The early arcs might drag slightly, but oh, the four part finale redeems it all.It has everything essential about these characters. Anakin's desperate longing for human connection and for those he holds most dear to be alright, and the rejection and disillusionment he feels from the weight of this war. Obi-Wan swallowing down his doubts and hopes to be the perfect model Jedi, pushing away and distancing himself from his closest friends in the process. Yoda hopeless and raw, wishing for the old days when Ahsoka was a Jedi and the Jedi weren't soldiers, and unable to shake the dread in his soul.
And, of course, the core trio of this season- Ahsoka, Rex, and Maul- shine. Maul's the last physical antagonist of the show but even in this moment he's overshadowed by Sidious. There's this dread to him as he can sense that everything is about to change, that he is always one step behind his master. He's always playing catch up, always surviving instead of thriving. That is his tragedy- a pawn that's outlived his usefulness trying to become a king. A man who thinks vengeance and power will finally give him satisfaction, but the pursuit of these things have only left him alone and hollow. Like Vader himself, it's that tragedy that makes him so compelling to watch, and Witwer perfectly acts every inch of Maul's bitterness and despair and dissatisfaction. Maul hates who he is, what he knows, and he will never be satisfied. He will never be happy. But he has no choice to be what he is, from the very beginning. He never had a chance.
None of them do. Maul is desperate, even willing to team up with his sworn enemy Kenobi to kill Skywalker. This is his last fight against the inevitability of fate, and it is already doomed. Neither of them arrived- they were called to 'rescue' Palpatine from Grevious. Ahsoka came instead. Sidious is about to seize power. Anakin's already killed Dooku, falling further and further. It's too late for Maul to stop his master and too late for Ahsoka to save hers. And yet they fight anyway. Because Ahsoka believes in Anakin so much, she cannot turn against him. She knows this is not the clones' fault, so she cannot kill them. She's left the Jedi Order and has found her own morals, her own way. Rex, meanwhile has come to realize he moves his brothers above all else, but must fight against them. Each of them have their own pathos that makes this enthralling entertainment.
The fight scenes are gorgeous- Ahsoka and Maul's battle being a standout. The beautiful environments, from the shattered throne room to the icy moon the series ends on, will take your breath away. But more than anything else, the ending justifies it all. Each Star Wars movie, even the darkest, end with at least a hint of triumph, or a light flung into the future. Attack of the Clones almost ends on the formation of the clones, a moment Yoda dreads, but the marriage of Anakin and Padame is a reminder that Luke and Lelia are on the way. Empire Strikes Back and Last Jedi both end with the heroes fractured but not broken, ready for round three. And even Revenge of the Sith assures us Luke and Leia will make things right in the end. Animated contemporaries Rebels and Resistance, too, end in triumph.
Not Clone Wars.
Clone Wars is a tragedy. There is no flash forward to better days, there is no hint of the rebellion, or that Ahsoka and Rex will be fine in the end. The last shot of Ahsoka shows her haunted, and the last shot of the show...is Vader, reflected in the helmet of one of the clones he respected so much, and was respected by in turn.A helmet specially decorated in support of Ahsoka, who both Anakin and the 501st adored, a last reminder of Anakin's and the clones' humanity, completely discarded. The ending doesn't care about the Skywalker Saga, about Anakin being redeemed in the end, or Luke rising up, or Rey carrying on their legacy. And that's what makes it great.
The clones were made for this war- pawns from life to death. All to help facilitate Anakin’s fall. For Anakin and his prophecy the clones and so many people from the Jedi to the average man suffered and died in a brutal, grueling war that only led to a brutal and grueling regime. All actors of a play they were never privy to. The show has the conviction to not cushion that blow.It is about the Clone Wars, not what comes after, and the Clone wars was a tragedy without redemption. Nothing will have made this war matter retroactively. The vast majority of people have no idea that a rebellion is forming or that Luke and Leia were born. All the Jedi and clones and civilians we've grown attached to and seen die certainly don't. The Clone Wars pulls back and shows exactly what the Skywalker Saga, what the Chosen One prophecy, has wrought on the people that saga turned its back on- the nobodies. The ordinary. After one horrendous finale, this one- this show- shows what Star Wars could be, and quite possibly never will be again. And I will always love it for that.
At this point, it's settled into the Schur syndrome of all fluff and no bite, all happy endings and no conflicts. But with a cast this talented and characters so endearing, it's fine for a half hour every week.
A show so good and singular it redefines what Star Wars can be. How can we accept riskless mediocrity after this? After such rich, topical themes, actors given something real to chew on, tight writing, practical living sets, tight scripts. Simply phenomenal.
It's Bob's Burgers. Ten seasons in, you know what you're in for: a pleasant and delightful time with a bunch of weirdos.
Left this one higher than I did the first season, and I was pretty high on that one. I really dig these different looks into Star Wars and how this collection really focused in on its resonance to our current climate, and how different cultures relate to and see the setting.
Some really exciting changes in the status quo both mid season and its finale. The show has gotten more ambitious and character focused while staying as hilarious as ever.
Going into the season, I had one concern above all others; would one more season be enough to wrap everything up, or would it feel rushed! The answer is: kinda! The season hit every beat it needed to- heck, it even hits most of them well- but I couldn't help but think it'd be boosted if everything had a little more room to breathe, if we got just a little more time with Catra and Glimmer bonding, a little more time on Catra and Scorpia reuniting, a little more time on Adora and Catra's reconciliation... well, okay, it sounds like most of these are about Catra, and for good reason! Her redemption arc is one of the cornerstones of the show, and they pulled it off. It's just I was hoping they would knock it out of the park. But it's not just her. Adora's and Glimmer's conflict was the driving force of Season 3, and here, it's resolved in about one conversation. Bow and Glimmer get an entire episode devoted to it, and they should have! It's just that an episode should've been devoted to them as well.
I sound overly harsh- it's just that everything that is here is so great. The amount of things they did squeeze in for secondary characters like Entrapta, Mermista, and Scorpia was impressive, and even more minor characters like Double Trouble get fun send offs. It's just the curse of 13 episodes a season- everything has to be economical and serving of the arc. 'Filler' is a derogatory term, but I think it's used too harshly. Filler fills in the gaps. I wanted to see more of Adora and Catra as friends before dating. I wanted to see more of Catra and Glimmer leaning on each other and learning about each other in a hostile environment instead of it lasting a mere two episodes. What's there is great; I just want more. And really, is that even a criticism?
If there's one real criticism I have, it's that Shadow Weaver's arc feels particularly unearned, like they only decided how it would end near the last second. But other than that, the season hits its marks. The themes resonate with a precise clarity, the characters are fully drawn, and the level of representation it has is unmatched. I'll always want more of this show, and if Season 5 isn't the best season it's ever had, it's at least a damn good send-off.
Low in quantity, high in quality
The quieter, sadder focus really hits for me this season. No one here is really happy, there’s no glory in this, they’re a bunch of stupid and petty assholes trapped by their environment and their own actions to inglorious ends and pathetic regrets. All either with their own excuses to get them through the day or raging at their inability to find one.
As vibrant and creative as the very best of comics, Moon Girl finds the simple fun of superheroes again, away from the shackles of continuity and a house style. The animation is gorgeous, the music stunning, and the fusion of the two breathtaking. On top of that, it deftly tackles heavier topics without losing its tone and has true diversity without feeling shoehorned. Everyone’s identity informs their character but is not their only character, and never just for token points. The show is always real and earnest but also light and fun. This is the modern standard for a superhero cartoon.
A blast from the past in the best way. Leverage’s power fantasy is more cathartic now than ever. The new cast members ingratiate themselves well, the old haven’t lost a step, abs Harrison is great when he’s around. The way they make sure to bring him up and praise him even when he’s not there, and his last words of the season seem to hint he’s gonna be around more in the next one, so it’s all up from here.
A season that's not as explosive as the first, but is no less intimate and outstanding. The intimacy is just a quieter sort. We know these characters by now, and so the show trusts us to go along with them through conflicts not as clear cut or loud but just as enthralling. All while having a killer wit and animation that can be hilarious, breathtaking, or heartwrenching in equal measure. And we can't forget the absolutely stellar voice cast. Haddish and her character Tuca especially shine. Every episode I’m amazed at how it deftly tackles real and sensitive subjects without belittling them or buckling under the weight of them, all while embracing being a cartoon with all the stylization, wackiness, and artistry the medium allows. It’s the benchmark for western adult animation in my opinion.
Loved it. I think what really cinched this season for me is the shift from protagonists mostly caught up in their own egos to just sad, flawed people trying to understand a world they just don't fundamentally fit into. There's still some of the first, don't get me wrong, and it's funny. But there's the man at the haunted house failing to grasp why the rules are changing on him, the guy who used to be a real piece of shit looking for confirmation that people can change in a baby's innocent and unjudging eyes, the husband telling a shitty joke to try and fit in with his friends and immediately regretting it because he loves his wife that much, and the the old man at Claire's trying to make sense of death and find some illusion of happiness, his desperate laughter closing the season out. It adds a level of pathos, even catharsis, to proceedings, and elevates already funny skits to another level. Six episodes just aren't enough.
Bob’s Burgers is still a delightful 30 minute slice of comfort with characters we’ve grown to love.
Honestly, just. Flawless. Hilda's first season was, of course, dang great. But it had some slight flaws; chief among them being the Hilda-Frida conflict. The idea was sound, but the execution was slightly rushed and forced. The tension between Hilda and Johanna feels like a redo in some aspects, and it's perfect. It's slow building, boiling, and heartwrenching, and the resolution is so satisfying. Meanwhile, Hilda and Frida make a delightful duo, all the better friends for their conflict. But don't think that means the individual episodes aren't just as wonderful. The series has never been more whimsical, more daring. One episode left me bawling by the end, and there were countless moments and setpieces that left me smiling, breathless, or grinning. Hilda's firing on all cylinders, and I can't wait for the special.
Spawn is over the top. It mistakes nudity and blood and expletives to be mature, and comes off as all the more sophomoric for it. Spawn goes big in all things, good- the animation and some of the voice acting- and bad- in camera angles and in its depthless and monstrous villains. Its two biggest strengths that elevate it are the animation, in particular Spawn and his flowing and gorgeous cape, and the character himself.
Nothing will help you understand the appeal of Spawn better than this show, even if it doesn't make you a diehard fan. At the end of the season, he's called The Sad Man, and this could be an alternate title for the show. Spawn is allowed to be emotional, and yes, that includes anger... but it also involves grief, it allows empathy, it allows pain and love. Spawn is allowed to be pathetic- he'll wail in sorrow and scream in traumatic fear- but his pain isn't something to laugh at. You're meant to emphasize and feel for this broken, lost man, and there's something refreshing in that when dark heroes of his ilk like Batman are usually forced to be quiet, restrained, and stoic in their emotions.
Keith David is the show's MVP. The man brings Spawn to life and makes him feel like a person, not the poster child for 90's anti heroes. Every emotion is raw and lived in, and David pours his heart into the role. I didn't expect to ever be emotionally affected by the Spawn character, but David's performance in the final scene with the child of his wife is soft and tender in a way I never expected for the character, and Keith David is the glue that holds it together. He and the animation make this well worth a watch, 90s edge and all.
The tension, the competing plots, the character flaws that lead to character downfalls, it’s all excellent, especially Giancarlo Esposito. Thank goodness this wasn’t the end of the show, though. Not the ending Walt deserves at all
The first book had a lot of promise but also a lot of rough edges. This season elevates that material through a fantastic dub cast that finds the emotional core of these characters, nails the dynamic, and hits the big moments. I can only imagine how good the later seasons would be with the better books to go off of
A wonderful little epilogue to Adventure Time that both honors it’s past greatness and makes a case for future stories to come
All I needed was Idris Elba, and dammit, I got just that. Man elevated his material and held the show down. Even at Sam’s most grey he makes him compelling and sympathetic, and the moment when he has to finally accept he had no control and no further cards to play and you see the terrified, grieving father is excellent. In general the miniseries finds the humanity in its cast, excepting the true masterminds who standout for their cravenness even more against it. The show’s a throwback to the mid budget thrillers we don’t often get in theaters anymore, and is suitably tense and fun, with moments that left me on the edge of my seat and even got me teared up.
Two big knocks against it: first the cop stepdad. The ACAB posturing from the teen black son is worse than just not acknowledging it at all, because now it’s framed as bitter immaturity, cause he’s a good guy and a hero who the son thanks at the end. Put a bitter taste in my mouth. Two: Sam and the lead hijacker aren’t quite McClane and Grueber, sadly. It’s frustrating how it’s almost there to something compelling, some warped bond between them that can really hammer in a climatic showdown, but it doesn’t quite get there. It gets close enough that you can’t help but go ‘Ah I see what you’re doing there, almost, I really wish you landed it.’ Just needed something more. Still. Give me an Idris Elba vehicle, and I’ll take that flight any time.
Tartakovsky falls prey to many of his worst impulses in a visually dense but narratively hollow and characterizationally flat series (nothing mini here, as the rushed cliffhanger assures. us). It is a very pretty show, per Genndy’s standards, and a delight to watch in that sense. Slick action and animation full of life make for a good watch, especially with the visual homages made with clear love. But there’s nothing to chew on beyond that.
Seng and Copernicus have no real character or drive beyond the mission, and Seng especially has no real dynamics to speak of. Where Edred falls on the opposite spectrum; his character is very clearly drawn, and that drawing is a dick, not half as sympathetic or charming as the show thinks. He leaves a romantic rival stranded in the middle of the ocean, denies Emma’s agency and importance, and is the worst kind of wife guy. The show fails to provide enough of his and Melinda’s love and dynamic to offset this and show why it’s so worth fighting for. Most damningly, in what is supposed to be his backstory episode, it fails to give us any real feeling of his home and the tragedy of leaving it behind. He’s a misfire on every level.
So to is Merlin, who’s most interesting characteristic- a man gone to extreme lengths for the greater good and who takes out his own grief and regrets for the loss of his wife into his daughter- has his arc resolved in the most unsatisfying way. One talk with Emma pointing out that Melinda was just a child and he is a changed man, and it’s played as if that’s just something he’s never considered rather than something he’s never wanted to admit. That yes, she was just a child and he knew that, but was using her to escape his own grief and self loathing, an active wrong choice. It happens in the span of one episode and is outright baffling. And after that episode? Don’t count on any interaction between them to see what’s changed.
Emma/Melinda is the emotional core of the show, and the best character often in spite of it. Her feelings, motivations, and even what she is are constantly fluctuating. Are they a fusion? One episode they claim to be someone new, when a few episodes before they interacted as if separate, and in the next episode when split Emma acts indistinguishably from when they are ‘fused’, and again when they merge there’s no discernible personality change beyond calling Melinda’s mother ‘hers’. She has a bond with Copernicus despite him being the one to tear her away from her love and family, and no real reason is given as to why. No real reason is given as to why she feels bonded to any of these people beyond her own natural heart and empathy. She facilitates Melinda’s reconciliation with Merlin, but what has Melinda done for her besudes chide her for not devoting herself wholly? Why should I buy that they are now hugging friends by the end, two halves of one whole? A powerful moment at its face is robbed of any said power because of any actual work put into it. Winston and her are cute, though, and I wish more time was devoted to them.
That’s the whole show: me shouting at my screen for it to show it’s work. Whether it be the rules of the characters, the world, or the characters themselves, they’re all thin and going by vibes and convenience alone. But that animation is gorgeous, charming, and striking, and a big factor in it still managing to be so watchable. The colors, the motion, the stylistic homages, they’re all true artistry from artists at work. If you turn your brain off, it ensures a decent watch on that alone. But if you want the visuals to be supplemented by the character dynamics of Symbionic Titan, the introspection and character work of (most of) Samurai Jack, or the atmosphere, mood, and daring boundary pushing of (most of) Primal? Don’t hold your breath. Much of Genndy’s work stumble at the finish line. This one barely makes it out of the gate. Take it as a painting in motion or a high quality animation reel, and not a visual narrative, and there’s still much to enjoy here. Don’t ask for more than that.
It’s really interesting to watch the show’s growing pains and the early glimpses of its future brilliance
A fresh spin on the franchise that finds its footing as it goes, the fight scenes alone are worth the investment
A great start, and the greatest thing is that I can tell already the best is yet to come.
Kipo comes into form this season. The music is as pleasing to the ears as ever, but the characters emerge with new depth and the story expands in its scope, with a shake up of the status quo and a greater focus on serialization. The emotional beats are well earned, and by the end you know full well it's kicking things into high gear. On a certain level, season one felt like it ended just like it began. Not the case here. Characters grow and change, the villain is given a deep character study, and the finale sets up new stakes and themes. Plus, the gay rep is natural, and heartwarming in its mundanity. It's just sweet puppy love, as normal as the countless straight romances that have come before. Like the titular protagonist, Kipo is finding itself, and I'm eager to follow it.
Spawn's second coming has most of the same strengths as the first- the animation, Keith David's performance- but makes the fatal mistake of pulling back Spawn's screentime. The extra time spent with the supporting cast instead exposes that they're all just archetypes. Wanda's the lost lenore, Terry's the nice guy best friend, Wynn is just Lex Luthor, and the cops are just another Harvey Bullock type with a deadpan straight man. There's no depth or dimension afforded to these characters that help them rise above their cliches, like David's performance and the emotions the script affords Spawn allowing the character to transcend the angry edgy 90s anti hero trope he embodies and instead being defined by the breadth and intensity of his anguish. The Sad Man remains compelling in spite of the show itself.
Everything aside from him is terribly on the nose, over the top, and slowly paced. That being said, the last episode is pretty fun for going all in on Spawn as a horror monster. If you can survive until Keith David's scenes, it's probably still worth watching.
The shift away from missions of the week- for the most part- means less lows, but the highs of Crosshair on his own forced to slowly reckon with the Empire’s cruelty are also gone, leaving a visually lush show with fun setpieces but little in the way of character and a constant sense it’s more worried about setting up the sequel trilogy instead.
This was the start of the HBO prestige drama, so there were no rules yet. It’s messy in places, but that mess is part of its charm. It’s unbridled and passionate, willing to be stylish, surreal, and theatrical when it wills. Most of all, it’s not afraid to say shit. I was worried about how they’d do Said, but at least in this season they let him go off. The Wire as much as I love it is always ‘this is the game, it is how it is, how could you change it, the system as it’s been turned into will destroy any efforts to change it, and both the cops and the criminals are trapped by it’. It’s never straight up ‘the cop/prison side is the worse side and it’s not because their hands are tied it’s because they’re cruel and malicious and they like the system get off on the cruelty, and their reform is parentalistic, out of touch, and a distraction, a band aid for a gaping and fatal wound’. This show HATES the prison system, violently, and is unapologetic about it.
Combine that with strong performances from Simmons, Walker, Winters, and Beecher going from what I assumed would be the boring equivalent of Piper from Orange is the New Black into one of the most cathartic and engaging characters, and Oz leaves a striking impression. I’m excited to delve into more
Starts off strong and buoyed by Campbell’s charisma, but the act gets old fast with the humor having diminishing returns and undermining dramatic moments, rushed character relationships (there’s no reason Pablo and Kelly should be so attached to Ash after him opening the book got family members of theirs killed and I don’t buy them being this important to Ash yet), the CGI gets worse with time, and besides him and Lawless the other actors strive for B movie energy but fall into lifeless and awkward delivery more often than not, especially Kelly’s actress. Hope the next season delivers something to really latch onto.
This is what the rest of the show is building up to: Walter as the true villain, his nature laid so bare that even his defenders can’t deny it, and with a sharp eye on character drama and relationships, the crime machinations almost secondary.
