“Terms and Conditions” is an odd little episode. I’m unsure of the goal, to be frank. Besides the last two scenes, it’s just kind of mildly spooky stuff happening. Maybe that’s just a testament to how subtle the foreshadowing is, but I doubt there were that many big clues in the Bonzo section. It’s just Bonzo being Bonzo.
“Eliminations” is exactly what I wanted. In my article for “Peer Review,” I said I would like to please check in on Sam, and this over-delivered. We get a whole episode set over in The Magnus Archives world.
“Peer Review” Lacks One Important Horror Aspect “Peer Review” is evocative of a classic episode. I liked it quite a bit. The writing is strong and the voice acting stellar. But it did lack this one point of magic that The Magnus Archives has. It’s the implication of explanation within the horror. In other words,…
“The Hollow of His Hand” chronicles one of the most electric courtroom dramas I’ve seen in a long time. This may be because I only tend to watch certain genres and not typically legal thrillers, but the twists and turns, the emotional highs and lows, all contained within one episode, simply floored me.
The Electric State is terrible. A very generic plot with guessable moments at every stage only highlights how nonsensical the out-there worldbuilding becomes.
Perhaps incorrectly, I went into the first two episodes of Daredevil: Born Again almost without any prior knowledge. I haven’t seen the original Daredevil show past the first episode or two—and that was years and years ago. I wanted to see if this new series would be understandable. That way, if you, dear reader, are also in the same camp, I can help inform, one way or the other.
“Compartmentalising” confirmed so many of my theories. I feel quite proud of myself, actually. After consuming so many episodes of The Magnus Archives and making it a part of my personality, I was hoping I’d gotten a good enough sense of things to predict matters.
Paradise is one of the best-written shows I’ve seen in a long time. It’s intricate without being confusing. Multi-layered without pulling away from its core storytelling. And gives answers to its many posed questions at a good enough pace that it’s always surprising that there’s another layer of mystery to uncover.
Wicked (part one) is a lush, spectacular, wonderful experience of a movie. It captures the delightful energy of live theater and has so many incredible scenes. I’ve had several of its songs stuck in my head since I watched it, and I wouldn’t have it any other way.
Much has been said, no doubt, about the social satire inherent to Severance. It’s the most immediate aspect of the show—and only continues to become more aggressive as the series continues. But I am not the reviewer to talk about its accuracy to either the feelings inherent to such a type of work or the setting’s accuracy.
Before reading this review of Dune: Part Two, I urge you to look at my previous one. It simply saves us some time. The issues of Dune: Part One carry over—as does much of the praise. As is ideal for the second part of a two-parter, this feels like the natural continuation. The long play simply had an intermission. Dune: Part Two assumes you recently watched the previous film and explains little to nothing.
Dune: Part 1 is a long movie covering only part of an even longer book, with a ton of history behind it, and I am writing this without having read the book. In 2025. And, frankly, there’s so much baggage here that I am not equipped to talk about. You can tell it’s not a story written in the modern day.
