Since the second season, the series has veered increasingly toward romantic entanglements and sappy plotlines, sacrificing some of its earlier charm and wit. Episodes are juicier and more team-focused, but the writing lacks the spark of inspiration seen in the first run of episodes, often resorting to contrived and mechanical plot developments happening just because it was convenient for the characters' journey at that point. Changes often occur abruptly and without any buildup whatsoever. This is particularly evident in Keeley's relationships (blah), and the complete mishandling of Nate's highly anticipated subplot, which fails to deliver on its promising setup. Ultimately, it felt like the characters just got something random to do for this season before being abruptly brought back to the status quo with a couple of excuses.
The extended episode length can be both a blessing and a curse. It allows for a deeper exploration of team dynamics and moments of inspired writing, but it also runs the risk of dragging out when focusing on the bland storylines. Additionally, the inclusion of "thematic" episodes feels forced, with a different character each time serving as a puppet to yell out social issues that definitely needed a more organic and in-depth exploration.
Overall, the season offers moments of enjoyment and payoff, but it ultimately falls short of its potential, leaving viewers longing for the tighter storytelling and fresh humor that made the first season shine.
This season shows off a remarkably intriguing setting, solid production values, and a memorable duo of protagonists. Upon entering the quaint snowy town where everyone knows each other, I couldn't help feeling vague Twin Peaks vibes. While I understand that the mystery serves as a mere excuse for drama, I had at least hoped for the drama to be more captivating. The initial episodes felt particularly slow and dull, only to end up resolving most subplots in a hurry at the end, such as the generational conflicts with the stepdaughter or the young dedicated cop struggling with his wife waiting for him at home.
Although the underlying dynamics of the central case were quite engaging, the incorporation of supernatural elements felt forced and unimaginative, detracting from the overall experience. Overall a watchable season, but not to the point I would recommend it.
This last season both offered a partial return to form and a new take on its core dynamics. While a few episodes may have felt somewhat lacking in substance, the overall enjoyment factor remains intact, and the final few episodes even introduced a new, bittersweet perspective on the characters' pursuit of eternal peace. Like any series, it had its highs and lows, yet the emotional attachment to the characters becomes evident when you let some tears slip from your eyes as it all draws to a close.
However, one aspect that dampened my experience a little was the characters' most dramatic decisions being mostly made on the fly. Rather than carefully sitting on ideas or drawing connections to previous experiences, they mostly go by improvising. The door thing, in particular, felt particularly contrived and lacked the necessary groundwork to justify the characters' enthusiastic response.
This last season both offered a partial return to form and a new take on its core dynamics. While a few episodes may have felt somewhat lacking in substance, the overall enjoyment factor remains intact, and the final few episodes even introduced a new, bittersweet perspective on the characters' pursuit of eternal peace. Like any series, it had its highs and lows, yet the emotional attachment to the characters becomes evident when you let some tears slip from your eyes as it all draws to a close.
However, one aspect that dampened my experience a little was the characters' most dramatic decisions being mostly made on the fly. Rather than carefully sitting on ideas or drawing connections to previous experiences, they mostly go by improvising. The door thing, in particular, felt particularly contrived and lacked the necessary groundwork to justify the characters' enthusiastic response.
Despite the drastic change in setting in its third season, I find myself experiencing some fatigue due to the repetition of dynamics in different contexts. Instead of moving things forward, the writers mostly rely on scraping off the current storyline and thinking about a completely new mission for the characters, effectively soft-rebooting the series every time. I believe this is primarily due to the writers' insistence on keeping the main cast and their love interests at the forefront, rather than exploring the potential of introducing new characters. The central relationship between the two leads is further emphasized here, yet I struggle to feel any chemistry between them. Ultimately, it's Eleanor, Janet, and Michael holding the whole show. The other three characters are likable but ran out of things to say quickly. Nevertheless, the writing remains solid, and the partial return to form hinted at in the finale still leaves me eager for more.
Only worth watching if you are interested in the guest stars. When it's about the main cast, we have the usual cookie-cutter love affairs and pretty stale showbiz-related drama. The acting is also quite poor, even for the standard. It can entertain for a while though.
There are a few episodes in the middle that could have been avoided, but the overall pacing of the season has been surprisingly tight. More than one episode here felt like they could have worked as finales for entire seasons. The premise hinted by the previous season finale gets developed and fulfilled in a matter of episodes, taking the show in unexpected directions while keeping references to ethical problems at the core. If there’s only one complaint I might have, it's the love interests taking so much space in the plot despite the lack of actual chemistry in that sense.
A woman meant to be sent to hell finds herself in paradise due to a mistake, and tries the impossible to become a better person and remain undercover. The dynamics and world-building at the core are delightful, an although the humor felt a little repetitive with some of the characters (Jianyu in particular), the jokes are usually good. While the ethical questions presented are often oversimplified, they still offer enough to chew for a light comedy show. The first season exposes some weaknesses that are ultimately addressed in the finale, coupled with a smart trick to sets the stage for multiple seasons of (hopefully) engaging storytelling.
As our attachment to the cast deepens, watching episodes remains an enjoyable experience. However, there's a noticeable lack of direction in this season. Unlike the first season, where characters had well-defined individual arcs, the current storyline feels somewhat aimless, as if the writers had no idea of what to do with most of the cast. If Jamie and Roy are the ones to be left there hanging without a clear purpose, as if they had to be included solely due to their popularity, Nate turns out to be the only one to have something meaningful to say.
The stakes in each season have kept escalating, and this latest installment is a wild ride since the very start. This season brought back the same kind of internal conflicts and intrigues that initially drew me into the series, and it was also great to see my faves (Cate and Diane) contributing so extensively this time.
However, I’m not too sure about the way they handled the action in the final episodes. While the overall experience remains exhilarating, it felt like they went a little overboard. I anticipated the Slow Horses would devise a more intriguing and clever resolution. Instead, the climax unfolds in a surprisingly muscular and implausible manner, leaving me somewhat perplexed. It's an undeniably solid show, but I found myself wishing for a more nuanced and satisfying conclusion to complement the series' established depth and complexity.
Roiland’s departure can only be felt in the voice acting. The new actors achieved a striking resemblance with the original voices, and it’s only a matter of episodes until they sound natural to the fans. At times you can barely notice the difference. Although the writing team is mostly the same of the last few seasons, it somewhat felt like this time they were doing all they could to keep the fanbase on board. This manifests in a return to the series' earlier tropes, a nostalgic nod to what initially captivated fans. The result is, again, hit and miss. Some episodes stand out as contenders for one of the best (episode 4), while some some are probably going to enter history as some of the worst ever (episode 8).
It’s probably been the case for the previous seasons as well, but for some reason, it’s getting harder to bear with the over-the-top characters and forced detours. The hook of the show in its first season was the focus on the characters, with an unexpectedly melancholic touch in exploring the two older leads. Unfortunately, this time we’re left with caricatures that have very little to say. Each episode tries to paint a different character as the main suspect, and the diversions are so obvious that sitting through the season felt like a chore. A pity because the musical as the main setting really suits the tone of the series , and the overall direction still shows a few interesting ideas here and there.
An evil British businesswoman orchestrates an unconventional scheme—hiring an amateur soccer coach from the US to undermine and dismantle her ex-husband's team from within. Despite its seemingly improbable premise, Ted Lasso successfully navigates the fine line between fiction and relatability. The show's charm lies in its ability to present situations that feel anything but real, yet consistently deliver relatable emotions that resonate with viewers. The characters, initially painted with broad strokes, gradually reveal depth and nuance, endearing themselves through their struggles and triumphs.
One of the show's strengths is its balance between sugar-coated optimism and grounded storytelling. Although Ted usually manages to infect the whole team with good feelings, at the same time, he does no miracle. Refreshingly, the series resists the temptation to rely on miraculous solutions, offering a season ending that feels surprisingly realistic for a comedy of this kind.
Overall, “Ted Lasso” stands out as a solid 'feel-good' show for the current generation. The episodes are easily bingeable, providing a satisfying blend of humor, heart, and relatable moments.
Mediocre season that still manages to outshine that disaster of the first. Especially in the second half, we reach a quite satisfying level thanks to the addition of science fiction dynamics and time loops that despite being derivative manage to bring a touch of freshness within the MCU context. A real pity about the second and third episodes, where the narrative gets lost in unnecessary subplots and McDonald's product placements, thus stealing precious time from the main storyline. The overall result feels rushed and unbalanced. Characters like Brad and Lysa Arryn could have been entirely omitted to focus on the rest.
Solid season despite a somewhat slow start. It was lovely to see again the entire team coming together as a united front to solve the case after all its twists and turns, making for a rewarding viewing experience.
At the outset, I had reservations about River's plot, as it initially appeared to tread familiar genre tropes. However, the show managed to subvert all expectations at the very end, leaving me pleasantly surprised. While I found myself favoring the previous season's "villains" over the more stereotyped Russians, my attachment to the main cast is growing stronger and stronger. I hope most of them will make it alive by the end of the series!! Nobody seems to be really safe.
"Slow Horses" delves into the world of the MI5's cast-offs, agents who've fallen from grace, consigned to trivial tasks and dull office work. While the series kicks off with a rather bleak introduction in the first episode, it quickly takes a sharp turn, plunging the team into a high-stakes operation filled with plot twists and surprises.
The show doesn't reinvent the wheel, but it skillfully weaves together all familiar elements of spy thrillers, thanks to its well-crafted writing and a compelling ensemble of characters. It may take a couple of episodes to find your footing, but once you're in, you won't want to stop watching. What sets this first season apart for me is its ability to engage viewers on both sides of the espionage game, leaving us equally invested in the protagonists and antagonists.
The showrunners also make excellent use of the series' British qualities, adopting a more grounded and less pyrotechnical approach to tension, always underscored by that distinct, dry humor that will never make you burst into laughter, but still maliciously caress your soft spots.
Von Trier continues to tread the path paved by "Twin Peaks" with his medical alternative "The Kingdom," finally making its return a quarter-century after its cancellation.
Despite the passage of time and the passing of the original protagonists, this latest incarnation manages to faithfully recreate the original series' atmosphere while also pointing out that the world has changed in the meantime. It accomplishes this by employing a self-aware form of humor rich in metatheatrics. The new lead character, Karen, is a dedicated viewer of the original series who voluntarily confines herself in Denmark's craziest hospital in a quest to unravel all the lingering mysteries. Needless to say, she will bring more chaos than closure. Meanwhile, the "Mini-Me" of late Dr. Helmer storms in to follow in his father's footsteps and restore the Swedish supremacy in Denmark. Needless to say, he will end up becoming yet one more embodiment of the hypocrisies of modern society. The social critique continuously flirts with boomer humor, yet manages to amuse effectively on many occasions.
Just like in the original run, the series just keeps meandering without a clear narrative structure, oscillating between comical moments and low-budget supernatural quirks. Although the level of self-indulgence manages to set the bar even higher than in the series, I must admit that my interest kept growing steadily. Once you get used to the slow pace of the first couple of episodes, things are only going to get denser and crazier, culminating in that beautiful mess of a final episode.
If the first season of "The Bear" was all about diving headfirst into the chaos of a new workplace, wrestling with change, and battling inner demons while questioning ourselves, season two takes us on a journey through the process of self-improvement, touching themes like creation and self-improvement, without forgetting the bitter pill of sacrifice one has to swallow when dedicating to an activity.
The breakneck pacing of the inaugural season gets partly replaced by a more contemplative mood, with each episode focusing on a different character and taking a dive into their souls.
Although I have to say that there are moments when you can't help feeling an extent of malice behind the curtains, with the showrunners waving cameos and nuggets of wisdom right in your face. The Christmas episode could have easily been the apex of any other show, but I thought it went a little overboard for a show that has been working so subtly on its characters up to that point. Regardless, this is still one of the rare times where you feel like the pearls of wisdom being dropped are actually worth listening, as if they were coming from real people. And that is what keeps us coming back for more.
The second season of "Good Omens" focuses exclusively on the relationship between the two protagonists, diluting a modest storyline in a rather confusing way. Although there is no novel to adapt, original writer Gaiman is still writing all the episodes. Once again, the show emphasizes the inability of religion to understand both the physiological needs and the emotional mechanisms of human beings, revealing a kind of bureaucracy that is contradictory and disconnected from reality both in Heaven and Hell. Despite the uncertainties and the slightly repetitive humor, the viewing experience remains overall enjoyable.
In contrast to its inaugural season, this new installment showcases an enriched awareness of the series' comedic potential, recalibrating the already limited screen time allocated to the horror elements. While the individual moments of both comedy and horror generally feel more convincing, the broader canvas paints a panorama of narrative meandering, as characters and subplots forge ahead propelled more by inertia than purpose.
Although I’m aware that the subversion of audience expectations has been part of the fun, it’s hard to find motivation when every cliffhanger resolves in nothing. This evolving pattern, while perhaps a deliberate choice to mock soap opera conventions, gradually tests the plausibility of a cohesive message or an overarching theme.
Although I used to be an ardent enthusiast of “The Kingdom” in my youthful hipster days, it’s worth mentioning that it requires prior knowledge of its esteemed cult status to survive beyond the first episode.
Commencing as a poorly shot soap opera, the narrative weaves supernatural mysteries on top of the medical drama as a pretext to explore the bizarre behaviors exhibited by the hospital’s staff. In this regard, it’s easy to draw parallels to “Twin Peaks”. The comparisons to “The Office” for the documentary-alike camerawork are also understandable, especially when employed to accentuate the deadpan comedy.
While the premise initially appeared dull and fragmented, the series gradually gains momentum, culminating in an absurd ending that alone justifies the time invested.
Basically, “Lost” with cannibal soccer girls and an extra timeline set in the aftermaths. Sounds interesting, right? Unfortunately, most of the plot has been quite trivial and heavy-handed in its melodrama. Thrilling stuff like… wife hiding her one-night stand in the closet because her husband got back home, girlfriend worried about her boyfriend being gay because he can’t get a boner. This whole first season could have been condensed into three episodes with no problems.
I give up. Despite not being completely satisfied by the first season, I had a few weeks left in my Showtime subscription and decided to give it one more chance. Unfortunately, these first few episodes kept going in circles with the same trivial shtuff, throwing in a couple of impactful scenes per episode to keep the audience engaged. The rest is filled with borderline soap opera drama. It feels like this is targeted at bored housewives who want to pretend they used to be edgy too when they were young, and that they can still be kind of edgy sometimes. Christina Ricci pairing with Elijah Wood for twice the irritation was the last nail in the coffin for me.
Although it feels like these characters still have so many stories to tell, the fourth season provided a satisfying (yet bitter) conclusion. The overall plotting might feet slightly uneven, as we keep going back and forth some of the same dynamics we’ve already witnessed in the previous seasons, yet each individual episode had something interesting to say.
I must admit, I rolled my eyes when the Pierce acquisition reared its head again, and I couldn't help but sigh when Roman started slipping back into his old habits. But fear not! There's a major shift early on that flips the script and adds a fresh perspective to the mix. Sure, it takes the show a few episodes to find its footing again, but once it does, buckle up for a great ride that will leave you gasping for breath by the surprising, yet somehow sadly realistic, finale.
While comic relief characters like Tom and, to some extent, Connor managed to get more three dimensional over time, the siblings have been strangely static. Especially when they start messing up mid-season, I thought the writers overdid it a little. For how inept they might be, I remembered them a little smarter. Still, we’re talking about minor flaws in one of the rare shows where quality could stay consistent throughout its entire run.
The final season of the show brings back some old characters that we may have forgotten about and attempts to give the entire cast a cheerful send-off. Although I will definitely miss Grace and Frankie, there’s no doubt it was time for the show to end.
While the first half rehashes tropes that we've seen countless times before, the second half takes a bizarre turn on the supernatural, with a storyline that ultimately has no real consequences and does not lead to any significant character growth. Surprisingly, Sol and Robert have the most potential in this season, but we only get a glimpse into the surface of their problems as they get old. Similarly with the last few seasons, the feel-good comedy takes too much space and completely overshadows the bittersweet drama that could have turned these characters into something memorable and way more relatable. Not a total trainwreck, but definitely not worth watching unless you have been following the show since its beginning.
Although I have to admit that it's kind of sad that much of Italy's entertainment industry is limited to procedural dramas or mob stories, "The Bad Guy" manages to keep this formula fresh and up-to-date with current trends. The show strikes a balance between offbeat comedy and crime drama, and although there are times when the tone and acting are a little off, it's entertaining throughout.
While the "model citizen turning into a criminal mastermind" gimmick has already been exploited countless times, the goofiness of the Italian mafia helps distinguish "The Bad Guy" from the rest. Despite the absence of any internal conflict or struggle in its protagonist (we only get one mandatory sobbing in the shower scene), the narrative feels relatively plausible in relation to his personality and motivations. The length and pacing are just right, and although I can't imagine it dragging on for too long, I'm eager to see more.
The second season of “The White Lotus” reserve up another helping of the same recipe, but this time with an Italian twist and a new set of characters. While there is an attempt to shift the focus to the locals, the main dish consists of unappetizing love stories and trivial family drama. The only returning character gets the most ridiculous storyline and is the only one to retain that feeling of awkwardness that has characterized the first season for the better and worse.
"The White Lotus" attempts to explore the destructive power of vacations on established relationships, but it ultimately offers just a little more than an awkward comedy with a sprinkle of comfort cynicism. You’re supposed to chuckle at the sight of privileged individuals embarrassing themselves, but the execution feels forced for the most part. Despite the themes at the core being mostly relatable, none of the characters felt real. Not to mention the overbearing ideological dialogue felt like sand in my swimsuit, and about as welcome as a jellyfish sting. Overall, it's not the worst thing out there, but it's hardly worth watching.
The "Daredevil" adaptation on Netflix is a standout compared to recent Marvel TV shows. It focuses heavily on gritty mob struggles and character development, resulting in a show that is more complex and sophisticated than you might expect from a superhero series. While there are moments when the pacing can feel slow, the attention to character development more than makes up for it.
In terms of action, the fight scenes are well-choreographed and have a practical, visceral quality that sets them apart. The only element that feels over-the-top and unrealistic is the protagonist's powers. It would have been interesting to see a toned-down version of Matt Murdock's abilities that made him more vulnerable and relatable. As it stands, he walks around with the confidence of someone without any visual impairment, which can sometimes strain credibility.
Overall, "Daredevil" is an excellent example of how a superhero show can explore mature themes while still delivering thrilling action and well-rounded characters.
I had a really difficult time watching this season, but I pushed myself to see it through to the end. It's not surprising that the show got canceled, given that the writers seemed to have no idea of what to do with any of the characters This is especially concerning considering that they had a whole novel as a reference. Some new characters, like Demeter, were introduced but ultimately served no purpose, while others were put in the fridge until you have forgotten about them. While some of the plot threads did come together in the end, I don't think an entire season was necessary to reach this point. The show did have some dreamy bits and visually interesting moments, but there were also many poorly made special effects. Although these issues have been present from the start, it's hard to see them as a deliberate artistic choice.
