★★

20. The Nevers (S1a) ★★ ½

21. 5/17 Bob + Abishola (S2) ★★★

22. 5/18 black-ish (S7) ★★★

23. 5/18 mixed-ish (S2) ★★ ½

24. 5/19 The Goldbergs (S8) ★★ ½

25. 5/23 Bob's Burgers (S11) ★★★★

26. 5/24 Black Lightning (S4) ★★★★

27. 5/29 Welcome to Sweden (S1) ★★ ½

28. 5/31 The Goldbergs (S1) ★★★ ½

29. 6/7 M.O.D.O.K. (S1) ★★★ ½

30. 6/9 Welcome to Sweden (S2)

31. 6/12 The Goldbergs (S2) ★★★★

32. 6/18 Legendary (S2) 3 and a half stars - Trying to run a competition during a pandemic is no easy task. Still, some had it harder than others. Now imagine trying to record a show without fans when they are often the biggest factors in how hype a show can be. That's the dilemma Legendary found itself in. Try as they might, there was just no way they could get around this without a downgrade in quality. It didn't help that the houses themselves weren't as distinct from either other and imo not as talented. There wasn't as much gagging in this one. Still, it was an entertaining season

33. 6/20 Bless the Harts (S2) 3and a half stars - I stuck around with the show because I was willing to let it improve upon itself. It... did not. Not really. It's still a decent show and it's rare to find one that has prominent relationships with a grandma-mother-daughter relationship and it does got pretty funny and inspiring at times. But I guess it wasn't able to stick out in a way Bob's Burgers has able to do. That and it was basically left to die in the infamous 7:30/6:30c time slot.

34. 6/24 The Goldbergs (S3) Four and a half stars - I wondered how this show could be comparable to The Middle in quality from the AV Club reviews. Little did I know that the show was going to pull out all the stops in its third season. We're talking a kickass Risky Business season premiere, hilarious stubborness from the family in gerenel, Adam leaving his girlfriend behind in a haunted house ("You literally said 'kill her leave me alive'"), a Thanksgiving for the ages, the best Hannukah episode I've ever seen, The Hands Across America fiasco, Eddie the Eagle, Smother's Day, Weird Al himself. There's just so much greatness in this season. And it somehow got me invested in George/Erica.

35. 6/24 Samantha Who? Four stars - (S1) Now this is how you do a sitcom protagonist. Have her play a bit of a straight woman, but give her her own quirks as well. It helps that the cast in general is just great in general. I just wish Joy Osmanski stuck around for the next season. Stargirl proves that she's got talent.

36. 6/27 Batwoman (S2) Three and a half stars - I gotta say, I'm impressed. There's so much that could have gone wrong with the departure of Ruby Rose. Yet the folks found a way to tie everything together in a way that made things interest. It did take a while and the first half felt uninteresting. Yet in a repeat of the first season it got you invested in enough of the story to applaud the folks in the end. Whether they can continue this good fortune is another matter.

37. 7/6 The Goldbergs (S4) Four stars - The lower score doesn't detract that this was a solid season of the Goldbergs. Bringing back Waffle girl, the answering machine wars and Murray actually getting interested in something Adam like were solid stuff. Plus, George/Erica somehow works fairly well here. It just doesn't reach the heights that the third season reaches. That's fine. As long as I'm entertained, I can take a dip in quality.

38. 7/14 Samantha Who? (S2) Three and a half stars - The second season doesn't go into some of the gimmicks from the first season I liked, but it was still an entertaining show all the same. I'm at least glad that it ends on a fairly conclusive note.

39. 7/14 Loki (S1/0 Three and a half stars - It's basically the same score as the other shows, but this one at least moves ahead of the others with a satisfying conclusion to the season. It was an interesting venture into time with Loki, much like Doctor Who at its best. With how insane this season ended, I'm excited to see what the next season brings.

40 7/17 The Goldbergs (S5) Three and a half stars - Now I'm seeing a significant dip in the the quality of the show. I see that they're trying to reign in on Beverly's shenanigans with some character development, but the chemistry just doesn't feel as good in its weakest season yet. Girl Meets World alum Rowan Blanchard is a welcome addition to the supporting cast, but the cast doesn't feel as amazing. Sorry Bev but Year of Sue > the Bevolution.

Right now, I'm watching Better off Ted and am enjoying it.

You know what? I don't want M.O.D.O.K. to be my favorite sitcom of the year. It's time to branch out. I've got a couple shows in mind...

Soliloquy of a Dogge · Jul 20, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆

(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 can't wait to see how the two end credit scenes factor into the next Captain Marvel and Doctor Strange films.

Themis · Jul 21, 2021

It seems like a you problem lauv.

Soliloquy of a Dogge · Jul 21, 2021

Themis said:
It seems like a you problem lauv.

Slayven has competition in the comics department it seems 😅

Soliloquy of a Dogge · Jul 21, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆

(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.

Soliloquy of a Dogge · Jul 22, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆

(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.

Soliloquy of a Dogge · Jul 24, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**	(27) *Sailor Moon Crystal S3 [[Netflix]]* - ★★★★☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**

(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.

Spectromixer · Aug 1, 2021

Spectromixer said:
Spectromixer - 52/52 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

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

Old challenges

🎉 2020 - 105/52 Seasons 🎉

Finished! Now let's see how close I get to beating last year's number

RatskyWatsky · Aug 1, 2021

Spectromixer said:
Finished! Now let's see how close I get to beating last year's number

Congratz!

Naijaboy · Aug 18, 2021

1. 01/02 Impulse (S2) ★★★★ ½

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

3. 01/10 Harlots (S1) ★★★★ ½

4. 01/18 Harlots (S2) ★★★★ ½

5. 01/25 Fetch With Ruff Ruffman (S5) ★★ ★

6. 01/26 Harlots (S3) ★★★★

7. 02/14 Transformers: War for Cybertron (S2) ★★ ★

8. 2/21 Bonding (S2) ★★★★

9. 3/11 Battlebots (S10) ★★★ ½

10. 3/13 Wandavision (S1) ★★★ ½

11. 3/15 Duktales (S3) Three and a half stars Forgot about this one. I can't help but say I was slightly disappointed with this season. Not that it wasn't good in its own right, but F.O.W.L. going full on Secret Society of Villains on Scrooge McDuck and his friends could have been amazing. Yet it never really lived up to its potential from the secrecy and reveal to the actual skirmishes. The main antagonist waffling around between villainy and practicality didn't really mesh well. Still, I can't be too hard on them for the sheer amount of shout-outs the season delivered throughout the season. They just needed to tighten the script better to truly blow us away. But they at least managed to put some finality in the story.

12. 3/18 grown-ish (S3b) ★★★ ½

13. 3/25 Superstore (S6) ★★★ ½

14. 3/27 RWBY (V8) ★★★ ½

15. 3/28 Attack on Titan (S4) ★★★

16. 4/23 RuPaul's Drag Race (S13) ★★★

17. 4/24 The Falcon and the Winter Soldier ★★★ ½

18. 4/30 Invincible (S1) ★★★

19. 5/2 Infinity Train (S4) ★★★ ½

20. 5/13 Mom (S7) ★★★

21. The Nevers (S1a) ★★ ½

22. 5/17 Bob + Abishola (S2) ★★★

23. 5/18 black-ish (S7) ★★★

24. 5/18 mixed-ish (S2) ★★ ½

25. 5/19 The Goldbergs (S8) ★★ ½

26. 5/23 Bob's Burgers (S11) ★★★★

27. 5/24 Black Lightning (S4) ★★★★

28. 5/29 Welcome to Sweden (S1) ★★ ½

29. 5/31 The Goldbergs (S1) ★★★ ½

30. 6/7 M.O.D.O.K. (S1) ★★★ ½

31. 6/9 Welcome to Sweden (S2)

32. 6/12 The Goldbergs (S2) ★★★★

33. 6/18 Legendary (S2) 3 and a half stars -

34. 6/20 Bless the Harts (S2) 3and a half stars

35. 6/24 The Goldbergs (S3) Four and a half stars

36. 6/24 Samantha Who? Four stars - (S1) Four stars

37. 6/27 Batwoman (S2) Three and a half stars

38. 7/6 The Goldbergs (S4) Four stars -

39. 7/14 Samantha Who? (S2) Three and a half stars

40. 7/14 Loki (S1/0 Three and a half stars

41. 7/17 The Goldbergs (S5) Three and a half stars

42. 7/20 The Flash (S7) Two stars - Normally I would justify an underwhelming season by pointing out some of the good that came out of it. I looked into that well and found... a single episode that didn't even feature the Flash at all. People clamored for separate arcs to help pace the season. We get no less than three of them... and they all fell flat. COVID isn't an excuse when Batwoman went on without the original Batwoman or the actress and still cooked up a much better season. The villains sucked, the heroes acted like they've been doing this a week and even the actors feel like they're going through the motions. The legendary OT thread has now become a therapy session. That's now bad it's gotten.

43. 7/21 Kung Fu (S1) Three stars It's a pretty decent start for the season, though the action didn't really wow me as much as I thought it would. They do have an interesting case of characters including a villain that grew on me over time. With the main plot looking done and dusted it will be interesting to see what the crew can think up of for the next season.

44. 7/27 Better Off Ted (S1) Four stars - Welcome to what's probably the most accurate description of your office life. Sure your job isn't nearly as evil as Veridian Dynamics but I'm sure may of them would wish they had the cout to have complete control of all but three countries (and the US probably isn't one of them). The adverts can tell you as such and they're awesome. The cast is fairly small, but they bounce off each other extremely well. Shout out to Portia de Rossi for bringing the incredible ice queen Veronica Palmer to life. I won't saw it's the best discarded ABC show because I had bigger laughs with some, but it's still a great first season.

45. 7/29 The Goldbergs (S6) Three stars - So much for the Bevolution. Beverly was basically caught snooping on Barry and Lainey on the season premiere. It didn't take long for her to go back to her old ways. I understand why they didn't want Lainey to stay on after she got her own show, but that was a risky maneuver and they paid dearly for it. Now there's no way to resolve this unless they retcon the spin-off. The flanderization of most of the cast was getting worst. Geoff was getting the worst of it being centered on his relation with Erica to the point that he wasn't even with the JTP that much anymore. Not that much of the other supporting case had much to do either. All of Adam's friends outside of Dave Kim were worst off, especially his girlfriend Jackie played by a different actress. I can't even say it was her fault. The season just didn't really do anything with her. I just can't really think of any episodes that were comparable for that of the first four seasons. And what's with them using that horrible laugh from Pops (no diss against the actor RIP).

46. 8/5 Never Have I Ever (S2) Three and a half stars - A good improvement from the first season. The show did a better job fleshing out the characters around Devi and the new additions to the cast worked wonderfully in their roles. Devi had some really bad moments, but it didn't weigh down the show. Keep it up.

47. 8/13 The Goldbergs (S7) One and a half stars - Painful. That's the gist of this season. The worst aspects of nearly every character in the show has been multiplied 10 fold. Barry's antics in college aren't funny anymore. They're pathetic and his mistreatment against the JTP has hit a new low. Even they've been calling him out on his bullshit. Murray's disdainment for anything has grown to the point that he could spend an entire day in his couch. But the worst of it all came from Beverly. Stalking teachers in cars, turning her own kids against each other, catering to Adam's needs at nearly every whim. The fact that the term 'Karen' would be a perfect way to describe her isn't lost on me. Even Adam is getting hard to root for. He's much more dependent on his mom. And let's not forget when he took his bike that was donated to a bunch of nuns. Erica and Pops are the only two who seemed to have escape being hated in this season. Her new friend Rena is nothing. I can even see why they dropped her so suddenly in season 8.

48. 8/13 Better Off Ted (S2) Four stars - I feel this was even better season and would have ranked it as such if they kept the adverts. Not much to say other than it merely managed to bring in even better material than the first.

49. 8/15 Transformers: War for Cybertron Three stars - I'm not familiar with Beast Wars, but from what I heard most of the characters don't really act like their original counterparts. Still, it had to be cool seeing all these characters interact with each other. Too bad the animation didn't wow me like the first two seasons. The main villain's plan felt a bit convoluted to the point I wondered how it managed to go as far as it did. Other than that it was a decent end to the season.

50. Superman & Lois (S1) Three and a half stars. Okay, I was skeptical at first when it looked like the show would veer into Man of Steel which I have... mixed feels towards. Little did I know that the show was going out of its way in doing a better version of the Snyderverse. The dialogue felt iffy at times, but it didn't detract from the fact that it was a Superman show and there was time to show some hope. The twists and turns from this season were great as well and it boasts some of the best animation from the Arrowverse in a good while.

It won't be long till I meet my goal, whether it's through Eli Stone and She-ra or finishing some of the shows I'm watching live. If I have the time, I will check out newcomers Rutherford Falls and We Are Lady Parts as well as one more blast from the past.

Soliloquy of a Dogge · Aug 21, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**	(27) *Sailor Moon Crystal S3 [[Netflix]]* - ★★★★☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**	(28) *The Underground Railroad [[Prime]]* - ★★★★★**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**

(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.

Soliloquy of a Dogge · Aug 22, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**	(27) *Sailor Moon Crystal S3 [[Netflix]]* - ★★★★☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**	(28) *The Underground Railroad [[Prime]]* - ★★★★★**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**	(29) Drive To Survive S3 [[Netflix]] - ★★★☆☆
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**

(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.

Soliloquy of a Dogge · Aug 23, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**	(27) *Sailor Moon Crystal S3 [[Netflix]]* - ★★★★☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**	(28) *The Underground Railroad [[Prime]]* - ★★★★★**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**	(29) Drive To Survive S3 [[Netflix]] - ★★★☆☆
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**	(30) Charmed S1 [[The CW]] - ★★★½☆
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**	(31) *Charmed S2 [[The CW]]* - ★★½☆☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**

(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.

Soliloquy of a Dogge · Aug 24, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**	(27) *Sailor Moon Crystal S3 [[Netflix]]* - ★★★★☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**	(28) *The Underground Railroad [[Prime]]* - ★★★★★**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**	(29) Drive To Survive S3 [[Netflix]] - ★★★☆☆
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**	(30) Charmed S1 [[The CW]] - ★★★½☆
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**	(31) *Charmed S2 [[The CW]]* - ★★½☆☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆	*(32) Charmed S3 [[The CW]]* - ★★★☆☆**
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**

(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.

Soliloquy of a Dogge · Aug 25, 2021

(1) Servant S2 [[Apple TV+]] - ★★★½☆	(14) *Ben 10: Alien Force S1 [[CN]]* - ★★★½☆**	(27) *Sailor Moon Crystal S3 [[Netflix]]* - ★★★★☆**
(2) *The Expanse S5 [[Prime]]* - ★★★½☆**	(15) *Ben 10: Alien Force S2 [[CN]]* - ★★★★☆**	(28) *The Underground Railroad [[Prime]]* - ★★★★★**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**	(29) Drive To Survive S3 [[Netflix]] - ★★★☆☆
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**	(30) Charmed S1 [[The CW]] - ★★★½☆
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**	(31) *Charmed S2 [[The CW]]* - ★★½☆☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆	*(32) Charmed S3 [[The CW]]* - ★★★☆☆**
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**	(33) *Ben 10: Omniverse S1 [[CN]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**	(34) *Ben 10: Omniverse S2 [[CN]]* - ★★★½☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**	(35) *Ben 10: Omniverse S3 [[CN]]* - ★★☆☆☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**	(36) *Ben 10: Omniverse S4 [[CN]]* - ★★★½☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**

(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.

Soliloquy of a Dogge · Aug 26, 2021

(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]]* - ★★★★★**
(3) *Paradise PD S1 [[Netflix]]* - ★★★☆☆**	(16) *Ben 10: Alien Force S3 [[CN]]* - ★★★☆☆**	(29) Drive To Survive S3 [[Netflix]] - ★★★☆☆
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**	(30) Charmed S1 [[The CW]] - ★★★½☆
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**	(31) *Charmed S2 [[The CW]]* - ★★½☆☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆	*(32) Charmed S3 [[The CW]]* - ★★★☆☆**
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**	(33) *Ben 10: Omniverse S1 [[CN]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**	(34) *Ben 10: Omniverse S2 [[CN]]* - ★★★½☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**	(35) *Ben 10: Omniverse S3 [[CN]]* - ★★☆☆☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**	(36) *Ben 10: Omniverse S4 [[CN]]* - ★★★½☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½	(37) Ben 10: Omniverse S5 [[CN]] - ★★★★☆
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**	(38) *Ben 10: Omniverse S6 [[CN]]* - ★★½☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**	(39) Ben 10: Omniverse S7 [[CN]] - ★★½☆☆

(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.

Soliloquy of a Dogge · Aug 27, 2021

(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]] - ★★★☆☆
(4) *Paradise PD S2 [[Netflix]]* - ★★½☆☆**	(17) *Ben 10: Ultimate Alien S1 [[CN]]* - ★★★½☆**	(30) Charmed S1 [[The CW]] - ★★★½☆
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**	(31) *Charmed S2 [[The CW]]* - ★★½☆☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆	*(32) Charmed S3 [[The CW]]* - ★★★☆☆**
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**	(33) *Ben 10: Omniverse S1 [[CN]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**	(34) *Ben 10: Omniverse S2 [[CN]]* - ★★★½☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**	(35) *Ben 10: Omniverse S3 [[CN]]* - ★★☆☆☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**	(36) *Ben 10: Omniverse S4 [[CN]]* - ★★★½☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½	(37) Ben 10: Omniverse S5 [[CN]] - ★★★★☆
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**	(38) *Ben 10: Omniverse S6 [[CN]]* - ★★½☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**	(39) Ben 10: Omniverse S7 [[CN]] - ★★½☆☆

(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.

Naijaboy · Aug 29, 2021

1. 01/02 Impulse (S2) ★★★★ ½

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

3. 01/10 Harlots (S1) ★★★★ ½

4. 01/18 Harlots (S2) ★★★★ ½

5. 01/25 Fetch With Ruff Ruffman (S5) ★★ ★

6. 01/26 Harlots (S3) ★★★★

7. 02/14 Transformers: War for Cybertron (S2) ★★ ★

8. 2/21 Bonding (S2) ★★★★

9. 3/11 Battlebots (S10) ★★★ ½

10. 3/13 Wandavision (S1) ★★★ ½

11. 3/15 Duktales (S3) ★★★ ½

12. 3/18 grown-ish (S3b) ★★★ ½

13. 3/25 Superstore (S6) ★★★ ½

14. 3/27 RWBY (V8) ★★★ ½

15. 3/28 Attack on Titan (S4) ★★★

16. 4/23 RuPaul's Drag Race (S13) ★★★

17. 4/24 The Falcon and the Winter Soldier ★★★ ½

18. 4/30 Invincible (S1) ★★★

19. 5/2 Infinity Train (S4) ★★★ ½

20. 5/13 Mom (S7) ★★★

21. The Nevers (S1a) ★★ ½

22. 5/17 Bob + Abishola (S2) ★★★

23. 5/18 black-ish (S7) ★★★

24. 5/18 mixed-ish (S2) ★★ ½

25. 5/19 The Goldbergs (S8) ★★ ½

26. 5/23 Bob's Burgers (S11) ★★★★

27. 5/24 Black Lightning (S4) ★★★★

28. 5/29 Welcome to Sweden (S1) ★★ ½

29. 5/31 The Goldbergs (S1) ★★★ ½

30. 6/7 M.O.D.O.K. (S1) ★★★ ½

31. 6/9 Welcome to Sweden (S2) ★★★

32. 6/12 The Goldbergs (S2) ★★★★

33. 6/18 Legendary (S2) ★★★ ½

34. 6/20 Bless the Harts (S2) ★★★ ½

35. 6/24 The Goldbergs (S3) ★★★★½

36. 6/24 Samantha Who? (S1) ★★★★½

37. 6/27 Batwoman (S2) ★★★ ½

38. 7/6 The Goldbergs (S4) ★★★★½

39. 7/14 Samantha Who? (S2) ★★★ ½

40. 7/14 Loki (S1/0 ★★★ ½

41. 7/17 The Goldbergs (S5) ★★★ ½

42. 7/20 The Flash (S7) ★★

43. 7/21 Kung Fu (S1) ★★★

44. 7/27 Better Off Ted (S1) ★★★★

45. 7/29 The Goldbergs (S6) ★★★

46. 8/5 Never Have I Ever (S2) ★★★ ½

47. 8/13 The Goldbergs (S7) ★ ½

48. 8/13 Better Off Ted (S2) ★★★★

49. 8/15 Transformers: War for Cybertron ★★★

50. Wellington Paranormal (Series 1) ★★★ When it's good, it goes toe to toe with some of the best sitcoms currently on TV. Otherwise, it has some of the dry humor that not everyone's going to like throughout the series. It's still a better get for the CW then they usually have in the summer.

51. 8/17 Superman & Lois (S1) ★★★ ½

52. 8/24 Motherland: Fort Salem (S2) ★★★ - This season does a better job explain just what the world is about and how the public reacts to the society of militarized witches, something that was sorely needed. It puts a bit of grey on nearly every faction (besides the unrepentantly evil witch killing Camarie and the show is all the better for it. I do wish they spent more on the Vice President's daughter which would have made her fate more impactful and weave the stories together better. Also, I'm still waiting on more of a backstory for the Camarie and how they stayed in hiding for so long. But it does look like we'll get some more lore in in its final season. And please change the stunt coordinator as the fights still look awful.

53. 8/26 She-Ra and the Princesses of Power (S1) ★★★ ½ - It's crazy how this entire concept of a reboot She-Ra came to be with Noelle basically given the chance of a lifetime to bring her hurt/comfort writing skills to life. It left like Netflix didn't have faith in the series since their animation budget felt small (compare that to what He-Man's reboot got). And yet the crew made the most of their situation with interesting character work from everyone involved. The humor,'s alright, but the mysteries of the world keeps things enticing. And the designs are great too. Overall, it's a pretty good start for the show.

54. 8/26 Eli Stone (S1) ★★★★ - Much like with cop procedurals, lawyer shows aren't usually my cup of tea. ABC acted as if they knew this and decided to change things up, causing an amoral attorney to see visions and use that to help you. It does give you an incentive to see how the court system works as well as everyone around him change, including some that took me by surprise. The visions do feel like they become as if they run through the motions at times, but this is a nice jumping point for those who want to check out court shows. As for the animation itself, it's impressive for the small screen and also feels like The Good Place took some elements from this show into it's own. And there were a lot of familiar faces, from Tom Cavanagh playing Eli's dad (and being perfect for the role given the wackiness we see him through in The Flash) to Carmichael's Lorette Devine playing the secretary and even the Dean himself making a cameo. Also, I'm glad it got a second season because I don't think I would have been ready for this one to end the way it could have otherwise.

So there. It's done. I doubt I could double the amount, but we'll see how much more I can binge before the fall season starts up.

RatskyWatsky · Aug 29, 2021

Naijaboy said:
So there. It's done. I doubt I could double the amount, but we'll see how much more I can binge before the fall season starts up.

Huzzah!

TheNatureBoy · Aug 29, 2021

1. Cobra Kai S3 - Another enjoyable season. Show continues to mix in characters from the movies really well.
2. Succession S2 - Hell of a way to end the season. Still mostly view the show as a comedy, despite some nice dramatic moments
3. One Day at a Time S2 - Glad I decided to catch up on the show this year. Really good throwback sitcom
4. Lucifer S4 - Eve was a nice addition to this season
5. Lucifer S5 Part 1 - The way it ended has me hyped for its return later this month
6. One Day at a Time S3 - A lot of strong family moments this season
7. Search Party S4 - maybe not the funniest season, but I still enjoy the main cast a lot.
8. Warrior Nun S1 - By the end, the show really pulled me in. Made for an easy binge watch.
9. One Day at a Time S4- shorter season and new network, but the show mostly remained the same.
10. Viking S6 B - Might not have been as strong as it once was, but still visually gorgeous and a solid way to wrap up.
11. Saved by the Bell - Pretty funny update of the series
12. Gangs of London - Has some of the best action I've seen on a show.
13. Lupin Part 1 - very charming show
14. WandaVision - good debut show for Marvel on Disney+. Made me care more about Wanda and Vision
15. Farscape S1 - A lot of weird looking alien creatures, but I like the cast a lot. Fills a sci-fi spot for me.
16. Superstore S6 - Even without Amy, thought the show was still really funny. Went out on a good note.
17. Jujitsu Kaisen - Sucked me into its world fairly quickly. Great animation, nice mix of humor and action
18. The Haunting of Hill House - Very well done horror, mixed with family trauma
19. Made for Love - Not great, but very watchable. Really like Cristin Milioti
20. Solar Opposites S1 - Has one of the best show within a show I've seen recently
21. Falcon and the Winter Soldier - Liked the fact it was different from WandaVision, some good action.
22. Shadow and Bone - Very solid fantasy series, not great by any means but very solid
23. Invincible - One of my favorite new shows this year. Love to see more adult animated series in general
24. Young Rock - Not the funniest sitcom, but did have some nice emotional moments. Really works well as PR for a possible Rock Presidential run.

Finally hit 52, I might slow down some in order to catch up on movies. I'm at 42 in movies, plus my game backlog continues to increase.

25. Zoey's Extraordinary Playlist S2 - sucks it was canceled, but glad Roku is doing a wrap-up movie at least
26. The Nevers Part 1 - the ending set things up nicely for what should be an improved Part 2
27. Castlevania S4 - really nice way to go out with some incredible animation along the way. Powerhouse is such a talented studio.
28. That Damn Michael Che - some really funny sketches, glad it will be back for another season.
29. Black Lightning S4- a shame some things had to be rushed due to Covid/cancelation.
30. Debris - another network sci-fi show that bit the dust. Finale was setting things up nicely for S2. SMH
31. A Black Lady Sketch Show S2 - wasn't feeling this much. Don't think I will be back for S3
32. Blackish S7 - show is long in the tooth. Glad next season will be the last
33. Lucifer S5 Part 2 - some really emotional moments I didn't expect. Glad I caught up on this show this past year and change.
34. Money Heist Part 1 - glad I finally got around to watching this
35. Love, Death, + Robots Vol 2 - not as strong as Vol 1, but still enjoy the different animation styles.
36. Lupin Part 2 - fun, French series
37. I Think You Should Leave S2 - few shows make me laugh as hard as this does
38. Marvel's MODOK - liked it more than loved it.
39. Loki S1 - the standout of the Marvel Disney+ shows so far.
40. Mr. Inbetween S3 - nice way to go out for this underrated gem of a show.
41. Betty S2 - makes skateboarding look so cool/freeing. Now doing tricks in the halfpipe in the sky.
42. Never Have I Ever S2 - remains really enjoyable, despite the many mistakes by Devi. Great pacing
43. The Flash S7 - only really watching now because I expect the show to end soon.
44. Money Heist Part 2 - more fukkery, more good character moments.
45. Bob's Burger's S11 - still remains enjoyable when I watch it.
46. Master of the Universe: Revelation Part 1 - short and more kid-friendly than I expected
47. Money Heist Part 3 - some fun new characters added. This series enjoys flashbacks
48. Dave S2 - really liked how everything tied together in the end
49. P-Valley - "No crying in the Pynk" . Really entertaining series and Starz still has the crown for TV nudity
50. Motherland Fort Salem S2 - definitely a step up from S1. Finale was really emotional
51. Money Heist Part 4 - all set for the new season next week
52. Mythic Quest - really enjoyable workplace comedy, with the season improving as it goes along. Glad it was my 1st AppleTV+ show.

RatskyWatsky · Aug 29, 2021

TheNatureBoy said:
Finally hit 52, I might slow down some in order to catch up on movies. I'm at 42 in movies, plus my game backlog continues to increase.

Yay!

Naijaboy · Sep 10, 2021

1. 01/02 Impulse (S2) ★★★★ ½

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

3. 01/10 Harlots (S1) ★★★★ ½

4. 01/18 Harlots (S2) ★★★★ ½

5. 01/25 Fetch With Ruff Ruffman (S5) ★★ ★

6. 01/26 Harlots (S3) ★★★★

7. 02/14 Transformers: War for Cybertron (S2) ★★ ★

8. 2/21 Bonding (S2) ★★★★

9. 3/11 Battlebots (S10) ★★★ ½

10. 3/13 Wandavision (S1) ★★★ ½

11. 3/15 Duktales (S3) ★★★ ½

12. 3/18 grown-ish (S3b) ★★★ ½

13. 3/25 Superstore (S6) ★★★ ½

14. 3/27 RWBY (V8) ★★★ ½

15. 3/28 Attack on Titan (S4) ★★★

16. 4/23 RuPaul's Drag Race (S13) ★★★

17. 4/24 The Falcon and the Winter Soldier ★★★ ½

18. 4/30 Invincible (S1) ★★★

19. 5/2 Infinity Train (S4) ★★★ ½

20. 5/13 Mom (S7) ★★★

21. The Nevers (S1a) ★★ ½

22. 5/17 Bob + Abishola (S2) ★★★

23. 5/18 black-ish (S7) ★★★

24. 5/18 mixed-ish (S2) ★★ ½

25. 5/19 The Goldbergs (S8) ★★ ½

26. 5/23 Bob's Burgers (S11) ★★★★

27. 5/24 Black Lightning (S4) ★★★★

28. 5/29 Welcome to Sweden (S1) ★★ ½

29. 5/31 The Goldbergs (S1) ★★★ ½

30. 6/7 M.O.D.O.K. (S1) ★★★ ½

31. 6/9 Welcome to Sweden (S2) ★★★

32. 6/12 The Goldbergs (S2) ★★★★

33. 6/18 Legendary (S2) ★★★ ½

34. 6/20 Bless the Harts (S2) ★★★ ½

35. 6/24 The Goldbergs (S3) ★★★★½

36. 6/24 Samantha Who? (S1) ★★★★½

37. 6/27 Batwoman (S2) ★★★ ½

38. 7/6 The Goldbergs (S4) ★★★★½

39. 7/14 Samantha Who? (S2) ★★★ ½

40. 7/14 Loki (S1/0 ★★★ ½

41. 7/17 The Goldbergs (S5) ★★★ ½

42. 7/20 The Flash (S7) ★★

43. 7/21 Kung Fu (S1) ★★★

44. 7/27 Better Off Ted (S1) ★★★★

45. 7/29 The Goldbergs (S6) ★★★

46. 8/5 Never Have I Ever (S2) ★★★ ½

47. 8/13 The Goldbergs (S7) ★ ½

48. 8/13 Better Off Ted (S2) ★★★★

49. 8/15 Transformers: War for Cybertron ★★★

50. 8/15 Wellington Paranormal (Series 1) ★★★

51. 8/17 Superman & Lois (S1) ★★★ ½

52. 8/24 Motherland: Fort Salem (S2) ★★★

53. 8/26 She-Ra and the Princesses of Power (S1) ★★★ ½

54. 8/26 Eli Stone (S1) ★★★★

55. 9/2 grown-ish (S4a) ★★★½ - Feels like the spinoff has come a long way from the old days. It doesn't bite as hard as black-ish at it's best, but it laid out some solid haymaker this season putting a lot of our characters into the ringer. And surprisingly, it's not Zoey's fault for once. It's most of her friends doing the messing up and it's great to see everyone just react to the world around them and each other that feels believable. Feels like the show finally gre up to what it was capable of.

56. 9/2 She-Ra and the Princeses of Power (S2) ★★★½ Seven episodes feel like an insult. The show tries to move along its plot, but there's only so much that could be done with so little time. Thank God the character dynamics are as good as ever. I know a lot of people hate Catra, but she's probably one of the most interesting villains on the show. Plus she's a blast to watch trolling the rebellion. Frosta's change into an ice Toph felt weird though. The humor and characterization is great, but the end doesn't even feel like a finale.

57. 9/5 Legends of Tomorrow (S6) ★★★½ The Legends have come to a point in its lifespan where it's content to chug along without rocking the boat that much. Not to say that a lot of craziness didn't happen. It's just that by now it feels like plot wise it was going through the motions to get past the pandemic era. Thankfully, it's coasting beats out most shows in the CW. Again, I fear for the upcoming roster. I'm not sure on newcomer Spooner even though her actress is great. But the roster continues to winnow down to the point that it feels harder for the show to continue its quality.

58. 9/5 Rick and Morty (S5) ★★★★ That was by far the most uneven season of Rick and Morty yet. And much of that was due to a mix between the stand-alone episodes and the lore-heavy ones. The former were a hit-and-miss... well mostly misses. It couldn't really find the tone and humor that made even the weakest early episodes a delight. But the later... especially the first and last three episodes of the season. They were up there with some of the best the show has done. The finale itself changes the show to the point I'm excited to see what happens next. The show doesn't have to put in lore every episode or even move the needle every season. But it doesn't help ground the show so that it doesn't devalue the nature of the show. We'll see how things go.

59. 9/6 Reservation Dogs (S1) ★★★½ Waititi does Native Americans a solid and takes a dive into an Oklahoma reservation as a slice of life. It's a solid cast of characters, but as with many shows of the type it does feel difficult to connect the dots (much like with Atlanta).

60. 9/8 She-Ra and the Princesses of Power (S3) ★★★★ This season is shorter, but so much more happens here. Again, it's so fascinating to see Catra have so many wrong decisions due to her selfishness and drive to prove her worth towards others. And Adors finally stands up for herself and not take the blame for others' faults. It's just a great season with a shock ending.

61. 9/8 Eli Stone (S2) ★★★½ This is another show that got disrespected throughout its run. This was practically made for a full season, yet ABC never believed. And the short season was beginning to negatively affect the show in a way Samantha Who and Better Off Ted could better manage. It felt like the producers had to pull some strings for a conclusion when previous episodes alluded otherwise. It's just a shame it didn't last as long. I would have loved to see stuff such as fallout from the journal, his relationship with Grace and how he would mend things with Maggie. Maybe we can see them in the Flash since their firm is canon. And I just figured out Victor Garber was Firestorm as well as in this show.

It's the premature endings of shows like Eli Stone which is why people don't believe in broadcast television anymore. Which stick around when all the good stuff gets cancelled. And that mentality is seeing into streaming shows too. It's feels depressing. At least Rutherford Falls is promising. And... I actually liked the first episode of Trophy Wife. I probably would have checked it out if it wasn't for the title. And now I want to see how the Netflix He-Man show compares.

Naijaboy · Sep 28, 2021

1. 01/02 Impulse (S2) ★★★★ ½

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

3. 01/10 Harlots (S1) ★★★★ ½

4. 01/18 Harlots (S2) ★★★★ ½

5. 01/25 Fetch With Ruff Ruffman (S5) ★★ ★

6. 01/26 Harlots (S3) ★★★★

7. 02/14 Transformers: War for Cybertron (S2) ★★ ★

8. 2/21 Bonding (S2) ★★★★

9. 3/11 Battlebots (S10) ★★★ ½

10. 3/13 Wandavision (S1) ★★★ ½

11. 3/15 Duktales (S3) ★★★ ½

12. 3/18 grown-ish (S3b) ★★★ ½

13. 3/25 Superstore (S6) ★★★ ½

14. 3/27 RWBY (V8) ★★★ ½

15. 3/28 Attack on Titan (S4) ★★★

16. 4/16 Whose Line Is It Anyway (S17) ★★★ ½ - You can still get a good laugh out of the shot. It's hard to screw it up even if it's not quite up there with the original.

17. 4/23 RuPaul's Drag Race (S13) ★★★

18. 4/24 The Falcon and the Winter Soldier ★★★ ½

19. 4/30 Invincible (S1) ★★★

20. 5/2 Infinity Train (S4) ★★★ ½

21. 5/13 Mom (S7) ★★★

22. The Nevers (S1a) ★★ ½

23. 5/17 Bob + Abishola (S2) ★★★

24. 5/18 black-ish (S7) ★★★

25. 5/18 mixed-ish (S2) ★★ ½

26. 5/19 The Goldbergs (S8) ★★ ½

27. 5/23 Bob's Burgers (S11) ★★★★

28. 5/24 Black Lightning (S4) ★★★★

29. 5/29 Welcome to Sweden (S1) ★★ ½

30. 5/31 The Goldbergs (S1) ★★★ ½

31. 6/7 M.O.D.O.K. (S1) ★★★ ½

32. 6/9 Welcome to Sweden (S2) ★★★

33. 6/12 The Goldbergs (S2) ★★★★

34. 6/18 Legendary (S2) ★★★ ½

35. 6/20 Bless the Harts (S2) ★★★ ½

36. 6/24 The Goldbergs (S3) ★★★★½

37. 6/24 Samantha Who? (S1) ★★★★½

38. 6/27 Batwoman (S2) ★★★ ½

39. 7/6 The Goldbergs (S4) ★★★★½

40. 7/14 Samantha Who? (S2) ★★★ ½

41. 7/14 Loki (S1/0 ★★★ ½

42. 7/17 The Goldbergs (S5) ★★★ ½

43. 7/20 The Flash (S7) ★★

44. 7/21 Kung Fu (S1) ★★★

45. 7/27 Better Off Ted (S1) ★★★★

46. 7/29 The Goldbergs (S6) ★★★

47. 8/5 Never Have I Ever (S2) ★★★ ½

48. 8/13 The Goldbergs (S7) ★ ½

49. 8/13 Better Off Ted (S2) ★★★★

50. 8/15 Transformers: War for Cybertron ★★★

51. 8/15 Wellington Paranormal (Series 1) ★★★

52. 8/17 Superman & Lois (S1) ★★★ ½

53. 8/24 Motherland: Fort Salem (S2) ★★★

54. 8/26 She-Ra and the Princesses of Power (S1) ★★★ ½

55. 8/26 Eli Stone (S1) ★★★★

56. 9/2 grown-ish (S4a) ★★★½

57. 9/2 She-Ra and the Princeses of Power (S2) ★★★½

58. 9/5 Legends of Tomorrow (S6) ★★★½

59. 9/5 Rick and Morty (S5) ★★★★

60. 9/6 Reservation Dogs (S1) ★★★½

61. 9/8 She-Ra and the Princesses of Power (S3) ★★★★

62. 9/8 Eli Stone (S2) ★★★½

63. 9/18 Rutherford Falls (S1) ★★★½ - As far as Schur comedies go, there have been better starts. Then again, only The Hood Place could boast of a stellar first season. And given the source material, it could have gone extremely wrong. Yet the cast and intriguing characters manage to keep things interesting. The thing is, the quality varies widely from scene to scene and it does lose some of its luster midway through the season. Yet there's a good chance that things will improve in a later season.

64. 9/19 Wellington Paranormal (Series 2) ★★★½ More or less the same as the last series. There was a couple episodes that were outright amazing, but it's still dominated by the dry humor that's not for everyone.

65. 9/25 We Are Lady Parts (S1) ★★★★ - Okay, now I see what's going on. NBC decided to put all of their best comedies in Peacock in order to boost the membership. The best one by far is a Channel 4 product starring some amazing characters, snazzy editing and some intense acting scenes. Even the songs are pretty good. It reminds me of the recent Hala movie of a coming-of-age scene with a comedic tone.

66. 9/26 Masters Of The Universe: Revelations (S1a) ★★★ Bringing back a product can be a difficult task. Bringing back a show like He-Man which has such a flimsy premise is even harder. The She-Ra reboot reimagines the conflict by putting the characters and the world they live in in a different spin. Kevin Smith tries a different approach. This is more of a continuation of the old show while filling in the gaps to flesh out the characters. The results are... mixed. The animation does a lot of heavy lifting with some great sequences. I just don't think the show balances its tone in a way that would make me appreciate the franchise. I don't mind the use of the main characters, but the show should have thought up a better reason for maturity than what they did.

67. 9/28 Trophy Wife (S1) ★★★½ - It isn't as infamously known as a lot of the other ABC shows gone too soon, but it can measure up to them in a lot of ways. I saw some shameless promotion of Scandal and The Muppets show, but nothing too bad that distracted from enjoying the show.

That concludes my summer binge and will likely be my last entry for a while. It was mostly enjoyable if not slightly sad about the current state of sitcoms.

KOfLegend · Oct 7, 2021

KOfLegend said:
KOfLegend - 52/52 Seasons!

annnd done!

RatskyWatsky · Oct 7, 2021

KOfLegend said:
annnd done!

Hooray!

AniHawk · Oct 11, 2021

gonna be filling this in slowly because i've forgotten a lot

Joe Pera Talks With You (S1) ★★★★★
The Owl House (S1) ★★★★☆
Midnight Mass ★★★★☆
Joe Pera Talks With You (S2) ★★★★☆
Adventure Time: Distant Lands ★★★½☆
Ducktales 2017 (S1) ★★★½☆
Ducktales 2017 (S2) ★★★½☆
Ducktales 2017 (S3) ★★★½☆
Detroiters (S1) ★★★½☆
Detroiters (S2) ★★★½☆
Infinity Train (S4) ★★★½☆
Animaniacs Reboot (S2) ★★★½☆
I Think You Should Leave (S2) ★★★½☆
Joe Pera Talks With You (S3) ★★★½☆
Centaurworld (S2) ★★★½☆
Hilda (S2) ★★★½☆
It's Always Sunny in Philadelphia (S15) ★★★½☆
What We Do in the Shadows (S3) ★★★½☆
Harley Quinn (S2) ★★★½☆
PEN15 (S2) ★★★½☆
PEN15 (S1) ★★★½☆
Amphibia (S2) ★★★½☆
Castlevania (S4) ★★★½☆
Dopesick ★★★½☆
Aggretsuko (S4) ★★★½☆
Saturday Morning All-Star Hits! ★★★½☆
The Sopranos (S4) ★★★½☆
The Sopranos (S5) ★★★½☆
The Sopranos (S6) ★★★½☆
The Wonderful World of Mickey Mouse (S1) ★★★☆☆
True Detective (S1) ★★★☆☆
Big Mouth (S5) ★★★☆☆
The Wire (S4) ★★★☆☆
Only Murders in the Building (S1) ★★★☆☆
How to with John Wilson (S1) ★★★☆☆
Arcane: League of Legends (S1) ★★★☆☆
Wormwood ★★★☆☆
Inside Job (P1) ★★★☆☆
Harley Quinn (S1) ★★★☆☆
Cobra Kai (S3) ★★★☆☆
Hilda (S1) ★★★☆☆
Loki (S1) ★★★☆☆
F is for Family (S5) ★★★☆☆
Arcane: League of Legends (S1) ★★★☆☆
The Haunting of Bly Manor ★★★☆☆
Centaurworld (S1) ★★★☆☆
Amphibia (S1) ★★★☆☆
Sex House ★★★☆☆
The Sopranos (S1) ★★★☆☆
The Sopranos (S2) ★★★☆☆
The Sopranos (S3) ★★★☆☆
The Wire (S2) ★★★☆☆
Porkin' Across America ★★★☆☆
Babylon 5 (S1) ★★★☆☆
Babylon 5 (S2) ★★★☆☆
The Eric Andre Show (S5) ★★★☆☆
The Mandalorian (S2) ★★★☆☆
The Wire (S3) ★★★☆☆
Disenchantment (S3) ★★★☆☆
Bob's Burgers (S11) ★★★☆☆
Castlevania (S4) ★★★☆☆
Solar Opposites (S2) ★★★☆☆
Brooklyn 99 (S8) ★★★☆☆
Poorly Drawn Lines (S1) ★★½☆☆
Babylon 5 (S3) ★★½☆☆
Babylon 5 (S4) ★★½☆☆
The Wire (S1) ★★½☆☆
The Wire (S5) ★★½☆☆
Rick and Morty (S5) ★★½☆☆
Cowboy Bebop 2021 ★★½☆☆
Star Wars: The Bad Batch (S1) ★★½☆☆
Star Wars Visions ★★½☆☆
Wandavision ★★½☆☆
Beef House ★★½☆☆
How to Become a Tyrant ★★½☆☆
The Last Kingdom (S1) ★★☆☆☆
What if...? (S1) ★★☆☆☆
Babylon 5 (S5) ★★☆☆☆
Superstore (S6) ★★☆☆☆
The Witcher (S2) ★★☆☆☆
Hawkeye ★★☆☆☆
Invincible (S1) ★★☆☆☆
Brand New Cherry Flavor ★½☆☆☆
Squid Games ★½☆☆☆
The Simpsons (S32) ★½☆☆☆
Tear Along the Dotted Line ½☆☆☆☆
Hoarders (S1) ☆☆☆☆☆
Hoarders (S2) ☆☆☆☆☆
Hoarders (S3) ☆☆☆☆☆
Hoarders (S4) ☆☆☆☆☆
Hoarders (S5) ☆☆☆☆☆
Hoarders (S6) ☆☆☆☆☆
Hoarders (S7) ☆☆☆☆☆
Hoarders (S8) ☆☆☆☆☆
Hoarders (S9) ☆☆☆☆☆
Hoarders (S10) ☆☆☆☆☆
Hoarders (S11) ☆☆☆☆☆

i know hoarders is trash, and it's all indistinguishable from season-to-season, mostly, but i needed something mind-numbing to help as did a deep clean of my place and it did the trick.

edit: forgot about watching the sopranos for the first time and harley quinn too. so i'm at 52 already and i'm about halfway through season 1 of amphibia and intend to finish season 2 by the end of the year.

should probably watch midnight mass for halloween spoopiness too.

KtotheRoc · Oct 22, 2021

I finished the challenge.

I haven't updated in a long time. So I guess I'll do short updates on everything from 14-52 here.

14 & 15: The Looney Tunes Show S1 & 2

I thought this was a fun take on the property. Trying to do a more traditional sitcom actually worked pretty well for these characters.

16: The Falcon and the Winter Soldier (S1)

I thought the material focusing on Sam coming to grips with what it meant to take on the mantle of Captain America, for a Black man to take on the mantle of Captain America, was some strong stuff. Didn't always stick the landing, unfortunately.

17: Invincible (S1)

Thought this was a pretty solid adaptation, but it struggled with pacing in order to fit the longer format.

18: Kenan (S1)

Pretty standard sitcom that was raised by the charisma of its lead. Hopefully the material improves in its second season.

19: Yasuke (S1)

This started out intriguing, but quickly got lost in whatever it was they were trying to do.

20: Rutherford Falls (S1)

I do think Ed Helms' character held the show back as they didn't want to be too mean to him. The focus on Indigenous Americans is the highlight.

21: Jujutsu Kaisen (S1)

So I know this has become very hot, but I didn't feel invested in the world or how the battle system works. Solid animation, good fight scenes, and the villain and hero sharing a body is an interesting enough premise.

22: Castlevania (S4)

Solid ending to this version of Castlevania. Curious how the next series handles things.

23: Girls5Eva (S1)

This is a solid premise. A one-hit wonder trying to make a comeback many years later. First season had some growing pains.

24: DuckTales 2017 (S1), 28: DuckTales 2017 (S2), 30: DuckTales 2017 (S3)

This was a solid and entertaining reboot.

25: Higehiro (S1)

I was intrigued by the premise and disappointed in the execution and resolution. It sort of becomes the thing it initially seems like it is condemning.

26: Eden (2021 Netflix S1)

Weird animation aside, I thought it was cute.

27: Resident Evil Infinite Darkness (S1)

It's just as mediocre as the CG animated Resident Evil films.

29: Loki (S1)

Solid performances. And while I, as a long time Marvel fan, understood the significance of the villain, I thought it was just there to set things up for future movies instead of this being a story in and of itself. Guess we'll see how S2 handles things.

31: The Flash (S7)

I don't even know why I watch this show anymore.

32 & 33 Gravity Falls (S1 & S2)

I'd heard about this series for years, and I finally checked it out. Yeah, it was pretty good.

34: Dr. Stone (S2)

I enjoy non-traditional battle anime that still operate under traditional battle rules. This show does that, and is rather entertaining about it.

35 & 36: Mythic Quest (S1 & S2)

This show absolutely blew me away. I'm glad it's coming back for more.

37, 41, & 42: Batman: The Brave and the Bold (S1-S3)

This was a fun little series. I do think watching it all as rapidly as I did sort of made it wear out its welcome, but a lighter & softer take on the material (with some notable exceptions) was definitely welcome.

38: Superman & Lois (S1)

This series was absolutely solid. I was a little worried in the first few episodes, but they really pulled it off.

39 & 40: For All Mankind (S1 & S2)

Intriguing alternate histories is one of my favorite genres. The focus on the human drama in the backdrop of an alternate space race was intriguing.

43: AP Bio (S4)

Didn't like it as much as the third season.

44: Dug Days (S1)

This was just positively adorable.

45-48: Rick and Morty (S1-S4)

I'd only seen a little of this series over the years. Decided to correct that. It has some growing pains before becoming quite solid, but I did think they lost a bit of themselves in the fourth season.

49: Brooklyn Nine-Nine (S8)

The final season was put in a difficult situation because of the real world problems that have dominated headlines surrounding issues revolving around police. It's impossible for a network sitcom to truly solve these issues. They gave it a go as much as they could to tackle these issues. And while they didn't solve these issues, they tried to at least tackle them (even if they didn't always succeed).

50: Legends of Tomorrow (S6)

The season was entertaining enough, but I don't know how much longer this can keep going.

51: What If? (S1)

Anthology series are hard. Some episodes are really good (T'Challa as Star-Lord and Doctor Strange Supreme are probably the highlights), and some are not (zombies).

52: Riverdale (S5)

This show is just as off the rails as it has ever been. And I enjoy it for that.

RatskyWatsky · Oct 22, 2021

KtotheRoc said:
I finished the challenge.

Hooray!

Ravelle · Oct 25, 2021

Have not updated in a while but here's my updated list as of today:

Updated: 25/10/21

Television:

1. Wanda Vision Season 1 ★★★★
2. Ted Lasso Season 1 ★★★★★
3. The Office US Season 1 ★★★
4. The Office Season 2 ★★★★★
5. The Office Season 3 ★★★★
6. The Office Season 4 ★★★
7. The Office Season 5. ★★★★
8. The Office Season 6 ★★★★
9. The Office Season 7 ★★★
10. The Office Season 8 ★★★
11. The Office Season 9 ★★★★
12 Falcon & The Winter Soldier ★★★★★
13. Invincible Season 1. ★★★★★
14. Mr. Robot Season 1 ★★★★★
15. Mr Robot Season 2 ★★★★★
17. Mr Robot Season 3 ★★★★★
18. Mr Robot Season 4 ★★★★★
19. Scrubs Season 1 (rewatch)
21. Scrubs Season 3 (rewatch)
22. Scrubs Season 3 (rewatch)
23. Scrubs Season 4 (rewatch)
24. Scubs season 5 ( rewatch)
25. Scrubs Season 6 (rewatch)
26. Marvel's What If ★★★
27. Loki ★★★★
28. Only Murders In the Building. ★★★★★

Anime:
16. JuJutsu Kaisen Season 1 ★★★★★

Most recent finish: Only Murders in The building.

A big shoutout to Only Murders In the Building, a show oozing with style, heart and humor. I can't wait for season 2.

AniHawk · Nov 5, 2021

watching midnight mass hurt.

Naijaboy · Nov 15, 2021

1. 01/02 Impulse (S2) ★★★★ ½

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

3. 01/10 Harlots (S1) ★★★★ ½

4. 01/18 Harlots (S2) ★★★★ ½

5. 01/25 Fetch With Ruff Ruffman (S5) ★★ ★

6. 01/26 Harlots (S3) ★★★★

7. 02/14 Transformers: War for Cybertron (S2) ★★ ★

8. 2/21 Bonding (S2) ★★★★

9. 3/11 Battlebots (S10) ★★★ ½

10. 3/13 Wandavision (S1) ★★★ ½

11. 3/15 Duktales (S3) ★★★ ½

12. 3/18 grown-ish (S3b) ★★★ ½

13. 3/25 Superstore (S6) ★★★ ½

14. 3/27 RWBY (V8) ★★★ ½

15. 3/28 Attack on Titan (S4) ★★★

16. 4/16 Whose Line Is It Anyway (S17) ★★★ ½

17. 4/23 RuPaul's Drag Race (S13) ★★★

18. 4/24 The Falcon and the Winter Soldier ★★★ ½

19. 4/30 Invincible (S1) ★★★

20. 5/2 Infinity Train (S4) ★★★ ½

21. 5/13 Mom (S7) ★★★

22. The Nevers (S1a) ★★ ½

23. 5/17 Bob + Abishola (S2) ★★★

24. 5/18 black-ish (S7) ★★★

25. 5/18 mixed-ish (S2) ★★ ½

26. 5/19 The Goldbergs (S8) ★★ ½

27. 5/23 Bob's Burgers (S11) ★★★★

28. 5/24 Black Lightning (S4) ★★★★

29. 5/29 Welcome to Sweden (S1) ★★ ½

30. 5/31 The Goldbergs (S1) ★★★ ½

31. 6/7 M.O.D.O.K. (S1) ★★★ ½

32. 6/9 Welcome to Sweden (S2) ★★★

33. 6/12 The Goldbergs (S2) ★★★★

34. 6/18 Legendary (S2) ★★★ ½

35. 6/20 Bless the Harts (S2) ★★★ ½

36. 6/24 The Goldbergs (S3) ★★★★½

37. 6/24 Samantha Who? (S1) ★★★★½

38. 6/27 Batwoman (S2) ★★★ ½

39. 7/6 The Goldbergs (S4) ★★★★½

40. 7/14 Samantha Who? (S2) ★★★ ½

41. 7/14 Loki (S1/0 ★★★ ½

42. 7/17 The Goldbergs (S5) ★★★ ½

43. 7/20 The Flash (S7) ★★

44. 7/21 Kung Fu (S1) ★★★

45. 7/27 Better Off Ted (S1) ★★★★

46. 7/29 The Goldbergs (S6) ★★★

47. 8/5 Never Have I Ever (S2) ★★★ ½

48. 8/13 The Goldbergs (S7) ★ ½

49. 8/13 Better Off Ted (S2) ★★★★

50. 8/15 Transformers: War for Cybertron ★★★

51. 8/15 Wellington Paranormal (Series 1) ★★★

52. 8/17 Superman & Lois (S1) ★★★ ½

53. 8/24 Motherland: Fort Salem (S2) ★★★

54. 8/26 She-Ra and the Princesses of Power (S1) ★★★ ½

55. 8/26 Eli Stone (S1) ★★★★

56. 9/2 grown-ish (S4a) ★★★½

57. 9/2 She-Ra and the Princeses of Power (S2) ★★★½

58. 9/5 Legends of Tomorrow (S6) ★★★½

59. 9/5 Rick and Morty (S5) ★★★★

60. 9/6 Reservation Dogs (S1) ★★★½

61. 9/8 She-Ra and the Princesses of Power (S3) ★★★★

62. 9/8 Eli Stone (S2) ★★★½

63. 9/16 Brooklyn Nine-Nine (S7) ★★★½ - This season was probably Michael Schur's most difficult task yet. How can one handle the recent criticisms of current police policy with a show that may well be comedic copaganda. I will say that it handled things better than any other cop show in the networks. With that said, I'm disappointed that it wasn't involved in the finale (even though I love the Halloween-style episodes). Still, it was able to find plenty of ways to make you laugh and inform people of the problems of policing. I figured that's the best we're gonna get since NBC still wanted the season buried in the summer schedule. As I said before, it's probably for the best that the season ends here. I fear only speedsters would understand the dialogue with how fast they were talking this season.

64. 9/18 Rutherford Falls (S1) ★★★½

65. 9/19 Wellington Paranormal (Series 2) ★★★½

66. 9/25 We Are Lady Parts (S1) ★★★★

67. 9/26 Masters Of The Universe: Revelations (S1a) ★★★

68. 9/28 Trophy Wife (S1) ★★★½ -

69. 10/9 Marvel's What If? (S1) ★★★ - There's plenty of potential with doing what if stories, focusing on how even the smallest changes to the story can have drastic consequences for the world in question. Captain Carter was one of those stories with Killmonger's story being my favorite (while making it harder for me not to recommend Michael B. Jordan's return). Yet it felt like the show was more focused in creating completely different worlds instead. While it was nice to see the focus on lesser known characters, I don't feel it reached the potential it could have. That final battle on the other hand, that was fantastic even if the plotting felt slim.

70. 10/28 Dark Side of the Ring ★★★½ This was also a bit of a slight disappointment. Most of the big stories like the Plane Ride from Hell and the Steroid Trial merely told us what we already know. WWE's influence is still too strong to have much of an impact (though the former story did put some wrestlers in hot water). But there were some truly spectacular gems along the way, with Nick Gage's story standing above all of them. I'm sure there's a lot more stories they can dish out, but I hope they go ham in any new stories they can find.

71. 10/28 What We Do in the Shadows ★★★½ - Hm... I don't think this is as strong as the first season, but it felt focused and fresh enough to place it above the second season. The context from the final two episodes really helped out in that regard. The Vampire Council arc also helped explore the cast in creative ways. The final moments for the season places everyone in unfamiliar territory and has me more excited where things will go than ever before.

72. 11/1 Y The Last Man (S1) ★★★ - This is just sad. This could have been one of the next great comic adaptations and yet it just never got past first gear. The comic adaptation took thigns in a more comedic tone. The more serious tone the show took may have been a double blow, turning off the comic book fans as well as people who are damn tired of dealing with the current political nature of today. I honestly can't blame people for not wanting to deal with that in show form. The acting was fine, but it was hard to find someone to enjoy watching in the show besides Agent 355 and possibly the geneticist. I hope someone else picks this show, but given how much effort it took to even release this show it's more likely that no one else will want to deal with this mess.

73. 11/2 Stargirl (S2) ★★★★ This is now likely going to be the best show in the Arrowvese going forward. The Shade alone is enough to give this show my seal of approval, but everyone shone brightly in this. Brec Bassinger would be running away with the title of best superhero protagonist if not for Tyler Hoechlin. The villains are all great in their own way, especially with the show showing their humanity (and in some cases their ourright cruelty). Given that many of them will have to live with one another in the next season, the show knows where its strengths are and will continue to take advantage of this.

74. 11/7 On Our Block (S4) ★★★½ I can't knock on this show too much. It was still solid seeing the characters interact with each others. But there's no way you can convince me that this wasn't rushed. This needed at least another season to tell its story and yet Netflix figured it was best to focus on new characters. As if they think people will jump at the chance at a spinoff after how you treated the original show. With this and defending Dave Chapelle's TERFiness, Netflix's heel turn is complete. They're the runaway favorites for fail of the year and this time they have no one but themselves to blame.

74. 11/9 Supergirl (S6) ★★★ - I'm willing to say that this was basically background noise in the back half of this season. Some ideas landed and some characters shone brighter than others (cough*Nia for Legends*cough), but it just felt so boring to follow in the last season. Having an invincible villain throughout the season is becoming a liability for all Arrowverse shows involved. Not that it was worse than the latest seasons of The Flash but at least those disasters were entertaining. This felt like a slog. Still, the finale was well done, bringing back nearly every significant character in the show to help out. I think Supergirl saw what happened to Supernatural's finale and decided to soften things up... which in away I think is for the best. The show is supposed to be the most optimistic of the Arrowverse, might as well have our characters end things on a high.

75. 11/11 Doom Patrol (S3) ★★★½ - The show returns to its chaotic roots of the first season. While I appreciate the twists and turns of this season, some of the character moments didn't really add up. It all falls on Madame Rogue's character. I know they wanted to show her as the ultimate evil, but it just didn't feel like that, especially with much of the Doom Patrol themselves aren't much better. I understand why Rita wants her dead for sure, but having delivering moral lessons doesn't work with a group like the Doom Patrol.

76. 11/14 Last Week Tonight (S8) ★★★★ This remains the best political satire show out there.

Rhaknar · Nov 20, 2021

Watched Big Mouth S5, Castlevania S4, Burn Notice S1 and will finish Arcane when the last 3 eps are out today, but I'll still fall short of the goal with just 1 month left, unfortunately. I feel extra bad because I feel like I was the one pushing RatskyWatsky to make the thread and I ended up not participating at all in this second half of the year :(

Just been a weird year for me, I've been all over the place with my hobbies in what little free time I had (at least compared to usually), been in a real rut the last few months and don't really feel like doing much. Hell I'm not even gonna finish the 52 game one either it seems, and I always do that one.

RatskyWatsky · Nov 20, 2021

Rhaknar said:
Watched Big Mouth S5, Castlevania S4, Burn Notice S1 and will finish Arcane when the last 3 eps are out today, but I'll still fall short of the goal with just 1 month left, unfortunately. I feel extra bad because I feel like I was the one pushing RatskyWatsky to make the thread and I ended up not participating at all in this second half of the year :(

Just been a weird year for me, I've been all over the place with my hobbies in what little free time I had (at least compared to usually), been in a real rut the last few months and don't really feel like doing much. Hell I'm not even gonna finish the 52 game one either it seems, and I always do that one.

I feel you. I haven't watched as much TV as usual this year either. I'll finish with a little over 100 seasons, which is 1/3 less than last year iirc.

Soliloquy of a Dogge · Nov 21, 2021

(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☆
(5) *Paradise PD S3 [[Netflix]]* - ★★½☆☆**	(18) *Ben 10: Ultimate Alien S2 [[CN]]* - ★★★★☆**	(31) *Charmed S2 [[The CW]]* - ★★½☆☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆	*(32) Charmed S3 [[The CW]]* - ★★★☆☆**
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**	(33) *Ben 10: Omniverse S1 [[CN]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**	(34) *Ben 10: Omniverse S2 [[CN]]* - ★★★½☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**	(35) *Ben 10: Omniverse S3 [[CN]]* - ★★☆☆☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**	(36) *Ben 10: Omniverse S4 [[CN]]* - ★★★½☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½	(37) Ben 10: Omniverse S5 [[CN]] - ★★★★☆
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**	(38) *Ben 10: Omniverse S6 [[CN]]* - ★★½☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**	(39) Ben 10: Omniverse S7 [[CN]] - ★★½☆☆

(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.

Soliloquy of a Dogge · Nov 22, 2021

(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☆☆**
(6) *The Chilling Adventures of Sabrina S4 [[Netflix]]* - ★★★**☆☆	(19) *Ben 10: Ultimate Alien S3 [[CN]]* - ★★½☆**☆	*(32) Charmed S3 [[The CW]]* - ★★★☆☆**
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**	(33) *Ben 10: Omniverse S1 [[CN]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**	(34) *Ben 10: Omniverse S2 [[CN]]* - ★★★½☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**	(35) *Ben 10: Omniverse S3 [[CN]]* - ★★☆☆☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**	(36) *Ben 10: Omniverse S4 [[CN]]* - ★★★½☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½	(37) Ben 10: Omniverse S5 [[CN]] - ★★★★☆
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**	(38) *Ben 10: Omniverse S6 [[CN]]* - ★★½☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**	(39) Ben 10: Omniverse S7 [[CN]] - ★★½☆☆

(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.

Soliloquy of a Dogge · Nov 23, 2021

(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]]* - ★★★☆☆**
*(7) American Horror Story: Murder House [[FX]]* - ★★★½☆**	(20) *Love, Death & Robots S2 [[Netflix]]* - ★★★☆☆**	(33) *Ben 10: Omniverse S1 [[CN]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**	(34) *Ben 10: Omniverse S2 [[CN]]* - ★★★½☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**	(35) *Ben 10: Omniverse S3 [[CN]]* - ★★☆☆☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**	(36) *Ben 10: Omniverse S4 [[CN]]* - ★★★½☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½	(37) Ben 10: Omniverse S5 [[CN]] - ★★★★☆
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**	(38) *Ben 10: Omniverse S6 [[CN]]* - ★★½☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**	(39) Ben 10: Omniverse S7 [[CN]] - ★★½☆☆

(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.

Soliloquy of a Dogge · Nov 24, 2021

(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]]* - ★★★☆☆**
*(8) Band of Brothers [[HBO]]* - ★★★★½**	(21) *Them S1 [[Prime]]* - ★★★☆☆**	(34) *Ben 10: Omniverse S2 [[CN]]* - ★★★½☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**	(35) *Ben 10: Omniverse S3 [[CN]]* - ★★☆☆☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**	(36) *Ben 10: Omniverse S4 [[CN]]* - ★★★½☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½	(37) Ben 10: Omniverse S5 [[CN]] - ★★★★☆
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**	(38) *Ben 10: Omniverse S6 [[CN]]* - ★★½☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**	(39) Ben 10: Omniverse S7 [[CN]] - ★★½☆☆

(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.

Soliloquy of a Dogge · Nov 25, 2021

(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☆**
*(9) Chernobyl [[HBO]]* - ★★★★½**	(22) *WandaVision [[Disney+]]* - ★★★½☆**	(35) *Ben 10: Omniverse S3 [[CN]]* - ★★☆☆☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**	(36) *Ben 10: Omniverse S4 [[CN]]* - ★★★½☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½	(37) Ben 10: Omniverse S5 [[CN]] - ★★★★☆
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**	(38) *Ben 10: Omniverse S6 [[CN]]* - ★★½☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**	(39) Ben 10: Omniverse S7 [[CN]] - ★★½☆☆

(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.

Soliloquy of a Dogge · Nov 26, 2021

(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]]* - ★★☆☆☆**
*(10) Black Summer S2 [[Netflix]]* - ★☆☆☆☆**	(23) *Fate: The Winx Saga S1 [[Netflix]]* - ★★½☆☆**	(36) *Ben 10: Omniverse S4 [[CN]]* - ★★★½☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½	(37) Ben 10: Omniverse S5 [[CN]] - ★★★★☆
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**	(38) *Ben 10: Omniverse S6 [[CN]]* - ★★½☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**	(39) Ben 10: Omniverse S7 [[CN]] - ★★½☆☆

(47) Titans S3 [[HBO Max]] - ★★★½☆

Switching to HBO Max infuses Titans with the production values, firmer plotting, more expansive scope and creative vigor you'd expect. An emphasis on the humanity of its heroes by leaning into their backstories frames the central plot intimately and offers up a thoughtful exploration of trauma, self-discovery, vulnerability, dysfunction and loyalty to establish urgent stakes and delineate the impact of the psychological trauma Gotham imparts by navigating the intersectionality of their individual lives and the realities of the world they inhabit. The change of setting ushers in a foundation for bold narrative decisions and conceptual risks that better define these superheroes and effectively serves as a balanced re-introduction to them by inviting a wider audience to invest in their stories. There are still a few too many logical leaps and contrivances serving as plot devices, but they are relied upon more infrequently and don't compromise the storytelling as much as before.

The examination of Bruce Wayne's weaponization of the Robins he takes under his wing, by primarily preying on their vulnerabilities, spares no expense in deconstructing his sociopathic nature and eviscerating his motivations. After being promised in the 1st season, seeing this finally come to fruition in such a visceral manner against the backdrop of Gotham's bureaucracy is gratifying in how it contextualizes and frames current events against the evolution of the city and the impulses of its characters. Scarecrow functions as the perfect antagonist to elucidate these thematic underpinnings by peeling back layers of trauma and fear in an analytical push and pull that throw Dick's priorities into question and Jason's identity into crisis. The commonality between these characters, the betrayal that has obfuscated their resolve and the pain that contextualizes their transformations intelligently roots itself in a series of complicated events that trap them between worlds and compels them to grapple with their insistent need of vengeance. Though the development of their character arcs tends to struggle with consistency at times, Vincent Kartheiser and Curran Walters delightfully breathe life into the sinister morality of their codependency and abusive exploitation. Taking time to flesh out these intricate psychological examinations that counterbalance paternalistic and familial dynamics is welcomed because it lets Titans compartmentalize its beats and establish them more effectively before interweaving them with others. This leads to improved storytelling that lends itself to a more impactful exploration of its setting and opens up avenues through which personal trauma functions as the most effective narrative device.

At times, Titans does still feel uneven when it comes to making its established character development feel as ambitious and believable as it should however. There's a tendency to relegate consequences to convenient tropes instead of allowing characters a justification for their moral obligations by accentuating their characteristics to flesh out resolutions. Still, character progression develops at a pace that allows for key insights into pensive subtleties of new interactions and invites the opportunity through which emotional vulnerability drives conflict. Juxtaposing the strained familial relations between Starfire and Blackfire exemplifies this. The former adapts to how the world works while the former is compelled to bend worlds to her will which creates an inherent liability of how she assuages her privilege to fit with-in established confines of the Titans. By using forgiveness and understanding to prop up their individual journeys, and Conner's relationship with Blackfire, the commonality of their shared histories lets them find solace in seeing each other for who they actually are. The revelation of Starfire's powers and how it alters the perspective of the relationship between them is a little ambiguous considering Blackfire's original bitterness had already been reinforced but it does provide her a validated motive that forces the preconceived biases about her intentions to be confronted. And in setting up a scenario in which Blackfire holds representative power, it empowers her with the capacity to earn the trust and acceptance she seeks.

Splitting up the team gives Titans the narrative space to breathe and time needed in order to formulate compelling conflict, and it heavily foreshadows a viable path through which Donna Troy is being groomed to take the reins eventually. While the execution of her reintroduction doesn't take full advantage of its contextual underpinnings, the bewildering nature of Titans' purgatory is so divorced from the universe the series is based around that it oddly works. Its atmosphere imparts a tonal balance between humorous and dramatic beats that whimsically counterbalances the philosophical exploration of life, death and the emotional boundaries that connect us to the place in between. But it's the fantastic chemistry between Donna, Hank and Tim that effectively ties their journey together with added dimensions of personality, presence, resentment and subtle acknowledgement previously missing from their characterization. Playfully toying with breaking the 4th wall by poking at ill-advised creative missteps, like Donna's death in the previous season, don't feel out of place either. A few more establishing mechanics to identify the extent of autonomy in this purgatory would've been welcomed but the metaphorical exposition through visual imagery makes sure the stakes aren't irreparably cheapened and the finality of Hank's resolution by reuniting him with his brother bookend the journey through this noir landscape beautifully.

I can't say enough about the intricate production design and visually compelling immediacy of the choreography artistically delivering some truly memorable fights throughout the season. The fluidity and ruthless quality of hand-to-hand combat sequences utilize a number of distinctive styles that show an evolution in growth which complements the storytelling and makes watching how they transpire enjoyable. It is long past time to allow Beast Boy to access more than the limited selection of transformations available to him though – surely HBO's budget can handle the additional CGI expense. I'm hopeful that the showrunners are able to give him some exposition that better outlines the role he's supposed to embody in the future because throughout the first 3 seasons he's been hindered by an absence of any meaningful plotting. Rachel Roth is a character who has desperately needed to display emotional growth as well and though her somewhat inexplicable invitation to remain in Themyscira to train and live doesn't rectify her sanctimonious lack of patience, concentration and inability to follow the rules, the bad habits that have been reinforced start to get altered. Discovering the self-awareness and realization that personal desire isn't enough to overcome every situation allows her to demonstrably exhibit better control of her powers which should make her less of a liability moving forward.

With Rachel, Donna and others, Titans does excel in coalescing its individual plots and the sense of purpose its characters gain as underlying forces flesh out who they actually are outside the confines of the team. It sets up uncertainty by advocating for individual growth and autonomy through their own experiences, while allowing them to learn and adapt, instead of an overt reliance on companionship. I would have liked to see more character moments lean into their emotional weight throughout the finale to make the ensemble approach feel like a more impactful reunion but the set-up works well enough to bring a semblance of finality to their journeys. Forgoing the superhero complex in favor of a more collaborative effort by forcing the Titans to confront their demons and embrace their identities is why this season feels as cohesive as it does and with the opportunity to focus on showing more than telling going forward, the show has set itself up with a lot of flexibility in choosing how to expound on the more consequential elements of its story in future seasons.

Soliloquy of a Dogge · Nov 27, 2021

(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☆**
(11) *Your Honor [[Showtime]]* - ★★★½☆**	(24) Invincible S1 [[Prime]] - ★★★★½	(37) Ben 10: Omniverse S5 [[CN]] - ★★★★☆
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**	(38) *Ben 10: Omniverse S6 [[CN]]* - ★★½☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**	(39) Ben 10: Omniverse S7 [[CN]] - ★★½☆☆

(48) You S3 [[Netflix]] - ★★★½☆

A cathartic identity shift renews You's purpose and gives the provocations of its characters impulses an allure that leans into the intensity of their obsessions by filtering them through a portraiture of social observation and shifting complexities. With this comes the exploration of inadequacy, limitation and recurrence in the lives of Madre Linda's residents in order to conflate the intersectionality of sincerity and mockery as it digs into the effect societal pressures impart on the fundamental premises that delineate Joe and Love's relationship. Much as literature edifies romantic infatuation and defines the parameters of how Joe explores his interests, this suburban hell positions itself around him in an endeavor to humanize and vindicate his sociopathic tendencies as much as it can – though this isn't quite as convincing as You's absorbing plotting and the ingenuity of its witty social satire. Joe's inner monologue, passive aggressive and overly judgmental as ever, continues to act as a scathing observatory device that frames the disquieting nature of his carnal temptations with uncanny familiarity. And by using fatherhood as the vehicle to restyle his identity and exploit the friction in his relationship to complicate the construct of their marriage, it barely hesitates in stripping away any idealistic representation of paternity as his self-actualization becomes a damaging drawback instead of a worthy pursuit.

The juxtaposed sardonic self-reference of Joe and the impetuous nihilism of Love against the satirized influence of Madre Linda makes watching them navigate the façade of their sterile mold while upholding the duplicity of their twisted natures and old habits more fascinating than it has any right to be. Through acknowledging past trauma, You also inverts cultural norms and marries extremes by subverting predefined gender roles which allows characters to confront the psychological boundaries and engrained mistrust that isolate them from each others emotional self interest. These viciously drawn distinctions keep the narrative from feeling predictable and allow suspension of disbelief to prevail. Victoria Pendretti's multifaceted portrayal of Love extends a manic energy, fits of passion and unbridled chaos that makes Joe's tendency to focus on shy and insecure women that need protecting almost feel boring in comparison. It's here that the black comedy genius of You kicks into high gear by resorting to insightful, and delightfully relatable, therapy sessions to deconstruct threads of abandonment and insecurity through clever euphemisms and metaphorical wordplay as the Goldbergs work through the commonality of their shared histories. It's a pitch perfect process that I would loved to have seen more of as this outlet reconciles a number of interesting concepts without falling back on the crutch of stereotypical gender tropes.

The topical relevance of the social commentary that digs into the predilection of influencers monetizing tragedy for their own exploitative benefit, systemic inequality in the justice system, data collection and surveillance all receive intelligent exposition as well. By focusing on the tacit normalization of those who occupy more desirable places in society, a smartly layered metacommentary of deep seeded issues and their empty aphorisms are leveraged into the machinations of Madre Linda. While the relationship between Love and Theo is a little bit too reliant on the recreation of her emotionally codependent bond with Forty, like Joe, her attraction towards people that are broken and need to be helped creates the allusion of a connection. You presents her parents' dysfunctional marriage as the contributing influence that has led her down a path of self-sabotage she can't escape from, and instead of falling in love with somebody by appreciating them as a person, she is more enamored with the idea of not being neglected. Breaking the show's format and finally allowing us to hear Love's inner monologue to better let us understand her by having the plotting play out from her perspective is a wonderful change of pace. Less so with the implementation of Joe's reveries; even though his time spent in a Group Home allows us an understanding of the ominous subtext to his first infatuation, the framework of its elucidation feels too half baked for my liking and is utilized as a flashback far too frequently. It would've functioned better if his transitory nature of personal growth through an emotionally unavailable support system built up the yearning he had for validation and inability to assimilate to his surroundings instead.

The reverential Fight Club inspired hunting trip does this by upping the ante and reveling in the insanity of its premise while still feeling intuitive in its subtext and subversion of traditionally masculine qualities by embracing their vulnerability instead of suppressing them. Joe's suspicion towards other men and the expectations of traditional platonic male friendships being filtered through the aggressive overtures and liberal affectations of a satirically amalgamated spiritual tech bro fitness junkie has no right to work as well as it does. It makes sense, then, that the exploration of a polyamorous relationship involving Sherry and Cary's free-spirited keenness is the perfect antidote to the Goldbergs' stunted social interaction. The actualization of this in practicality is even more hilarious and terrifying than it is in theory since it amplifies individuality erasure through the disassociation of sex with somebody you hate compared to conjuring fantasies of those you desire. There's an obvious parallel to Dottie's dysfunctional marriage here that serves as a cautionary tale supporting the notion, for Joe and Love, their passion of violence is an allowance to justify their actions through a perverted moral righteousness. If they were less determined to invest in others shortcomings to find a sense of purpose and conviction but instead redirected their narcissistic tendencies towards committing to the process of accountability, their disinclination towards loyalty would be an easy fix.

You's 3rd season offers up its strongest supporting cast yet with memorable characters that have brilliantly written arcs and imbued with endearing qualities. Even Sherry worms her way into your heart and makes it easy to appreciate how she manipulates Love by leveraging their friendship to her advantage. The therapization she and Cary undertake in the murder dungeon is explored without pretense and does away with the idiosyncratic nature of their marriage by relying on trust, communication and support as the foundation of their relationship – everything Joe and Love lack in theirs. The delicious irony of hidden keys leading to their freedom through honest disclosures while the absence of trust leads to Joe and Love's failure is staged impeccably. Though the season does tend to sag a touch in the middle, revisiting early threads and weaving their intersectionality into Love's demise makes the well-crafted conclusions and compunction of You's characters the most rewarding outing yet. The entire segment of Love's death scene with Taylor Swift's 'exile' overlaid against it is exquisite in its poetic beauty too. The lack of any lingering shots, of any goodbye or flashback capturing the life she and Joe lived is a great creative choice that frames how unsalvageable their bond had become. I am torn about Love's absence moving forward however because her recklessness kept the show interesting and provided a nice counterbalance to Joe's redundancies but hopefully karmic justice takes hold eventually. It does look like Marienne could potentially be the 'you' that finally delivers it but her tendency to take responsibility for mistakes by relegating herself to accepting their consequences traps her as an object within Joe's fantasy world. Regardless, the locale of Paris should provide an entertaining backdrop to You's swiftly approaching conclusion and if it's anywhere near as good as the 3rd outing, we'll be in for a treat.

Soliloquy of a Dogge · Nov 27, 2021

Oof. I've now hit the 200,000 character limit for my posts.

Era doesn't like my copy and pasted TV/Film forum reviews I guess lol.

Soliloquy of a Dogge · Nov 28, 2021

(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]] - ★★★★☆
*(12) Magic Knight Rayearth S1 [[Prime]]* - ★★★☆☆**	(25) *Sailor Moon Crystal S1 [[Netflix]]* - ★★☆☆☆**	(38) *Ben 10: Omniverse S6 [[CN]]* - ★★½☆☆**
(13) Magic Knight Rayearth S2 [[Prime]] - ★★★½☆	(26) *Sailor Moon Crystal S2 [[Netflix]]* - ★★★☆☆**	(39) Ben 10: Omniverse S7 [[CN]] - ★★½☆☆

(49) Squid Game S1 [[Netflix]] - ★★★★☆

Squid Game offers a disquieting interpretation on the concept of socioeconomic inequality and artfully peels back the disturbing veneer of nihilistic desperation, and the role psychological manipulation plays, in making those imperiled by life's harsh realities resort to desperate measures in order to escape their circumstances. By surrendering the humanity of underprivileged castes around the margins of society and exploring these struggles without resorting to dystopian fantasy, the premise grounds its application in compelling real-world dilemmas and balances vexing dread with attentive characterization. The juxtaposition of premise's tranquil nature compared to the actuality it represents shrewdly frames the perverse glee an altruistic controlling class takes in offering a false sense of agency through games where human lives are reduced to capital. There's a lot to take in through the eerily mesmerizing visual imagery, allegory and symbolism of the stylized pastel aesthetic which unassumingly blends hints of foreshadowing into the environment to reinforce thematic underpinnings. The attention to detail here and the incorporation of tight editing, evolving set-design and evocative scene composition makes Squid Game's fanciful world feel surreal and paradoxical in its dissonance and inventive in how it uses these devices to function as contrast towards the bleak and mundane existence the characters exhibit in Seoul.

Eclectic characters with fleshed out experiences that define their rationales provide compelling narratives that emotionally engage and their familiar problems are conveyed through robust performances and thoughtfully written dialogue that intimately explores the choices they grapple with. The parables could easily render their individuality down to two-dimensional archetypes instead of confronting emotional trauma but it empathetically navigates their flaws through a tangled interconnectivity that aids in layering the dynamics between characters beautifully. Their transformations are realistic and unflinching, though somewhat predictable, conveyed through visceral storytelling that makes it hard not to sympathize with their plights. Aided by great pacing and nifty tonal balance, existential character-driven moments avoid becoming bloated and twists are gradually correlated with the boundaries Squid Game attempts to subvert. In addition to the overarching plot, the palpable tension Jun-ho's investigation towards the logistical perspective of those in charge and the regimentation of their roles introduces by analogizing the Stanford Prison experiment layers on compelling ambiguity. For such a large cast, relegating few characters to opposite ends of the morality spectrum helps to accentuate their convictions. Sang-woo views the human component through the lens of incorporating capitalist tactics and is willing to treat other players as if they represent trading commodities whereas Gi-hun approaches the same interactions by imparting self-worth onto people's identities through the ephemera of commonality. The capacity demonstrated by Lee Jung-jae and the rest of the supporting cast in creating a topically relevant emotional core that deconstructs certain hierarchical aspects of Korean society with-in this violent story is truly outstanding. As Gi-hun states, trust isn't imparted because others are trustworthy, it's given when there's nothing else to lean on.

Squid Game's premise finds itself constantly evolving due to new variables being introduced which helps keep complacency from settling into the narrative and raises the stakes by building up strategic alliances among the contestants as protecting themselves from one another becomes just as important as surviving the deadly games. The moral ambiguity and cognitive of dissonance of the Front Man conflating the empty concept of equality with equity offers an interesting perspective on how people in positions of power wield their privilege. In its social commentary on the state of capitalism and how it ignores structures put in place to allow some to succeed while condemning others to languish, the philosophical question of whether we've evolved past the need for evolutionary pressures is raised. The Front Man's ideology suggests that levelling the playing field and letting those pressures play out in the form of disadvantaged players being culled as the game progresses is an appropriate answer to society's resistance in implementing an equitable system that benefits everyone. Which, in the context of Squid Game's premise where the same resources are provided to everyone, it shows the limitations and why his interpretation doesn't spare them from inequality and discrimination they face in the real world. It instead serves to establish how the conditions and rules set forth by those in charge doesn't take into consideration who is better suited to balancing on an uneven playing field.

The point of contention towards the VIPs being built up to be intimidating and mysterious when in reality they represent the most pitiful aspects of humanity is a nice subversion of the more ominous vibe Squid Game goes for. The tonal shift of their stilted delivery and unnatural phrasing highlights the banality of power and detachment from the brutality being witnessed. They definitely could have been utilized as a more effective device beyond their archetypal roles however. The standout episode here is 'Gganbu' which deftly navigates foreboding dread with devastating characterization as it sadistically strings out inevitabilities with agonizing tension. Sang-woo and Ali's manipulative relationship ends up allegorizing a white-collar criminal profiting off an impoverished immigrant with calculated precision in the way Sang-woo takes advantage of Ali's compassionate naivete and language barrier. But the heartbreak doesn't stop there. Cutting through the motivating biases of sexism and misogyny which have been present throughout the series, Sae-byeok and Ji-yeong offer poignant character-building exposes through their quiet dignity, bravery and courage. The trauma of their circumstances and the cynicism of their worldviews forges a wholesome bond between them that imparts Ji-yeong's sacrifice with nobility even though it's borne out of nihilism. It's about this point where Squid Game's uncanny knack in creating dramatic irony by nudging the audience towards coming up with solutions to its games is brilliantly conceived. By observing how things play out, methods to create loopholes become obvious but the players resort to sacrificing each other instead of realizing this which speaks to an animalistic desire to win at the expense of finding a way to cheat the system and prosper.

The recurring thread throughout has subtly shown how situations mold people into being good or bad instead of condemning them as being inherently born that way – reaffirming this notion is Gi-hun instinctually going for a slap instead of the money during the paper flip game in the first episode. Being overly-idealistic, lazy and irresponsible in his actions, even though they're well intentioned, tends to lead to misery for those around Gi-hun. Sang-woo's actions are despicable in nature but they make him a riveting and complex character because he's willing to entertain morally questionable decisions in protecting his interests by adapting to circumstances instead of being changed by them. The experience everybody in Squid Game goes through, terrible as it is, never alters who they are at their core and in avoiding clichés, it resonates as a complex depiction of humanity that shows how those with good intentions don't always possess the character, integrity and responsibility to do what's right. Il-nam's involvement plays into this moral deficit and metacommentary on humanity, albeit while possessing little of the empathy or sympathy required to contextualize his observations. These scenes work because they're framed around conscience, redemption and absolution of guilt through the final game he asks Gi-hun to play with him. It's little more than a wager on the goodness of humanity and a manner in which both men can wipe away their debts and through the moral compass originally identified in Gi-hun. By tying the concept of forgiveness to the investment of the bet and relying on somebody else to take action even though he possesses the resources to do so himself, Gi-hun's hero complex and proclivity towards relying on others to take initiative while he takes the moral high ground is affirmed. But it also makes him realize that you don't have to be a perfect person who always does the right thing to be a good person and that it's possible to forge desired outcomes with rules you deem fit. Squid Game poses the question to us as bystanders as well, instead of seeking cathartic release through others moral choices to feel good about ourselves, why not enact the change we desire personally instead?

52 TV seasons. 1 Year. 2021 edition

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