Paralleling the books, Belly (Lola Tung) forgives Jeremiah (Gavin Casalegno) for cheating on her, and the two get engaged shortly after. Yet, she still finds her way back to Conrad (Christopher Briney) in the end. The season diverged from the source material with the addition of new characters in the narrative and expanded storylines for existing ones.

These changes were introduced to enhance character development, particularly through a more active role for Conrad’s close friend, Agnes (Zoé de Grand Maison), during his time at medical school. Belly, like in the first two seasons, navigates heartbreak, love and family drama as she makes decisions that drastically affect her life.

This season tackled the indecision that accompanies betrayal. Belly struggles to forgive Jeremiah for sleeping with somebody else over spring break. The controversial decision to not only forgive Jeremiah but also agree to marry him created uproar across social media about whether Belly was making the right decision. Han believes it’s “debatable” if he “technically” cheated or not, as Jeremiah thought that they were on an unexclusive break, but Belly felt betrayed nonetheless.

Regardless of whether or not Belly made the right decision, Jeremiah’s willingness to allow a minor disagreement to throw him into the arms of someone else exposes a major flaw in his character and his inability to love Belly the way she deserved. It encourages viewers to think about the cost of forgiving a loved one — at what point is there no more trust left to give?

Conrad himself asks Belly how she could forgive his brother, insisting that she isn’t “the kind of person that would take that from a guy.” The show emphasizes the confusion in staying true to yourself, especially while in a relationship, despite the overpowering emotions of loving somebody. This internal conflict is also touched upon through Belly’s solo trip to Paris, France, where she spends months discovering her own identity separate from the beach house she grew up in, the Fisher brothers and familial influence.

The increased focus on Conrad’s storyline this season also helps viewers understand how his character has evolved with insight into his life in California, his new friends and his ambitions toward his future career as a doctor. He decides to go to therapy and seek out support for his mental health struggles, including recurring panic attacks depicted in previous seasons.
It was a thoughtful development to feature his emotional journey more in-depth, allowing viewers to empathize with Conrad’s attempt to take care of himself and see that it isn’t shameful to express one’s emotions. Viewers can take from the show the importance of prioritizing mental health above all else.

This season faced significant pressure as audience members, who had sided with all teams, anxiously awaited the finale, whether they proclaimed themselves to be “Team Belly,” “Team Jeremiah,” or “Team Conrad.” Jeremiah, although he was someone who clearly loved and treated her well in most cases, didn’t share as deep a connection with Belly as Conrad did. The pull that the two felt toward each other was undeniable and as strong as ever in the last season, demonstrating that one can’t hide how they really feel from themselves forever. The truth is bound to find its way to the surface, just like it did for Belly.

Season three excelled in revealing thought-provoking relationship values and depicting how the complexities of life can often get in the way of love. It also reflected on the difficulties that come with proximity to the people you love.

One critique that arose from the season finale is that viewers are left wanting more from Conrad and Belly’s love story. They resolved years’ worth of problems in the span of half an episode, and there was no further exploration into their relationship after the audience had waited so many seasons for it to work out between them.

Besides the pacing, the season definitely lived up to expectations, and “The Summer I Turned Pretty” will remain a comfort show for viewers.

“Daredevil: Born Again” picks up the narrative six years after the original critically acclaimed Netflix series “Daredevil” left off, dropping audiences right back into the heart of Hell’s Kitchen. Building on the dark, gritty undertones of its predecessor, “Daredevil: Born Again” retraces themes of vigilantism and justice. With a true break of Marvel’s status quo in these introductory episodes, the show might just be the most exciting project Marvel has had in years.

Viewers of the first “Daredevil” series will be satisfied with the fan service they’re given in these first two episodes. Plenty of audience-favorite characters are back in full swing, and the show doesn’t take long in putting protagonist Matt Murdock (Charlie Cox) right back into his iconic red suit. The combat is crisply choreographed and extremely representative of the amazing choreography fans were treated to in the original Netflix series. “Daredevil: Born Again” is based on what is considered to be one of the greatest stories in the history of Marvel comics, and dramatic changes in Daredevil’s life provide the stage.

Matt Murdock’s world is shattered by episode two of “Born Again.” The consequences of his actions in the Daredevil costume cross over to the people he loves, causing him to leave the alter ego behind. In other news, New York City’s largest crime lord — Wilson Fisk (Vincent D’Onofrio), the Kingpin — is running for the mayor’s office, and he’s winning. The city is spinning out of control, and there’s no hero to save it since Murdock has left the Daredevil world behind.

While the acting in the show is great overall, the onscreen relationship between D’Onofrio and Cox stands out as the epitome of superhero television. The dialogue, while not always the strongest throughout the first two episodes, was electric between these characters. In such an emotionally charged opening sequence, the whole cast was given a chance to leave it all on the screen. There were incredible moments from Deborah Ann Woll in her time playing Karen Page and others from Cox that will leave audiences breathless.

The real strength of “Daredevil: Born Again,” however, comes in its story and direction. Directors Justin Benson and Aaron Moorhead deliver a stylized and brutally relentless package that keeps the show wildly entertaining. The themes of justice and morality bleed through every aspect of every moment, from the cinematography down to the title sequence.

It doesn’t feel like the New York that Marvel has simulated in recent projects. Instead, Benson and Moorhead treated their audience to something that the media mega-giant hasn’t been able to recreate for years now: risk. The two changed the status quo of the character and his relationships, making for a fresh take on the Daredevil label. It’s exciting to think of what might happen to such a popular and multifaceted character with this kind of budget and creative direction. All of the well-orchestrated production is wrapped up in a visually appealing package just brimming with creativity. This is the high-energy plot that Marvel needed for a successful pilot.

However, not everything was perfect. The dialogue, at times, left something to be desired. It felt disjointed to downright cringeworthy at some points, a symptom of a Marvel-ified script. Fortunately, the performances of the leading cast wash out most of the conversational oddities that made it through to the script. Otherwise regarding writing, the pacing is solid, the plot is compelling, the characters are dynamic, and the script is holding up under the weight of high expectations. While the story and thematic elements of the narrative might be the only fantastic aspects of this script, there isn’t much left to be desired.

With all that being said, “Daredevil: Born Again” is a valuable new entry in the Disney+ Marvel streaming catalog. It might just be another superhero show, but it could also be the shake-up to the multiverse that the entertainment giant was looking for.

Rating: 4/5

If you’re a fan of Gunn’s other projects like the “Guardians of the Galaxy” trilogy, “The Suicide Squad” or “Peacemaker,” you’ll love “Creature Commandos.” The writer and director plays to his strengths as he makes you fall in love with and feel for this group of misfit monsters.

Each episode, in addition to forwarding the main storyline, provides a backstory to one of the commandos. Whether it’s the Weasel (Sean Gunn), a radioactive skeleton named Dr. Phosphorus (Alan Tudyk), Nina the fish woman (Zoë Chao), Nazi-killing G.I. Robot (Sean Gunn) or the stitched-together Bride (Indira Varma), all of these creatures are made to feel real and human. Though they are not necessarily good people, the series will have viewers rooting for the team’s members as they experience ups and downs over the seven episodes.

The stories and well-written characters are brought to life by an incredible voice cast which makes these animated monsters feel real and three-dimensional. There are so many characters with the potential to be viewers’ new favorites, and incredible villains and threats to stand in their way.

The animation team also went above and beyond in its creation of this story’s cast and settings, making everything from a massive fight scene to a simple conversation engaging and kinetic. Gunn’s use of needle drops brings added depth to each episode, with its soundtrack contributing to moments of emotion and action alike. Each episode is an entry into a fun, thrilling and at times, even heartbreaking experience that’ll pull viewers in and leave them wanting more.

As the first official project of the new DC Universe, and not even serving as the full-fledged beginning, “Creature Commandos” might not seem like it’s worth viewing to some — especially when its cast is filled with many characters audiences wouldn’t have heard of unless they regularly dive into comic book back issues. However, this story is something special — speaking to the quality and passion behind Gunn’s work and the new universe he’s working to bring about.

Set in the sunny hills of Los Angeles, the show follows Noah (Adam Brody), a wise and youthful rabbi, and Joanne (Kristen Bell), a raunchy podcast host, through their unlikely friendship and even more surprising romance.

Although their occupations and seemingly opposite ideas on romance lend themselves to tense disagreement, the two can’t seem to avoid each other, and they don’t seem to want to.

The unique perspectives on relationships, ranging from Noah’s strong sense of community to Joanne’s cynical view of romance as an inevitable let-down, make this unlikely pair a somewhat comforting combination of hope and realism. “Hot Rabbi” — a title that Noah seems to enjoy deeply, is really not so different from his cynical and morally gray love interest. Similar to Phoebe Waller-Bridge’s “hot priest,” Noah is a rabbi whose morals can be swayed if it means staying with Joanne, flipping the script to give the seemingly weak-willed Joanne more strength in her beliefs than Noah.

Critiqued for its intense reliance on stereotyping, particularly when it comes to female characters, this show celebrates Jewish American culture while simultaneously poking fun at it. Overbearing and controlling, the women in Noah’s family are displays of caricatures placed upon Jewish women time after time in various forms of media. The characters are reduced to ideas of the suffocating Jewish mother — outdated and boring humor. Still, there is clear love these women feel for their families and admission that strict adherence to rules has not always brought them or their loved ones joy.

“Nobody Wants This” also displays the nuances of responsibility and loyalty, particularly in the case of Esther Roklov (Jackie Tohn), sister-in-law to Noah and best friend of Noah’s almost ex-fiance. She is catty, mean and deeply protective of her family in a way that seems to lean into stereotypes of Jewish women. Further development of her character exposes the strain of striving for perfection when no one else seems to be working as hard.

If you were looking for a high-wrought dry comedy with the tension of doomed romance a la “Fleabag,” this is not the show for you. What makes this show so entertaining is the safety of it all — the familiar combination of romance with comical situations. “Nobody Wants This” is a classic rom-com at its core. The balance of cynical humor and sage advice regarding relationships and self-assuredness creates playful and relatable characters that are easy to like, even when they are scheming against the protagonists.

The characters rub off on each other and the recognition that change is not always the result of corruption, but perhaps a strengthening in one’s already held beliefs. Overall, this is a fun take on a classic tale of lovers sending a message — fall in love with a religious leader. At the very least, it will make for a good story.

Rating: 4.8/5 

Continuing where it left off, season three focuses on the out-and-proud teens Nick Nelson (Kit Connor) and Charlie Spring (Joe Locke) and how the two navigate their journey as a new couple. This season tackles more serious issues as it discusses themes of mental health, eating disorders, transphobia and the struggle for self-acceptance.

Based on Alice Oseman’s graphic novel series, the show follows Nick and Charlie’s journey as they fall in love and begin to navigate life both at the fictional Truham Grammar School and the world beyond the confines of their town. The Netflix series is a near-perfect adaptation of the graphic novel series, with Oseman serving as one of the executive producers.

This season focuses on Nick and Charlie’s journey outside their couple identity as they both go through separate experiences as Charlie’s eating disorder and the impact it has had on his mental health makes its way to the forefront.

Rather than simply focusing on romantic relationships this season, such as Tao (William Gao) and Elle’s (Yasmin Finney) relationship and Darcy (Kizzy Edgell) and Tara’s (Corinna Brown) relationship, it focuses on the other bonds that influence the lives of the characters in the show. Familial relationships are at the forefront, particularly with Charlie’s relationship with his parents and his older sister Tori (Jenny Walser).

One of the most pivotal moments from this season is in episode four when Tao takes on the responsibility of making a home video for Charlie so that he doesn’t feel left out, while he lives at an eating disorder clinic, including moments from the months that Charlie is apart from his friends, who all include messages of love and support.

It is a heartbreaking and heartfelt moment to watch, as the tension that existed between Charlie and his friends before he was admitted into the clinic is evident in the loss that they feel with him not being around.

“Heartstopper” has never shied away from discussing heavy real-world topics, and while it does tackle mental health and its impacts, it also brings up transphobia and the journey a person goes through when they are discovering and embracing their sexuality.

Several characters this season go through a journey of self-discovery. Isaac (Tobie Donovan) comes out to his friends as asexual and aromantic. Imogen (Rhea Norwood) confesses to Nick that she has never truly felt attracted to boys, but how she has always felt that it was what she should do, bringing up the often overlooked topic of compulsory heterosexuality, or the idea that heterosexuality is automatically assumed by society.

The topic of transphobia comes to the forefront when Elle accepts to be interviewed by a radio show in episode four after her artwork begins to grow in popularity on social media, only to discover that the interview was only a guise to discuss the topic of her trans identity — something she did not consent to be interviewed about.

The scene is heartbreaking, as the viewer watches Elle struggle to maintain her composure as the interviewer hounds her with questions about how “trans identities are the hot topic of the moment” as her parents and Tao watch from behind the double-sided glass, horrified by the harassment.

The topics of self-discovery and the transition from teenager to adult, no matter what platform it is on, almost always end up discussing one topic in particular — sex. Many of the comedic and heartwarming moments from this season center around the topic of sex, as the characters begin to navigate how they want to approach this milestone in their relationships with their significant others.

“Heartstopper” season three will leave an impact on viewers, as its coming-of-age content regarding romance and personal growth leaves a resounding impression on those who watch it. Its life lessons and approach to LGBTQ+ young adult media can impact future projects approaching the same topic.

Rating: 4.5/5 

Since its premiere in December 2020, “Bridgerton” has become one of Netflix’s most successful shows. By its third season, “Bridgerton” had become synonymous with romance and amassed a large fanbase on social media.

Based on the book series written by Julia Quinn, “Bridgerton” follows the lives of the eight Bridgerton siblings — Anthony, Benedict, Colin, Daphne, Eloise, Francesca, Gregory and Hyacinth — as they tackle the everyday struggles of London high society in the early 1800s, all while trying to find love.

Season three, split into two parts, primarily focuses on the third eldest Bridgerton sibling, Colin Bridgerton (Luke Newton), and his best friend, Penelope Featherington (Nicola Coughlan), who is hoping to find a husband to avoid becoming a spinster. In doing so, the two conjure a plan to ensure that Penelope will secure a husband quickly by coaching her to embrace the aspects of herself that she hid from society. While all this is occurring, Penelope is also dealing with the fallout with her best friend Eloise (Claudia Jessie), as last season, she discovered that Penelope was Lady Whistledown — the anonymous writer of a scandal sheet centered around the lives of the upper class.

As she deals with the fallout of Eloise finding out her secret, Penelope begins to embrace her status as a writer after realizing that she has become something no one expected her to become — independent — with suitors starting to notice this personality change. One in particular, Lord Alfred Debling (Sam Phillips), begins to court Penelope as Colin simultaneously realizes his feelings for her. Filled with romance, comedy and drama, the third season of “Bridgerton” kept fans on the edge of their seats with the “will they/won’t they” romance that part one has to offer.

While fans waited with anticipation for the third season to drop on Netflix, many were disappointed by the rushed and unnecessary plotlines, as well as historically inaccurate costumes and makeup. The focus of this season jumps from the unfolding of Colin and Penelope’s love story to Cressida Cowper (Jessica Madsen) — a debutante who often antagonizes the Bridgerton siblings. Cressida’s presence is vital to the plot unfolding, as she falsely claims herself to be Lady Whistledown, taking credit for the society paper’s success for monetary gain, leaving Penelope on the fence about whether she should come clean about her use of the moniker. Many of the scenes during the eight-episode run could have furthered Colin and Penelope’s love story or displayed more of the unraveling of Penelope and Eloise’s friendship instead of focusing on Cressida’s emotional upheaval as she struggles to prove the validity of her stolen identity.

As it is a historical romance show, fans expect a certain level of historical accuracy to be upheld by writers and costume designers. Much of the success of the series stemmed not only from the sizzling on-screen chemistry of each season’s leads but also from its accurate portrayal of Regency Era London. Season three was very different from the first two. A huge part of the first half of the season focuses on the transformation Penelope goes through as she prepares for the social season, but some parts of her new look stand out, like the use of false lashes and acrylic nails. While these additions complicate the carefully crafted fantasy that the “Bridgerton” writers have built over the years, it is redeemed by Colin and Penelope’s chemistry throughout the season.

Season three of “Bridgerton” was successful despite its rushed plot because of the chemistry between the two leads. With their storyline built since season one, much of the chemistry and tension that transpired between Colin and Penelope finally made its way to the surface in season three.

“Bridgerton” is known for its adaptations of pop songs into orchestral covers, and this season had myriad pop covers that quickly became fan favorites, including Pitbull’s single “Give Me Everything.” The orchestral cover of the 2011 hit quickly became a TikTok sensation when it was used in the penultimate scene of episode four, where Colin professes his love for Penelope in a carriage as the two share a passionate moment. Pitbull himself expressed his delight at the song’s renewed success on social media, writing, “This again shows the world how music is the international language that transcends over boundaries more so how a hit song can remain timeless.” Other covers of mainstream pop songs include BTS’ “Dynamite,” Coldplay’s “Yellow” and Taylor Swift’s “You Belong With Me.”

By the end of the summer, season three of “Bridgerton” had a Rotten Tomatoes average “Tomatometer” score of 88% — the highest rating that the show has received. With the success of the third season, “Bridgerton” has been renewed for a fourth season and is set to focus on Quinn’s novel, “An Offer from a Gentleman,” with Benedict Bridgerton (Luke Thompson) taking the spotlight as the next leading man.

There are few characters today that are more iconic than Batman. For over 85 years, fans have enjoyed a variety of stories inspired by the Dark Knight — so many that, according to comic book writer and historian Mark Waid, Batman is the most written-about fictional character in the history of the written word. Over the past few decades, there have also come many different adaptations of the character with their own takes.

One of the most beloved adaptations by fans is “Batman: The Animated Series” from the 1990s, a show that shaped the character in the roughly 30 years since. But this year, the creator of “Batman: The Animated Series,” Bruce Timm, “The Batman” director Matt Reeves, acclaimed filmmaker J.J. Abrams and award-winning comic book writer Ed Brubaker and others teamed up to reinvent the Batman mythos in the animated series “Batman: Caped Crusader.”

Blending what came before but setting out to make it its own, this series sees a Batman in the early days of his career, facing off against reimagined versions of his iconic enemies. But did these talented creatives pull off their effort to step out of the shadow of takes like “Batman: The Animated Series” while staying true to who Batman is? They absolutely have, possibly delivering one of, if not the best, takes on the character in the past decade.

When watching a Batman show, the first thing you should look at is the actor playing the titular Guardian of Gotham, and Hamish Linklater does a great job of bringing him to life. Linklater does not just do his impression of the late Kevin Conroy, one of the character’s most iconic voice actors. He delivers his own take on the signature vocal change, adding in just the right amount of growl balanced by emotion and not falling into any of the easy mistakes to make voicing the character, like being too breathy and scratchy or coming off as shouting. This take on Batman is incredibly new in his career, meeting all of his villains and much of his supporting cast for the first time, and this youth can be felt while still seeming like a capable Batman.

Although the show portrays Batman as a looming presence, it also focuses on other characters like Barbara Gordon, adding to the mythic nature of the character early on and making it so that other plot elements can unfold and shine.

All of the supporting characters of Gotham City are created so well in this show. Iconic villains and characters of the Batman mythos are reimagined in ways that often paint them in a new light or show a side of them that adaptations have not touched on thus far. The overarching plot of the first season and the individual stories of each episode are incredible, using different tones and genres throughout the season. In this respect, it honors what many have loved most about the animated series while making their decisions work for this show’s aims. Longtime fans of these characters will love their decisions, and it is bound to make any casual viewer a Batman fan.

Overall, “Batman: Caped Crusader” is an incredible take on an iconic character and mythos that makes great use of its elements, all while keeping the core of Batman’s story. The only problem with this show is that fans of its successor cannot help but draw comparisons, and both “Batman: Caped Crusader” and “Batman: The Animated Series” being based on Bruce Timm’s art style does not help that. Even though the animation of “Batman: Caped Crusader” can feel more rigid at times than the incredibly fluid and groundbreaking look and movement of “Batman: The Animated Series,” the show manages to take on much of what is best of what came before and provide new takes and perspectives to create something special. There is no doubt that further seasons will allow the show to grow on its own as well.

It is clear that the creators of the show know Batman and the creative decisions made to introduce Batman to a new generation show how Batman has been reinvented and reimagined for 85 years. “Batman: Caped Crusader” has the potential to become one of the definitive pieces of Batman media down the line, and diehard fans and casual viewers alike should get in now at the beginning of something great.

Rating: 4.8 out of 5

The show subverts the trope of “damsel in distress” and chooses to remember aspects of Jane that history fails to remember. Bader focuses much of her portrayal of Jane on her intelligence and bravery, as it is noted by history itself that Jane was among the few young ladies of her time to receive a well-rounded education — something that is often pointed out by several characters throughout the show.

Much of the plot centers around the combined chaos of Tudor England and everyday life occurring within the show’s world, as Jane and Guildford find themselves caught in the middle of the conflict between Verities — ordinary humans and Ethians — humans who can transform into animals at will, but are hunted down and have been driven out from society. The show reimagines not only the madness that was occurring during Jane’s reign, but the tensions that existed between Catholics and Protestants at the time, which affected how the royal line of succession went — ultimately leading to Jane’s ascension of the throne. The conflict between the Ethians and the Verities is a driving force behind the decisions that Jane and Guildford make. Guildford himself is an Ethian, as he can transform from human to a horse, but not at will. Guildford’s struggle with his Ethianism ultimately brings Jane and Guildford together, as they are forced to adapt to their new realities at Tudor court.

What made “My Lady Jane” rise in popularity, is that it did not take itself seriously in the same way that many historical fantasy shows such as “Outlander” or “Merlin” tend to do. The show finds humor in the situations that characters encounter creating a comedic undertone. Although the characters speak formally, the way they act is enough to make even the most stoic of people laugh. Apart from the show’s humor, the romance is another point of interest. The chemistry between the main characters is what can make or break a show. Bader and Bluemel provide the audience with the constant tension that comes with the combined forces of the “enemies to lovers” and “will they/won’t they” tropes that make up their love story. While Bader and Bluemel bring the romantic chemistry to the screen, their fellow castmates such as Henry Ashton who plays Guildford’s brother, Lord Stan Dudley, Anna Chancellor who plays Jane’s mother, Lady Frances Grey, and Jane’s youngest sister played by Robyn Betteridge, are some of the standout comedic performances, as they often serve as agents of chaos in contrast to the more rule-following characters.

While the show can be classified with other historical romance shows such as “Bridgerton,” it is unique in the sense that it doesn’t force itself to follow the same rules and structures that many have fallen victim to. It brings something different to the table with its combination of fantasy, romance and comedy while still maintaining the romantic illusion that historical romance shows are known for. “My Lady Jane” brought the life and history of one of the shortest reigning monarchs in English history all while remembering Lady Jane Grey for the life she lived before and during her short reign and not just remembering her unjust death.

Last Thursday, Amazon Prime released the eighth and final episode of their hit animated show “Invincible” to audiences everywhere. Following an introductory season that took the world by storm with its gritty undertones and unique spin on the superhero genre, there seemed to be high expectations for an exceptional second season. Initially releasing the first four episodes of the second season back in the fall, Amazon allowed the ultimate half of the season to garner even more anticipation prior to its release in the past couple of months. Luckily, part two of the season delivered on all fronts.

Episode five of season two, the first episode of part two, aired on March 14, concluding with episode eight on April 4. The storyline picks up following a massive twist at the end of part one in which Invincible is reintroduced to season one’s primary antagonist, his father Omni-Man.

Part two opens with the titular character, also known as Mark Grayson (Steven Yeun), returning to Earth after rekindling a relationship with his seemingly changed father (J.K. Simmons). Before voyaging back to Earth, he brings his alien half brother, a Viltrumite-Thraxan mix eventually bestowed the name Oliver (Lincoln Bodin) by Mark’s mother Debbie (Sandra Oh). Much of part two’s main story stems from Mark’s struggle to be there both for his superhero organization and those who need him at home. In typical “Invincible” fashion, no punches are pulled in terms of the absolute brutality faced by Mark and everyone he holds dear.

Overall, the story is one of the strongest aspects of the latest entries in the series. The world-building is intricate and appreciated, and the writers’ indifference to killing off half of their characters makes the stakes of every battle feel real and tangible. There are twists and turns galore, and the patented in-your-face style of storytelling keeps the viewer’s eyes glued to the television. Despite a small lack of focus, season two of “Invincible” feels like an even more contained and developed storyline than season one, which is very much appreciated following what felt like a more staggered and episodic approach originally.

Complimenting the strong central plotline is fantastic dialogue, characters and, most clearly, voice acting. The cast is, to be frank, stacked. Yeun, Simmons, Oh, Seth Rogen, Mark Hamill and Jason Mantzoukas — the list really goes on. Each character’s voice is distinctly recognizable and fits their characterization to a tee. Because of this, dialogue really becomes a cornerstone of this surprisingly emotional animated show, allowing each interpersonal interaction to hold some serious weight in the eyes of the viewer. These actors and actresses know how to bring life to a script without even getting the chance to express these emotions physically, promoting a deep connection between the audience and on-screen events. The focus on dialogue is reflective of a style becoming more popular in the animated medium, and although the show is just as visually shocking, the script and readings stand on their own as a testament to the passion behind the “Invincible” creative process.

In terms of visuals, something must be said about the weakest quality of the second season, that being the animation. The first season was criticized heavily for its sometimes shoddy framing and speech animations, and the second season is no different. It gets a little frustrating, especially when the actual subject matter is so visually interesting. The execution just doesn’t seem up to par with the other aspects of the show, and it’s definitely something that could be improved upon moving forward.

Otherwise, there isn’t much to talk about in the way of what the production team got wrong in this second half. The show is unapologetically “Invincible” at its finest. Brutal fights, tense emotions and quick jokes make for a poignant entry in the show’s young lifespan. Season two part two adds upon an attention-grabbing first half and concludes in a spectacular manner. Everything season one does great, season two does just as well.

Overall: 4/5

Opening on the seventh anniversary of Chancellor Elena Vernham’s (Kate Winslet) victory of her country’s pseudo-“free and fair election,” episode one of writer Will Tracy’s (“The Menu” and “Succession”) ridiculous yet off-puttingly realistic show follows an anxiety-ridden Elena as she attempts to enjoy her special day while overrun by paranoia that mold has infested her residence. Her intense comedic and anxiety-filled performance exposes the true fear of her character — that her white-knuckled clutch on power is beginning to slip.

As Elena continues to obsess and fear that deadly spores have infected all of her soundings, she employs Herbert Zubak (Matthias Schoenaerts), a soldier nicknamed “the Butcher’’ for his brutal suppression of a worker’s riot at the mines. He assigned with the task of following her around with an antennae-like machine, testing the humidity of every room she enters. This precaution is not enough to soothe her anxiety, of course, and the yes-men that surround Elena are incapable of questioning her tight-lipped autocratic decision that there is something deadly in the air.

Still, Elena gains some comfort from the quiet, haunted and clearly terrified soldier — perhaps it is because she and her fellow “public servants’’ cannot seem to view him as any more than “a dog using a calculator.” Although his character is less fleshed out than Elena’s, Schoenaerts’ performance reveals a character that is simultaneously placed in positions of power and looked down upon by those above him. He is exonerated of his guilt for acting so brutally against the workers’ riot by Elena, who reassures him that “they behaved like animals” and the soldiers “just reacted” — all the while, every other political elite Zubak interacts with views him as the animal, constantly reminding the viewer of the power structure put in place by Elena’s strict government.

Tracy does not only question the “Twilight Zone”-esque governance of this vaguely European country, but also the foreign diplomats who act as witnesses to the intense surveillance under which Elena’s citizens reside. Diplomats from all over the world enjoy a dinner to celebrate Elena’s “Victory Day,” commemorating her defeat of her left-leaning predecessor and implementation of a fascist government. Politicians from the United States are unimpressed with Elena’s performance of Chicago’s “If You Leave Me Now” and peppy attitude toward foreign relations, instead questioning the strict surveillance she applies throughout her country and asking if the miners were really rioting at all. These questions lead nowhere, however, and the big ticket item on the table becomes clear — there are stakes in cobalt mines and mineral resources found in this tiny nation. As disapproving as these American diplomats may be of the Chancellor’s repressive and highly censored governance, they are willing to look the other way if it means that they’ll gain 51 percent in shares of this mineral industry and a strong capital allyship.

The characters’ interests in authority and political partnerships is only heightened by the detailed costume and set design, which take on a rigid shape, exposing not only the strength of Elena’s reign, but the structure required to maintain such power. Her costumes stick out from the drab, shapeless dresses of characters like Agnes (Andrea Riseborough), Elena’s aide.

The setting is almost Roman Empire-esque, seemingly inspired by imperial villas that display great wealth and power in the form of nature murals all along the walls. The greens and blues rub oddly against Elena’s sterile and watchful poses, a sort of discomfort that cannot be controlled.

Surreal and all too recognizable, “The Regime” takes the most disgustingly comedic path to expose modern politics, displaying a charismatic and well-loved character whose authoritarian reign is enjoyed only by herself and those who benefit from it. Paranoia follows the audience throughout the pilot episode, yet Elena’s entertaining charm disguises her power as almost laughable, before getting to the most frightening bit — how great power continues to be great power, even when the person wielding it seems to be the most ridiculous choice.

Based on the novel by David Nicholls, Netflix’s limited series “One Day” (2024) follows Emma Morley (Ambika Mod) and Dexter ‘Dex’ Mayhew (Leo Woodall) over the course of nearly two decades as they slip in and out of each other’s lives.

The two first meet on the night of July 15, 1988, when they find themselves at the same graduation party, celebrating their leave from the University of Edinburgh. When their eyes meet on the dance floor, one can be left wondering how their relationship will progress.

That same night, Dex goes back to Emma’s place, and while they do make out, the extent of their hookup stops there. They end up talking late into the night, which, for Dexter, is something he doesn’t do, but he finds himself enjoying Emma’s company.

They spend the early hours of the morning together, where Emma takes him to Arthur’s Seat — a hill in Scotland. This scene serves as an intimate moment. No one else surrounds them and their view looks out onto the city, reminding them that their lives are just beginning.

When they part ways in the last few minutes of the first episode, it remains uncertain when and where they will meet again. With Dex planning to travel around Europe and Emma looking for work, the story hints at their paths beginning to separate.

It is from here that each successive episode, save for the last two which includes multiple years, takes place exactly one year apart from each other and is a snapshot of the same day — July 15.

This form of linear progression shows not only growth, but also regression in the characters. Emma and Dex go through a whirlwind of changes involving their careers and relationships as the years go by. In 1990, while Emma is working in a restaurant to make ends meet, Dex slowly gains fame and money as he begins hosting game shows.

When Dex’s mom dies from cancer in 1992, he spirals and quickly turns to drugs and alcohol, which he holds onto as a crutch throughout his late 20s. All the while, Emma is making strides in her teaching career and attempting to write her own work whenever she can.

The constant ebb and flow these characters experience with not only each other, but with the world around them, is what makes this show so compelling. Through letters and phone calls, they attempt to stay connected, but Emma can feel Dex drifting away as he continues to immerse himself in his bad habits.

In episode seven, the year is 1994 and Dex takes Emma to an uncomfortably over-the-top restaurant, hoping to impress her into his lavish lifestyle. Throughout the episode, there is tension simmering between Dex’s incessant arrogance toward Emma and the ways in which she begins to realize that she does not recognize who he has become.

Both Mod and Woodall perform some of their best acting in this episode. The tension that had been building up during the episode finally comes to fruition in the fight scene between Emma and Dex, and this is what eventually severs their friendship for the foreseeable future.

Dex, who is drunk out of his mind, takes Emma for granted, not believing that she wants to end their six year friendship. While Emma, who is hurt beyond belief, does what she has to and walks away.

It is not until three years later, in 1997, when they reunite at a mutual friend’s wedding, that they begin to talk again and try to mend the wounds of the past.

As the two walk around a maze located on the grounds of the venue, they attempt to catch up on each other’s lives. Emma begins softening up to him, noticing that he seems like his old self. But this feeling of familiarity quickly fades when he tells her that he’s engaged and expecting a baby.

Emma, who feels like she’s lost him all over again, is uncertain whether they could maintain their friendship, knowing Dex will naturally get busy with married life. This intimate confession leads him to reassure her that nothing will change and in the heat of the moment, they share a kiss so soft one could miss it.

Again two years pass, and it’s 1999 when Emma and Dex are officially together.

While it’s only been 11 episodes, one can feel the passage of time between each one. It’s like an exhale when both characters admit their feelings for each other. It feels well-earned and the relationship begins at a time when both characters have grown enough on their own that when they come together, it just fits.

But similarly to the BBC Three show “Normal People,” “One Day” ends in absolute heartbreak as Emma tragically dies in a bike accident on July 15, 2002.

The story ends with an exploration into Dex’s grief between the years 2003, 2004 and 2007. In those first two years, he heavily drinks, isolating himself as he finds it unbearable to live life without Emma.

It’s not until four years go by that we see Dex beginning to heal and celebrating Emma’s life by revisiting the places they experienced together on the first day they met. It’s a bittersweet ending as time has softened the hurt within Dex, but Emma’s absence will always be felt.

Rating: 4.5/5

Disney+ ended the year successfully with its new young adult show “Percy Jackson and the Olympians.” Many fans had been on the edge of their seats waiting for the show to premiere after Rick Riordan, author of the beloved young adult book series of the same name, pitched the idea of the show to Disney back in 2019. Anticipation for the show has continued since the subsequent casting of Percy Jackson and the rest of the show’s cast. With its incorporation of Greek mythology and the typical woes preteens and teens face as they begin the transition from childhood to adulthood, the show and the books have become beloved fixtures on many people’s bookshelves.

The show follows 12-year-old Percy Jackson, the titular character played by Walker Scobell, as he begins to embrace his new identity as the son of Poseidon and begins to acclimate into his new life as a demigod, though it isn’t easy. Upon learning that he is a demigod, Percy is accused by Zeus of stealing his lightning bolt, making the transition much more difficult as he is alienated by the other half-bloods at camp who doubt that he successfully killed a minotaur minutes before arriving at Camp Half-Blood — a sanctuary and training camp built to protect demigods. Additionally, Percy is also reeling from the loss of his mother Sally Jackson (Virginia Kull) who seemingly dies trying to get Percy to safety. Percy finds himself leaving camp as he embarks on a quest to find the real thief and to rescue his mother from the Underworld, though he is not alone in this endeavor.

Percy is accompanied by his best friend, Grover Underwood (Aryan Simhadri), a satyr tasked with protecting Percy, as well as Annabeth Chase (Leah Sava Jeffries), a daughter of Athena who has been living and training at Camp Half-Blood for five years. Together they embark on a quest across the country, fighting many Greek mythological monsters and discovering the kind of people they want to be — in Annabeth and Percy’s case, what it truly means to be a demigod.

The show has only aired five episodes as of Jan. 15, with the remaining three episodes being released in the coming weeks. Critics and fans alike have been dishing out praises to the actors, show writers and Riordan as well.

Since the show deals with preteens and the struggles of growing up, which can be a sensitive topic, the show has done a great job portraying just how impactful these struggles can be to anyone, from teens to adults. It portrays a journey of self-discovery and discovering one’s true potential, as well as being able to achieve one’s goals even in the face of adversity. Incorporating those struggles into a teen show is very important, as it will be what shapes the minds of the children watching. As the show is aired on Disney+, it was created with the idea of appealing to a new generation of preteens as well as longtime fans of the series. Since the show is meant to cater to a younger audience, with the main characters being around the ages of 12 to 16, much of the acting is juvenile in the sense that no unnecessary violence is presented in the episodes.

Out of many praiseworthy aspects, viewers particularly enjoy the loyalty to the source material. As the show progresses, many have been noticing all the similarities with the first book of the series, “The Lightning Thief,” as well as the many new additions that cater to a wider audience as well as the original fans of the book. Much to the delight of the fans, many aspects of the novel have been kept in the show including the famous chapter titles being used as episode names, like the opening chapter title “I Accidentally Vaporize My Pre-Algebra Teacher.”

However, other aspects such as the three main actors have changed from the book to the TV series. There was initial discourse about the casting of the main three characters of the show — Percy, Annabeth and Grover — with many saying that they did not agree with the casting as it was not faithful to the descriptions of the characters in the books. Jeffries and Simhadri, who play Annabeth and Grover respectively, were the targets of many racist comments on social media after the casting of their characters was announced. Riordan, as well as many other cast members, were quick to show their support to Jeffries and Simhadri, as he defended them saying “If you have a problem with this casting, however, take it up with me.”

Considering that the show has been praised by critics and fans alike, currently averaging a Rotten Tomatoes score of 96 percent, the casting is no longer put into question considering the impressive way that the actors have brought the beloved characters to life.

The last three episodes of the show are being released within the next couple of weeks, and many are expecting it to be as impressive as the first five have been thus far.

Amazon Prime Video’s beloved animated superhero show “Invincible” has finally returned for season two.

“Invincible” is a series that thrives on subverting audience expectations. The first episode’s tone is lighthearted, only revealing the brutality the show has become known for in a now famous post-credit scene. While most post-credit scenes are reserved for short previews of what’s to come or inconsequential gags, “Invincible” used its very first to set the tone for everything that followed — and while great care was taken in the first season to hint at developments to come, its ending still felt remarkably definitive. After failing to overcome the compassion he’s developed in his time on Earth, Omni-Man flees the planet alone, leaving his broken and battered wife and son to pick up the pieces.

Over two years passed between the end of season one and the release of season two’s first episode, making it all the more remarkable how naturally the story begins to build momentum once again. Every new idea stems from characters established in the first season, such as the martian shapeshifter from season one returning as the wannabe superhero “Shapesmith,” Allen the Alien’s adventures in space or the Immortal’s return to the Guardians. “Invincible’s” storytelling manages to work off of what has been established earlier while still introducing a variety of new ideas and characters. The universe of “Invincible” feels as alive as its titular character, with so many factions and characters all working toward different goals. Cecil wants to protect the planet from any supernatural threats it may face, Donald wants to understand why he seemingly died and returned without any memory of it, Debbie wants to move forward with her life and heal and William just wants to make it through college. While these characters are regular humans without any powers of their own, their stories are engaging to follow and they serve to enhance the already exciting stories of alien fistfights and multiverse time travel.

However, just as season one ended with perhaps its strongest episode up until that point, season two has already pumped the brakes following its fourth episode. The second half of season two is being withheld until 2024.

The second season of “Invincible” has so far been about everything a fan of the comics could reasonably ask for. It has proven itself worth the wait, but in doing so has also left fans waiting yet again. There’s nothing wrong with taking a break to allow audiences to appreciate what’s already been released, but doing so immediately after a two-year drought is quite jarring. All that waiting for half a season before being plunged back into yet more waiting is a tough pill to swallow.

One can enter this second season desperate for answers to the never-ending list of questions left by the first. One can attest to the season’s success with the show’s format of only ever answering questions with new questions. This style helps establish Nolan “Omni-Man” Grayson’s character as the most exceptional development in season two so far.

Nolan is one of the most crucial characters in season one, dominating every scene he’s in with J.K. Simmons’ excellent voice acting and gut-wrenchingly violent fights. Season two starts with Nolan already gone, forever changed by his son and the planet he’s grown to love. Without the subdued menace Nolan offered before, season two was seemingly starting at a massive disadvantage. Omni-Man was the showstopper, but the show didn’t stop once he did.

Nolan’s grand return does not come with fanfare or a climactic fight. He doesn’t return to Earth to finish the job or even in search of forgiveness. Instead, Nolan’s son, Mark, is visited by a character who turns out to be an alien in disguise. The alien tells Mark he must come to his planet and save his people, but the people seem fine when Mark arrives. Mark is strung along through lie after lie, growing increasingly suspicious, until Nolan finally reveals himself as the one who sent for him. He’s no longer the vicious killer from before. He’s soft-spoken, uncertain and deeply pained by the horror of his past actions, a complete reversal of who he was when he was last seen on Earth. However, Nolan is taken away again by the Viltrumites for execution. The question of where Nolan was is answered, but new questions can be asked — what will Mark do now? Will he try to save his father on Viltrum?

“Invincible” remains exciting, emotionally gripping and ruthless. Whether it be Mark’s coming of age in college, his superhero escapades or the tortured Grayson family, the second season of “Invincible” continues to expand on the foundations of its story while introducing a slew of compelling new villains, obstacles and set pieces to keep audiences hooked. Only time will tell if the second half can measure up to the first, but what’s released so far has been promising.

It is safe to say that Marvel is far from its peak as it continues to produce blockbuster failures, like their most recent project, “The Marvels,” which has the lowest box office record in the history of the Marvel Cinematic Universe (MCU). However, the release of “Loki” may be the ultimate contributor to the revival of Marvel. The first few episodes of “Loki” felt inconsequential to the overall universe and just an attempt for Marvel to make money off of the fan-favorite villain. However, it has been made evidently clear, especially through this second season, that this show is a vital setup for the rest of Phase Five of Marvel, as well as a beautiful end to our beloved anti-hero’s character arc.

The main reason many fans adore Loki is because he strays away from the typical villain archetype. Since his first appearance in the MCU, the God of Mischief’s egotistical nature was very apparent, but it masks his fear of being alone and amounting to nothing. Throughout his time in this universe, there are slivers of hope for Loki to finally do the right thing and actually succeed at it. The second season, and specifically the final episode, serves as proof that Loki can be the hero so many people wished for him.

Season two does an excellent job of providing fans with a satisfying, full-circle end for this iconic character. The name of the final episode, “Glorious Purpose,” alludes to Loki’s most iconic line. He introduces himself to Nick Fury in the first Avengers movie with the line “I am Loki, of Asgard and I am burdened with glorious purpose.” With such pompous sentiment, Loki believed for so long that he was meant for eternal glory and to be king. He carries on this sentiment in the first season, but it subsides as he builds meaningful connections with the people he meets throughout his journey in the time variance authority.

Loki’s selflessness reaches its full potential in this final episode, with Tom Hiddleston giving an impressive performance that diverges from the fun, mischievous Loki viewers were used to. In one scene, the writers cleverly go back to the first episode of the entire show, where Loki’s Time Variance Authority (TVA) sidekick, Mobius, tells him “most purpose is more burden than glory” — and episode six proves just that. The epic finale leaves viewers in awe as Loki takes control of the time branches in an effort to save his friends from pruning all in a visually pleasing way. In order to do this, Loki must spend his time as the new “King of Stories” alone, which is his biggest fear come true, but does so anyway.

Hiddleston’s acting is tear-jerking and heartwarming, especially when shown Loki’s expression as he fixes the multiverse which is a mixture of sadness as he leaves his friends, but relief that they are saved. Loki shows his full humanity which Hiddleston always subtly implied in all his performances for this character.

Hiddleston isn’t the only outstanding actor this season. Owen Wilson returns as Mobius, maintaining the wholesomeness and comic relief that so many viewers enjoyed from the first season. Oscar winner Ke Huy Quan plays a brand-new character, OB, who like Mobius provides yet another lovable appearance filled with laughs and fondness. Additionally, Jonathan Majors returns as He Who Remains, the ruler of the TVA and Victor Timely, a variant of the TVA ruler. Majors’ outstanding range makes it easy to forget that these two characters were played by the same actor. Both He Who Remains and Victor are charismatic and fun to watch as they are variants of one another. Majors’ ability to subtly instill fear in one performance and love in another is truly mesmerizing to watch.

The grand visuals and score of the show are not at all surprising coming from an MCU movie with a Disney budget. The smaller special effects are carefully done and realistic. Every time a time branch is pruned and the characters turn to spaghetti, the visuals do not look cheap and their bodies are seamlessly “spaghettified.” Marvel also does a great job presenting otherworldly scenes. The bridge that leads to the temporal loom is mystical and vibrant, reminiscent of other impressive effects that Marvel fans have seen in the past. The music accompanying these epic scenes is creative and well-chosen. The composer, Natalie Holt, uses inspiration from the ’70s, ’80s and ’90s as the show travels back in time. For the final scene, she composed 17 versions of the song and the final product works perfectly alongside the visuals for a great ending to Loki’s character.

Although visually it is clear when Loki travels through time, whether it is through the clothing or the lighting in the scenes, it is difficult to distinguish when the time jumps are closer together. The season starts with Loki time jumping to a different version of the TVA and that is made clear when it is revealed that the workers do not know who Loki is. Later on, Loki and Mobius go back in time to track down Victor and it is easy to understand with the rustic and muted background. However, in the final episode, as Loki goes through his own version of “Groundhog Day,” it becomes hard to keep track of. The plethora of time jumps do add humor, hoping that this time Loki and his friends will succeed in saving the multiverse — but ultimately, becomes too much for one episode.

The most important and exciting part of season two is how it contributes to the overarching universe. The series explains and sets up the concept of a multiverse, which will be a major topic of conversation in this phase of the MCU. Additionally, it introduces the biggest villain since Thanos — Kang the Conqueror, also known as He Who Remains — but it only alludes to the scale of detriment that will ultimately befall Loki’s friends and all of the current superheroes in Marvel. Although there is an impending doom on its way to the TVA, at least our cherished Loki has met his glorious purpose.

Comic book content has been at the forefront of the Hollywood zeitgeist for over a decade, and with it comes many different takes and adaptations of the superhero. In addition to the half a dozen Marvel and DC projects every year, this wave of superhero media has also brought different twists and subversions of the ideas and tropes that have enamored the public.

None perhaps have pushed the envelope as much as the Amazon Studios series “The Boys.” Three seasons in and with a fourth on the way, “The Boys” explores a corporate and political world of superheroes through a satirical lens, often diving into the dark and explicit. The show has achieved an incredible amount of acclaim and has managed to stick out among — and arguably because of — the influx of comic book projects within the entertainment industry.

Recently, the universe of “The Boys” was expanded with the spin-off series “Gen V.” Fans will have no idea what they’re in for as this series is just as shocking and over the top as its predecessor. “Gen V” will certainly introduce new fans to the franchise while pleasing any existing ones wanting more as they wait for season four of “The Boys.”

“Gen V” centers around Marie Moreau (Jaz Sinclair) and other superpowered students she associates with at Godolkin University, a school for those with superpowers run by Vought International, a malevolent corporation behind superpowered activity in the franchise. At this university, Marie and friends uncover a conspiracy around the school and the harm it is planning on doing, creating conflict and division as they don’t know who they can trust and what to do to stop this.

The show sets itself firmly within the world of “The Boys,” with characters from the show making appearances and events and plot points being referenced in the series. The show is a continuation of season three of “The Boys” and sets up what we will be seeing in season four. This makes the show a recommended viewing for anyone hoping to get the full picture, even if both series seem like they will make sense on their own as well. The plot is compelling and surprising, with moments of both fun and darkness throughout. The tone, the plot and the writing resembles the show’s predecessor and feels at place within that world.

Where “Gen V” really manages to shine though is in its characters. Unlike “The Boys” where many of the main characters are human and working against the superheroes and Vought, “Gen V” has a main cast of almost entirely superpowered characters, allowing for a greater exploration of what it means to have these abilities within this world.

Powers are presented in ways that no other superhero media has shown up to this point, taking out the glamorous side of these abilities. Marie has the ability to manipulate and control blood while her roommate Emma Meyer (Lizze Broadway) can grow and shrink in size by eating and vomiting, which is used to speak to bodily perceptions and social media. London Thor and Derek Luh portray different aspects of the character Jordan Li, whose gender fluidity creates representation for a group that hasn’t been seen in the medium thus far. These ways of looking at powers and how they relate to characters and their identities is best seen with Cate Dunlap (Maddie Phillips), who is telepathic, and creates a compelling and complex character that draws the viewer in. The story allows for very human moments as it explores things superhero media often doesn’t address.

The one thing that felt lacking in “Gen V” was that it was too consistent with “The Boys.” At times, the show feels more like a season 3.5 than its own thing. While there is nothing necessarily wrong with this, one would hope that with these amazing characters and opportunities for storytelling, the show would do more to separate itself in tone and plot.

Overall, “Gen V” is an incredible show that is just as good as “The Boys,” if not better in some ways. With the first season being enjoyed and successful enough for a season two renewal, hopefully those behind the series are willing to take more risks and create something distinct to further flesh out this incredibly compelling world. Regardless, it seems that “The Boys” franchise shows no sign of slowing down as quality remains at its usual high level.

Rating: 4.7 out of 5 stars

Netflix has welcomed yet another gothic horror TV show onto its platform and has not disappointed. Since its release on Oct. 12, it remains on Netflix’s top 10 shows to watch right now.

“The Fall of the House of Usher” was created by Mike Flanagan. Flanagan is already known by horror enthusiasts for his shows “The Haunting of Hill House,” based on the novel by Shirley Jackson, and “The Haunting of Bly Manor,” which drew inspiration from the novel “The Turn of the Screw” by Henry James. Some more of his works include the movies “Doctor Sleep” and “Oujia: Origin of Evil,” but “The Fall of the House of Usher” may be his most elaborate work yet.

Several of the actors who participated in Flanagan’s previous projects also appear on the show, such as Carla Gugino who plays Verna and Henry Thomas who plays Frederick Usher, the eldest of Roderick’s children born from his first marriage.

Kate Siegel (Camille L’Espanaye), Rahul Kohli (Napoleon “Leo” Usher) and T’Nia Miller (Victorine LaFourcade) play three of Roderick’s illegitimate children, known as the “Bastards” to the family and the audience. The rest of the Usher children are played by newcomers Sauriyan Sapkota and Samantha Sloyan who play Prospero “Perry” Usher, the youngest of the “Bastard” children, and Tamerlane Usher, the second eldest and the only other child born from Roderick’s first marriage, respectively.

The cast also includes some well-known Hollywood actors such as Mark Hamill as Arthur Pym, Bruce Greenwood, who plays Roderick Usher and Mary McDonnell as Madeline Usher.

“The Fall of the House of Usher” follows a storyline based on many of Edgar Allan Poe’s notable short stories, and follows Roderick Usher as he explains to C. Auguste Dupin (Carl Lumbly) why all of the Usher children have been dying one after the other and why his pharmaceutical empire, Fortunato Pharmaceuticals, is on the brink of collapse.

“The Fall of the House of Usher” isn’t just one story — it’s multiple, and in true Flanagan fashion, they all connect in the end when all the gruesome details come to light. Following in the footsteps of “Hill House” and “Bly Manor,” each of the eight episodes in the series focuses on one character and their storylines to further understand the story as a whole. Each episode of the show is loosely based on a short story written by Poe, and the demise of each of the Usher children directly correlates to the demise of many of the characters in his short stories, such as “The Masque of the Red Death,” “The Tell-Tale Heart” and the notorious “The Pit and the Pendulum.”

As the Usher children begin to die in gruesome ways as the story progresses, the audience begins to understand the reasoning behind the deaths.

As in Flanagan’s previous works, the theme of the show is family, but while “Hill House” and “Bly Manor” focused on the positive influence family can have, “The Fall of the House of Usher” is a shining example of how family can be a person’s downfall. The phrase “sins of the father” echoes throughout the show, as the Usher children are dying not because of their actions, but because of their connection to their father and the family empire as well as the choices he made over 40 years ago.

The most notorious embodiment of Poe’s work on the show isn’t the children, but Gugino’s character, Verna. Verna, a cheeky reference to Poe’s poem “The Raven” and a clever anagram for the word “raven,” is the embodiment of immortality and death. She is what haunts each of the characters in the show as she slowly ticks each of the Usher children off her list, working to settle the deal that she made with the Usher twins years ago. However, she is not the evil character audiences think her to be.

The whole reason any of the tragedies that are occurring to the Usher family is not just a simple case of really bad luck, but the result of a “deal with the devil” kind of exchange. The Usher family was able to live as a powerful and rich family, but on the condition that the family must be willing to sacrifice anything that Verna wants in return for all that money and power.

Verna is not evil, as she doesn’t convince any of the characters to do what they choose to do or take the paths that they take. Rather, she is simply the catalyst and origin of each of their storylines. She even offers each of the characters a chance at redemption before they all die, but they all refuse, and that ultimately leads to each of their demise.

While the show does follow the blueprint from many of Poe’s classic works, it fails to achieve the same spunk that has allowed Poe’s works to last the test of time. “The Fall of the House of Usher” includes many jump scares, as the Usher children come back to haunt their father (Greenwood) sporadically throughout the story as he unveils the mystery behind their deaths to both Dupin (Lumbly) and the audience.

Nevertheless, the jump scares aren’t enough to keep the audience on edge. Flanagan attempts to achieve the same twisted and macabre aspects of horror found in Poe’s work in “House of Usher’ with varying degrees of success. The Usher Children die incredibly gruesome deaths in one episode, only for the next episode to be focused on their shameless and fairly questionable actions.

“The Fall of the House of Usher” may not be the most terrifying of Flanagan’s works, but it is thought-provoking and elaborate. Audiences who appreciate a classic horror mystery with a twist will certainly enjoy binge-watching the show this fall.

With the departure of Justin Roiland, the main voice actor behind the series’ six widely-loved seasons, many fans were left wondering how the show could continue. Roiland faced charges of domestic battery and false imprisonment of a former partner in 2020. Once the charges were revealed, he was dropped from his role on “Rick and Morty” and many of his other projects and roles. The court has since dismissed the charges due to lack of evidence. Roiland voices Rick, Morty and many other characters on the show, making him a vital performative addition and fan-favorite voice actor for the show. Season seven has recently been released, giving fans a first taste of the show without Roiland.

Adult Swim chose to replace the voice actors after a meticulous process, finally landing on Ian Cardoni as Rick Sanchez and Harry Belden as Morty Smith. Because of the fourth-wall-breaking, metajoke-filled history of the show, many fans believed that there would be a more creative solution than simply replacing Roiland. However, all possibilities in this vein would completely unground most of the canonical elements of the show, sparse as they are. Other more direct ways to address Roiland’s departure through metanarrative also invite critique on grounds of ethics and tastefulness.

Instead, the writers at Adult Swim pressed forward, emphasizing Rick and Morty more than ever and attempting to recapture the magic of previous seasons. The first episode features a fan-favorite side character, Mr. Poopybutthole, who needs an intervention from Rick and his gaggle of friends. The second episode centers on the relationship between Jerry and Rick, in which the two undergo a mind-brain replacement, culminating in some unexpected and potentially catastrophic results. The unique brilliance and accessibility of the show do not seem to have faded in the writing. Rather, the abstract world-building, metajokes and crude humor of the show are all still there.

This may have to do with the fact that Roiland has had almost nothing to do with writing the show since season two. Harmon opened up in an interview where he explained the rift between himself and Roiland that had been ongoing for many years. With this information, it seems that the loss of Roiland was only a loss of his voice and any remaining chemistry he created between the characters. Regardless, some fans are convinced that the show is truly not the same.

Reception to the first two episodes has been polarized, as anyone can tell from browsing Rotten Tomatoes reviews. Many fans are completely turned off by the new voice actors, and many complaints have come through about Morty being over-confident and Rick not being as expressive as usual. Other fans, even long-time fans, see hardly any problem with the new voices whatsoever.

Responses to the actual content of the show are just as polarizing. Many people think that the writing on the new season is lackluster, and the punch of comedy doesn’t come through as well as it used to. Again, others do not find much of a difference in the characters or writing from past seasons, and think the show is moving forward full-steam.

With so much polarization, the question that arises is whether critical fans are simply embittered by the departure of Roiland and clinging to nostalgic memories or if their critique is justified. Perhaps the show has not been the same since season two, and it took a major shake-up to make fans adopt a critical eye and take note of the decline of the show. Perhaps the new season succeeds in plowing through a press nightmare and retaining the glory of the show apart from its co-creator. Perhaps this season is uniquely good or bad for reasons that have nothing to do with Roiland’s departure whatsoever.

Ultimately, the only way to make a judgment is to rewatch previous seasons and compare them with the new season as it continues to release. The life or death of the show is mostly dependent on fans’ willingness to engage with the show as it is, and it is up to them to decide whether it should go on or be laid to rest.

After several seasons of middle school adventures, the seventh season of “Big Mouth” tackles the challenges the kids face as they graduate and move on to high school. On Oct. 20, Netflix released all 10 episodes of the season. With episodes less than half an hour long each, it’s quick and easy to watch the entire season in one sitting.

The show brought back the series’ regular characters, Nick, Andrew, Jessi, their hormone monsters, monstresses and other imaginary creatures from past seasons, as well as new fresh personifications of mental processes. These new additions included some characters from “Human Resources,” a spin off of “Big Mouth” that focuses on the lives of those creatures, such as Petra, the ambition gremlin. Although the show is comedic in nature, it touches on very real and emotional tribulations that emerge when going through big life changes, including depression, anxiety and — new this season — dread. The show takes these topics and addresses them in a lighthearted and relatable tone that makes intense topics easily digestible for viewers.

In addition to these big emotions, the show also deals with universal experiences of growing up, including loss of innocence, self discovery and dissonance with parents. Similar to the character’s emotions, these troubling issues are displayed and resolved to remind audiences that everyone grapples with the same problems.

This concept of global relatability is presented perfectly in episode six, which is entirely devoted to showing just how universal the experience of puberty is. Titled “The International Show,” the episode takes viewers to several countries, including South Korea, India and Australia, to name a few. There is a glimpse of a character in each country dealing with topics the returning characters faced in earlier seasons like masturbation, menstruation and sexuality.

The universal themes are broken down into different storylines, giving each character their own development. From trying to fit in to bad hookups, there is a way for everyone to feel connected to at least one aspect of the characters’ lives.

The first five episodes of the season tackle the thoughts that plague these middle schoolers as graduation approaches. The second half of the season focuses on the preparation, both internal and external, that the kids engage in while anticipating their first day at their new schools.

Episode one opens with the characters touring the public high school for their school district. Each character tries to appeal to their assigned high school “buddy” for the day and desperately scramble to figure out where they belong in the social hierarchy. This concept drives a lot of the conflict this season, with quick episode plots such as Nick asking Jay for workout advice, Jessi trying to imitate Nick’s cool, older sister, Leah, Andrew and Nick experimenting with drugs and Matthew trying to revamp his style before high school.

The episodes that follow weave realistic stories of these characters navigating their way through life. Characters make the decision to transfer to different high schools for the upcoming year, friendship dynamics shift with the upcoming change in their academic settings and there is the ever-looming feeling that one wrong decision could impact their futures in school.

While the show covers a lot of important emotional topics, they are sandwiched between the show’s signature raunchy humor that is adored by many. Adding a bit of silliness to developmentally significant and stressful events makes this show a repeated hit.

The modern Irish masterpiece, “Derry Girls,” has the viewers of America in a chokehold with its final season being out on Netflix.

With an average of three million people in the United Kingdom tuning in for the final season, this Northern Irish comedy has become a one-of-a-kind type of show. It has proven to be brilliantly casted, beautifully written with wit and an overall memorable sitcom over its past two seasons. The third and final season lives up to this description in all aspects with only minor flaws throughout. This season stays with the sense of identity the rest of the show holds and the episode plotlines feel specific to the time and place that Derry, Ireland was going through. It’s safe to say the season is worth setting aside a whole day for.

Let’s start with the plot. This show’s finale is set in the 1990s, and it follows a group of teenage girls from Derry, Ireland and their wee English fella as they navigate the world. It stays true to history with the troubles in Northern Ireland and brings a political aspect to the season. Along with addressing Irish politics, their cracker Irish accents and various personalities get them into dark and funny situations that make the audience laugh.

This brings us to the first episode of the season, opening with a video the group made about peace in Ireland and ending with them getting into a spot of bother with the police. These dark-humor plotlines continue throughout the entire season. The group finds themselves in loads of trouble, arguments and tough situations that will leave viewers on the edge of their seats.

This doesn’t mean that the show was perfect in every aspect. There were some minor disappointing moments in this final season, but ultimately those did not take away from the season as a whole. These moments in question happen when the main characters of the group are split up. A huge aspect of the show is how they go through events together, but throughout the final season, the episodes lacked one of the main characters, Claire, and often dealt with her apart from the group. This division can also be seen in the seventh episode when the group gets into a fight.

Apart from this, the group’s friendship is still strong throughout the entire season. This brings us to the genius writing of “Derry Girls” creator Lisa McGee. She manages to take her experience with living in Derry at the time of destruction and turn the dark times into something funny. She also creates this friendship that has a deeper meaning to all the characters because they are going through this political turmoil together. Her writing goes beyond the page and touches many people.

Her writing also expands into the political environment at the time, teaching viewers about the Troubles of Northern Ireland. This made the season feel more real. Many of the episodes show the destruction, news and military operations that happened in Derry at that time. Aspects of the military telling citizens where to go were included, as political heads visited Derry. And in the finale, the Good Friday Agreement was brought up. The Good Friday Agreement was a vote that the people of Northern Island made to stay a part of the United Kingdom while also maintaining their cultural Irish identity and wishing to bring a united Ireland. This heightened the show because it felt like watching someone’s memory and real-life story.

Not only does the historical and political writing of the show bring it to life, but it adds to the dark humor the show holds. By having the characters make jokes and get into these ridiculous situations during bad times, the show alludes to how humor is sometimes needed in times of distress

For a show that is set in the 90s in Northern Ireland, it has the perfect soundtrack. In the third season, the soundtrack is full of classic 90s music including The Cranberries, 5ive, OMC and many more. These absolute bangers add to the 90s teenager feel of the show.

These teens are relatable due to their quirkiness and the music builds on this idea. Anyone can relate to the absolute awkwardness that being a teenager can sometimes bring. The classic quirky music that’s added brings these teenage moments to a new level. This group of girls and their one lad handle a multitude of embarrassing moments that make real life seem manageable.

This music is not the only thing that stands out when it comes to production, though. The set and filming that is seen throughout the third season encompasses the show. Being filmed in Derry itself, the season feels alive and real. The added Catholic school, which also has to do with the politics at the time, provides a high school or university feel that many can relate to. These visual aspects of the show add to its already relatable story.

The small unsatisfying moments in the season does not hinder the excellence and enjoyment of the show. The many wonderful aspects of the show outweigh any moments that seem unworthy. “Derry Girls’’ season three is the perfect binge-worthy season.

“Over the Garden Wall,” from creator Patrick McHale — and its soundtrack, imagery and characters — are what you would get if you made a show based on those vintage Halloween postcards that cost 50 cents at antique stores. In fact, they were a major influence on the design and art of the series.

In the almost 10 years since the premiere of the series, the show has maintained a large but quiet fan base, with many citing its autumnal visuals as the thing that makes them return to the show every fall. The annual appeal of the show can be found most succinctly in its title sequence.

Rather than introducing the main characters of the series, we are instead treated to vignettes of the minor characters and fleeting settings that appear throughout the show’s 10 episodes — a cat in a turkey-drawn carriage, wooden toy versions of townsfolk, candlelit catacombs and the haunting forest that our main characters, Wirt and Greg, find themselves lost in.

The soundtrack of the series, composed and performed by The Blasting Company, also plays a role in the appeal of the series. According to the show’s creator, the soundtrack “finishes [the show] off and makes it the right feeling for the audience’s experience of this place where we can delve into, sometimes, genres of music that might not match what we’re watching but give you a certain feeling.” Despite the fact that the songs on the soundtrack can vary from each other, they are so unique from other soundtracks and distinct in the eclectic style of the show that it works wonders.

It is very easy for us to connect media to very specific feelings or times. The album you played the fall of your junior year will always be entwined with what you were going through at the time, good or bad. The songs you listened to during COVID-19 may not have an intrinsic element of anxiety or stress. But if that’s what you were feeling when those songs were on repeat, those emotions become embedded in your mind and resurface whenever you listen to them.

“Over the Garden Wall” possesses two different kinds of timeliness. There is the fact that the entire story is revealed to take place on Halloween, with pumpkins, mysterious forests and autumnal foliage making the season in which the story takes place very obvious. After all, that is the intended effect. In the words of McHale, “[i]t was definitely intended to be a Halloween special that could be revisited every year — we knew we weren’t making … SpongeBob … but we hoped that the series could become some sort of cult classic.”

What is more ambiguous is when the story takes place. With Wirt wearing suspenders, a cape and a cone hat, and his little brother, Greg, using a teapot as a hat à la Johnny Appleseed, it isn’t easy to parse the decade or even century that the characters find themselves in. The fantasy elements of the story certainly don’t parse it.

The ambiguousness of when the story takes place is central to its annual appeal. Whereas other shows include pop culture references or use technology that can date a series, the only piece of technology that is highlighted is a cassette tape, giving the single episode that takes place in the “modern day” the possibility of occurring anywhere from 1963 to today.

The rest of the show fully buys into its premise — Wirt never looks at the camera to deliver a witty one-liner. You are able to become fully immersed in the world’s fantasy, without thinking that a meme reference hasn’t been relevant in 10 years.

By being so out-of-time, the show can be placed into any time and related to by anyone. As the brothers walk through a dark forest, you remember both cool autumn days spent outside with friends, and the nervousness you felt when, for a split second, you thought you were lost. The fall memories you make when you’re six, 13 and 19 all have their place in the story, combining our cultural understanding of the season in a honorific, if slightly haunted, way.

The horror elements of the story are central to the show, but they do not overpower it. Well interspersed with character-focused and beautifully animated sequences, it strikes a wonderful balance. After all, you can’t have the beauty of fall foliage without some slightly scary costumes and spooky forests.

Rather than the current, trendy, fall ephemera you might find in Target, the story beckons forward the mystery and terror of fall, especially as it is in the Northeast — the harvest season before the bitter cold, the last hurrah before you had to hunker down in front of the fire. When the series antagonist, the Beast, begins to suck the hope out of the characters in the story and nearly succeeds, the whimsy of the earlier episodes disappear to a white expanse of terror.

But those times of walking down the ice in front of your dorm as carefully as possible only to fall are not here yet. So as the temperature continues to drop, the leaves begin to glow and everything goes purple and orange, transport yourself back in time to a terrifying yet heartening season with “Over the Garden Wall.”

After an extremely well-received first season, Taika Waititi and Rhys Darby return as Blackbeard and Stede Bonnet in “Our Flag Means Death,” which premiered its first three episodes of season two on Oct. 5. The first season followed the blossoming relationship of Waititi and Darby’s characters onboard the pirate ship, The Revenge, alongside their ensemble of colorful crewmates. The story concluded with a pretty nasty break-up and the return of the original, merciless Blackbeard who, despite finding a softer side with Stede, was now reeling from the emotional damage of getting ghosted.

The initial season — filled with queer romance, swashbuckling action, dry wit and award-nominated acting performances — left its successor with strong expectations to live up to. Luckily for fans, the first three episodes seem to indicate a season that may surpass the first.

Picking up almost immediately after the last, season two follows Stede struggling without a ship while Blackbeard wreaks havoc on the sea, the crew split evenly among them. Stede spends weeks searching for Blackbeard while characters like Olu, Jim, Lucius and Pete deal with their own budding romances. However, these early episodes also exhibit plenty of gory action and potential antagonists stronger than ever seen before.

The pacing of this season is quicker than the last, hopping deftly from one subplot to another while maintaining the central forward momentum. Ensemble characters are given a balance of screen time as to not overwhelm the story but to flesh out their personalities. Still, this season ambitions itself to add even more intriguing players, such as the Pirate Queen Zheng “Sue” Yi Sao, Auntie and Archie, and doing so in a way that is refreshing and funny.

Speaking of, comedy was one of the shining aspects of the first season, and this season still holds its signature snappy repartee and silly humor. However, it also isn’t afraid to deal with more mature, emotional moments, often looking at toxicity, self-acceptance, reckoning and the nature of good versus evil. Waititi really stands out in his tender-hearted and frightening Blackbeard moments, yet still evokes sympathy from the audience. Despite this, the show does nothing to taper the evilness that infects Blackbeard’s reign, creating a fascinatingly complex protagonist.

The new season adds even more diverse pairings — with the advent of Jim and Archie, for example — while keeping the emotional through line of Stede and Blackbeard’s tumultuous relationship engaging. Queerness extends beyond romance in this show through the expansion of vulnerable pirate masculinity and stunning androgynous looks focusing on hair, earrings, tattoos, makeup and unique costumes.

To wrap it up, in disagreement with The New York Times review that claims it is “ruinous for the comedy,” the focus on relationships does not at all detract from the silliness that codified season one as a legendary show. Comedic bits like those that include Auntie and the Sea Witch, as well as the insane dreamscapes and campy merpeople, show how much comedy continues to remain a priority for the writers and actors.

Season two of “Our Flag Means Death” asks “what if Blackbeard struggles through a messy, queer break-up” and runs with it, adding and building intriguing characters, settings and emotional beats that leave audiences excited for the next two episodes coming Oct. 12.

Review: Early 5/5 stars

Still, almost any fan of the stuff will be quick to tell you that a lot of anime is strange. Animation allows for bombastic character designs and personalities that simply wouldn’t feel natural in the real world, often accompanied by scenarios and situations as bizarre as the characters navigating them. And there is perhaps no anime as iconic for its strangeness as Eiichiro Oda’s “One Piece,” a series known for its imaginative world, absurd attention to detail and the inconceivable 25-plus years it’s been running for.

Adapting such a lovingly developed, fantastical world into live action would be no small task for any team. So when Netflix, who had already produced critically panned adaptations of beloved anime like “Death Note” and “Cowboy Bebop,” announced an upcoming live-action adaptation of the first saga of “One Piece,” many people were more than a little skeptical.

Nevertheless, the news that trickled out as the show’s late August release approached seemed to be hopeful, with the cast expressing their deep love for the series and a strong desire to do the source material justice. And when the time finally came for audiences to experience Netflix’s take on the story so many had grown to love, expectations were understandably high — perhaps too high for the ambitious project to reach.

Yet, against all odds, Netflix’s “One Piece” is both faithful to the original series while also possessing great merit of its own. Perhaps it’s fitting that a story about following one’s dreams and overcoming impossible odds somehow managed to receive one of the first truly exceptional live-action anime adaptations, and exceptional it most certainly is. Iñaki Godoy’s take on main character Monkey D. Luffy has a youthful sense of wonder and innocence that connects the audience to him as he explores the incredible world around him. His enthusiasm is infectious to both viewers and his quickly growing pirate crew alike, and he’s given plenty of more tense, quiet moments to explore the nuances of his character (many of which aren’t even present in the original story).

This greater emphasis on character motivations and dynamics can be felt all over the Netflix show, with a healthy mix of colorful banter and emotional beats interspersed throughout. The backstories of the crew members are carefully interwoven with the ongoing narrative, naturally drawing parallels between the current story and the characters’ increasingly tragic pasts. A great example of these narrative parallels in full effect is during Luffy’s fight with Buggy. Buggy recognizing Luffy’s straw hat acts as a means of connecting the story to Luffy’s past with the hat’s original owner, Shanks. Through this, the show reveals what drives Luffy to be King of the Pirates and why he cares for both the hat and his friends so dearly. Buggy isn’t just an obstacle to overcome, but a catalyst through which the show reveals Luffy’s values and desires.

Seeing the crew slowly come to understand and appreciate Luffy is made all the more rewarding thanks to this focus on his character. The viewer is given such a comprehensive view of who Luffy is that the weight of moments like Nami repairing his hat or Roronoa Zoro agreeing with the wisdom Luffy received from Shanks are fully realized. With both Nami and Zoro not only being cold to Luffy but outright hostile at the start, these tender moments of camaraderie and vulnerability are doubly impactful.

Complementing the colorful characters, the set design goes above and beyond on numerous occasions as well, presenting new adventures and scenarios for the cast to navigate. When Netflix’s “One Piece” isn’t introducing entirely original locations like Buggy’s sadistic circus tent or Monkey D. Garp’s foreboding office, it’s enhancing the atmosphere of existing locations like Kaya’s mansion or Arlong Park through props and lighting. The original series typically takes place almost exclusively outside in broad daylight, especially during its fights. In the Netflix show, however, scenes like Kuro’s bloodthirsty search for Kaya or Nami’s breakdown in Arlong Park are portrayed with appropriately grim lighting, highlighting how these moments of betrayal and horror are literally the characters’ “darkest” moments.

There are a plethora of creative decisions made by Netflix’s “One Piece” worthy of analysis, many of which are likely to raise some eyebrows. The story of “One Piece” is so detailed, complicated and full of moving parts to create a world that feels as fantastical as it does alive. The team behind this project could have easily played it safe and tried to follow the original story beat for beat, but that likely would have resulted in a far less interesting and cohesive result. So while the product that was ultimately released may stray quite far from its source material at times, it nevertheless captures the passion and magic of the original while also breathing new life into its characters and world.

The show is led by an ensemble cast that includes actors Asa Butterfield (Otis Milburn), Emma Mackey (Maeve Wiley), Ncuti Gatwa (Eric Effiong) and Gillian Anderson (Jean Milburn). Many actors from previous seasons such as Mimi Keene (Ruby Matthews) and Aimee Lou Wood (Aimee Gibbs) reprised their roles as well.

Season four picks up from where it left off in season three, with the students of Moordale Secondary School wondering what will happen next as their principal has been fired and the fate of the students’ futures hangs in the air.

While season four may not have delivered on the plot in a way that it did for the past three seasons, it did provide character development for characters such as Aimee and Maeve, and left its mark on viewers by raising awareness on real-world issues that many teens and adults face every day. Season four mainly focuses on the characters’ personal issues and their interpersonal relationships.

The show’s final season no longer chooses to make Otis and Maeve’s story the center of attention. This season, their romance took a step back to let other characters’ stories have a bigger arc, such as putting more attention to Aimee’s journey to recovery after being a victim of assault in the previous season and Cal Bowman’s (Dua Saleh) journey as they begin transitioning.

The show no longer lives under the illusion that “love conquers all” as many TV shows do. Instead, it chooses to focus on the harsh realities many teens face not only in the United Kingdom but throughout the world, and how nothing in life can simply be fixed with optimism and hope. Rather, season four emphasizes knowledge, awareness and acceptance of the changing world that these characters experience.

Each character in this season undergoes a journey of not only self-discovery but of self-acceptance. From the beginning, “Sex Education” made it its mission to tell audiences that the most important thing in life is not about how popular you are or your social status, but rather, allowing yourself to accept the person you are and be willing to continuously grow with yourself.

Individual storylines were a staple throughout the season as each character’s storyline began to wrap up the journeys that they have been following since season one. Characters interacted with each other on a more personal level this season as they began to understand each other and themselves more deeply.

The show goes back to basics when it comes to human connection and the importance of having someone to talk to. It seems quite trivial when compared to the topics of sexuality, but it is just as essential to maintain human connection as it is to have self-acceptance. Vulnerability is not something many characters feel comfortable with — Maeve, Aimee and Eric are all prime examples of this struggle. As the show progressed and reached its final season, they all underwent significant character development and growth despite facing many setbacks between seasons one and four.

During the final episode of the season, Eric decides to come out to his church as he finally feels comfortable with himself and his identity to realize that what matters most is his own self-acceptance. Aimee also reached the point in her journey that she now felt comfortable and confident in herself to take back the autonomy that was taken from her in the previous season and allow herself to explore the things that make her happy. Lastly, Maeve allows herself to accept that she has feelings and that she can experience both the good and bad. Her experiences in life, though harsh, have led her to where she is and allowed her to become the person that she has always wanted to be — someone who can be vulnerable to those she loves.

“Sex Education” has been known since its debut as the show that provided valuable information about the realities of sexual intimacy and the importance of relationships and human connection. Its final season ensured that its legacy and lessons won’t be forgotten by audiences worldwide.

“Heartstopper” season two is officially out, and it’s full of heart.

Continuing the love story of British teenagers Charlie Spring (Joe Locke) and Nick Nelson (Kit Connor), the season features a diversity of LGBTQ+ experiences and brings them to the forefront. With this comes an exploration of the bonds between family and friends, the importance of self-acceptance and the exhilaration of first love.

“Heartstopper” season two comes a little over a year after the first season, which critics described as “revolutionary representation for LGBTQ+ teens,” a series that was “so sweet, so joyous and so wonderful”. The series is based on Alice Oseman’s hit webcomic of the same name, which was later developed into graphic novels. With such high praise for the graphic novels and the first season, the second had a lot to live up to — and the result is perfection.

The eight-episode season opens with Charlie and Nick’s new relationship. The first scene shows Charlie getting ready for school in the morning, smiling as he messages hearts to Nick on Instagram. Maggie Rogers’ indie pop song “Shatter” blasts in the background — a perfect choice for the elation of a new relationship, and a foreboding indication of the challenges they’ll face later in the season.

The chemistry between Charlie and Nick is palpable. The second season successfully carries over the magic of the kissing in the rain scene from the first season. They chase each other through the Louvre in Paris, take cute Polaroid photos and find places in their school to make out. Their relationship showcases LGBTQ+ joy in a pure, youthful form, highlighted with flourishes of animated sparks and comic book panels.

However, season two doesn’t shy away from tough teen issues. The season begins with Nick’s fear of coming out to his classmates and conflicts with his homophobic brother. The story then progresses to Charlie’s struggles with mental health, self-harm and an eating disorder.

In the beginning of the season, Charlie resolves to protect Nick from the homophobic bullying he’d already suffered through. “Everything’s gonna be perfect,” he vows. And for a bit, it appears to be. He’s there for Nick during his whole coming out journey, from coming out to his rugby friends to announcing their relationship to a group of classmates during a class trip to Paris.

As the season progresses, Nick realizes that everything isn’t perfect in Charlie’s life. He’s still struggling with memories of his ex-boyfriend, Ben, who caused his self-worth to plummet. He regulates his eating, so that he can control something in his life. Nick recognizes these struggles and steps up to support Charlie, so that their love becomes a beacon of hope in the otherwise dark scenes. As a result, the second season maintains the endearing, saccharine vibe of the first, with some added maturity.

The season also explores side characters in depth, allowing for the representation of multiple LGBTQ+ experiences. The will-they-or-won’t-they relationship between Tao Xu (Will Gao) and Elle Argent (Yasmin Finney) progresses in season two, after Elle transferred to the girls’ school from Truham Grammar School for Boys at the opening of season one.

Elle brings trans representation in a way that feels normalized, just like any of the other pairs in the show. Tao and Elle’s romantic connection develops slower than Nick and Charlie’s, but its resolution comes with a sweet message on the importance of being yourself.

Meanwhile, the show explores the established relationship of Tara Jones (Corinna Brown) and Darcy Olsson (Kizzy Edgell). Beginning with Tara’s first “I love you” to Darcy, the girls navigate the challenges of opening up to each other as significant others. The look into Darcy’s complicated relationship with her homophobic mother brings attention to the reality of many LGBTQ+ teens’ lives. However, like with Nick and Charlie, the support Tara offers Darcy brings a beacon of light into the situation.

Isaac Henderson (Tobie Donovan), another member of the friend group known for his avid reading, also gets more time in the spotlight this season. In Season 1, Isaac fades intentionally into the background, often seen reading and making small comments here and there. In a love-centered world like “Heartstopper,” Isaac feels out of place. Season two sees him having a formative kiss with a boy who’s interested in him, resulting in his discovery that he’s asexual. In a show that focuses so much on love, it’s refreshing to see asexual representation so blatantly brought to the forefront.

Finally, the show offers a small look into the lives of LGBTQ+ adults. The rugby coach is revealed to have a wife, and has a heart-to-heart with Nick about the fears of coming out. Additionally, the budding relationship between Truham teachers Mr. Ajayi (Fisayo Akinade) and Mr. Farouk (Nima Taleghani) explores what it is like to become more comfortable with one’s identity as an adult.

“Heartstopper” season two is a must-watch for its endearing characters, intentional storytelling and sweet atmosphere. Most importantly, the show celebrates love and queerness in all its forms and expressions. Charlie and Nick’s relationship is compelling in its own right, but well-deserved runtime for side characters makes “Heartstopper” a fresh love story for our time.

Rating: 5/5

FX’s original series “The Bear” dropped its second season this past June. For readers who are unfamiliar, “The Bear” follows Carmen “Carmy” Berzatto (Jeremy Allen White), a young chef once immersed in the fine dining industry who returns home to the city of Chicago to take over his brother’s sandwich shop following his recent passing.

Upon returning, he hires Sydney “Syd” Adamu (Ayo Edebiri) as his sous chef and together, they build a tight-knit kitchen staff all while making plans to transform the shop to a fine dining spot. Season one perfectly embodies the chaos of running a restaurant while establishing the nuances within each character who has a role at the shop. Season two takes this groundwork and begins to mold it into something concrete in terms of allowing characters to grow and further explore their lives outside the kitchen.

Season two episode three, titled “Sundae,” follows Syd’s journey across Chicago as she tries a variety of restaurants in the hopes of gaining inspiration for their menu. The episode consists of a beautiful sequence of shots of the city spliced in with the different foods Syd eats from a classic slice of pizza at Pizza Lobo to a platter of small dishes and bakery goods at Kasama. With zoom-in shots of Syd, the food and her interactions with local chefs, it creates these quiet and intimate moments in an otherwise hectic and fast-paced show.

Syd’s last stop is at Margie’s Candies — a classic dinner where, you guessed it, she orders a sundae. What makes this scene so poignant is how it starts with a shot of Syd digging into the mountainous ice cream and as she takes in the creamy goodness, her eyes flit over to another booth where she sees a mother and daughter having a sundae of their own.

There are a few seconds in between where the viewer does not know what or who Syd is looking at, but they can see the shift in her emotions and when the scene is eventually revealed, the viewer can feel the longing Syd has for a relationship she never got to experience due to her mom passing when she was only four years old.

The following episode, titled “Honeydew,” revolves around Marcus (Lionel Boyce), who is the resident baker at The Beef. Carmy and Syd decide to send him to Copenhagen, Denmark for an immersive experience in the pastry industry so that he can bring that knowledge back and implement it at The Bear.

“Honeydew” is similar to “Sundae” in that it leans into a softer tone. With its gorgeous cinematography of Copenhagen, the quiet lull between cuts and the consistent shots of Marcus’ daily routine, this episode encapsulates all aspects of Marcus’ personality in a refreshing setting.

During his time in Copenhagen, Marcus learns new techniques and dishes by Chef Luca (Will Poulter). The scenes between the two are quite simple. From kneading dough to learning how to perfectly plate a dessert and mixing different sauces, the dynamic between the two flows so nicely. At the core of “Honeydew,” there is an air of delicacy that is always apparent in Marcus’s scenes but now has its time to shine.

Possibly the show’s greatest triumph thus far is season two episode six — “Fishes.” Compared to the usual 30-minute episode, it runs for a little over an hour. Set several years in the past at a Berzatto Christmas dinner, the viewer is instantly thrown into the dramatics of this Italian family.

With the culmination of continuous panning shots into different rooms of the house, close-ups of arguments and the messiness of the kitchen, this episode pushes the level of tension and anxiety to new heights.

A multitude of stellar guest stars are also featured in this episode like Sarah Paulson, Bob Odenkirk and John Mulaney, who all play different familial roles that further flesh out the Berzatto family dynamic.

Though the standout guest performance has to go to Jamie Lee Curtis who plays Donna Berzatto — Carmy and Natalie “Sugar” Rose Berzatto’s dysfunctional mother. Her scenes are the center of the episode and Curtis brings a level of authenticity to her character that makes the viewer feel like they are right there in the kitchen alongside her.

Overall, season two continues the intense dramatics and heartwarming conversations that season one has while also making room to flesh out side characters and shed light on cooking as an art and form of love.

Rating: 5/5

Season three extends this further, with an overarching storyline of Djarin and his colleague Bo-Katan Kryze attempting to reclaim the planet of Mandalore for their creed. This goal guides most of the season, with some episodes being side quests for the characters on their journey and a few focusing on different characters entirely. While season three has moments that are on par with the previous two excellent seasons of the show, there are more low moments that make it the weakest season yet.

Starting with the positives, the episode titles are creative and add to the show. Each episode is titled “The …,” such as the first episode being “Chapter 17: The Apostate.” The titles are cleverly named so that there are often multiple meanings. For instance, the apostate of Chapter 17 could be Djarin or Kryze, as both have been exiled from their respective Mandalorian sects. “Chapter 20: The Foundling” could also refer to Grogu or the young Mandalorian kidnapped by a vicious raptor. The dual meanings of the titles make the episodes more exciting, as the audience has to try and guess what the title could be referring to. Furthermore, the title of the show, “The Mandalorian,” could refer to Djarin, Kryze or even Grogu as he starts his Mandalorian training.

The visuals of the show are likewise stunning and are much better than they have any right to be for a streaming service show. From the physical sets to the virtual backdrops and intricate beasts, every shot in the show is carefully crafted and holds up to scrutiny from the viewer. The highlights include the raptor from Chapter 20, Zeb Orrelios in Chapter 21 and the planet of Plazir-15 in Chapter 22. The visual effects make the show entertaining and watchable, even when the story is frustrating.

Similarly, Ludwig Göransson’s score for “The Mandalorian” is as superb as it is in the first two seasons. The highlights of the music are when the main Mandalorian theme plays, which happens about once an episode, just enough to excite the viewer but not enough to spoil the theme. The show also utilizes the New Republic theme from the “Star Wars” sequel trilogy, helping to bridge the gap between the original and new “Star Wars” films.

What holds back season three of “The Mandalorian” from greatness is the disjointed story. Although there is an overarching plotline in the season, many of the episodes are disconnected and seemingly forget about the main objectives of the show.

Perhaps the worst offender is “Chapter 19: The Convert,” as the vast majority of the episode is spent on Dr. Pershing and Elia Kane, former imperial officers now working for the New Republic. While their story is interesting, it is a waste for a show called “The Mandalorian” to basically spend an entire episode on third-string characters. Not every episode has to be impactful to the “Star Wars” universe, but they should all at least develop the characters of Djarin and Grogu in some way.

Another related problem is that the individual stories of each episode do not always connect to each other in satisfying ways. For instance, the most egregious example of this is that the first episode of the season introduces the arc of Djarin attempting to revive his old droid companion, IG-11. This plot point is then ignored for five straight episodes without being mentioned, making it feel as though the season lacks a unified vision.

On the whole, the eight episodes of the third season of “The Mandalorian” are incredibly hit or miss, lacking the near perfect consistency that originally defined the show. The worst episodes of the season are “Chapter 19: The Convert” and “Chapter 22: Guns for Hire” as they focus too much on side characters and quests not fully related to the main story. On the other hand, the best episodes are the last two, “Chapter 23: The Spies” and “Chapter 24: The Return” as the Mandalorians fight for their homeland against the charmingly evil Moff Gideon.

The best way to summarize season three of “The Mandalorian” is that it is disappointingly inconsistent. While some episodes are sure to please “Star Wars” fans, many leave something to be desired. As the fourth season of the show has been officially confirmed, hopefully it remedies some of the problems of its preceding season.

Rating: 2.75 out of 5 stars

6. Season One

Although it may be at the bottom of the list, the premier season of “Breaking Bad” is a great season for television, but the show was still finding its footing at this point, holding it back from heights it would later reach. There is an argument to be made that this is actually the best season of “Breaking Bad” because it sets up everything to come, but the fact that this is the shortest season at seven episodes prevents the season from having as in-depth character and story arcs as the other seasons. However, make no mistake, “Breaking Bad” has an awesome debut season.

5. Season Two

The second season of “Breaking Bad” is an improvement on the first season and makes its mark through the introduction of several characters that greatly impacted the series, including fast food entrepreneur Gus Fring, shady lawyer Saul Goodman and ex-cop-turned-enforcer Mike Ehrmantraut. This season has 13 episodes, giving the show time to flesh out its plotlines and develop its characters further. Watching the relationship and trust deteriorate between White and his wife is heartbreaking to watch, as he starts to lose the one thing he was trying to protect — his family.

4. Season Three

The beginning of season three of “Breaking Bad” is one of the slower parts of the series, as White has retired from making meth and is instead trying to rebuild his family after separating from his wife. While this is indeed entertaining television, season three ramps up once White gets back in the game and “Breaking Bad” goes from great to must-watch television. This season of “Breaking Bad” has some of the show’s most iconic moments, including White and Pinkman’s RV being destroyed, the infamous fly stuck in the laboratory and Pinkman committing his first murder.

3. Season Five Part One

The first half of the final season of “Breaking Bad” is an excellent set of eight episodes that build to one of the tensest moments in the whole series — White’s cover being blown to the police. Other highlights of the season include the flash-forward to the show’s finale, White robbing a train and the iconic meth-making montage set to “Crystal Blue Persuasion.” The only thing holding back part one of season five is that it lacks a true villain, as Fring has died by this point in the show, and Uncle Jack has yet to be fully introduced as the antagonist for season five.

2. Season Four

The fourth season of “Breaking Bad” is perhaps the most complete season of the show as it takes viewers on an incredible journey as White attempts to dethrone Fring from his meth empire crown. It is hard to pick out highlights from the season because it is just so consistent with great moments laced throughout, but perhaps the peaks are when Pinkman, Fring and Ehrmantraut take out the cartel by themselves, and then the eventual fall of Fring at the hands of White. Season four is near-perfect television and would easily be the number one season for most shows, but “Breaking Bad” is not most shows.

1. Season Five Part Two

If 20th-century television has taught us anything, it is that ending television shows is incredibly hard. Shows like “Game of Thrones,” “Dexter” and “How I Met Your Mother” ended in unsatisfying ways that left fans with a bad taste in their mouths. Fortunately, “Breaking Bad” ended with perhaps its strongest season as White uses his influence and blackmail to evade capture by the police. Meanwhile, Pinkman is enslaved by a white supremacist gang. This leads to an epic confrontation where White frees Pinkman and gives his life in the process, a fitting fate for the hero-turned-villain.

No one expected what happened to the Sarah Lawrence students in 2010 to happen. It all was hard to believe when news of the cult that originated at its picturesque campus broke.

When Larry Ray, an ex-convict and father of Talia Ray, moved into Slonim Woods Building 9, no one knew that he would alter the lives of the students living there. With his charismatic personality and easygoing demeanor, the students never saw him as a threat.

Hulu brought the story to life in its three-part episode documentary “Stolen Youth: Inside the Cult at Sarah Lawrence,” which included real video footage from Ray himself as he kept the students under constant supervision and scrutiny.

Slonim Woods 9 housed students Talia, Claudia, Max, Gabe, Dan, Raven Juli Ana, Isabella and Santos, with Ray, slowly but surely, becoming their roommate. He quickly became a part of their daily lives, lavishing them with gifts and meals a college student wouldn’t be able to typically afford and lending a kind ear to whoever needed someone. That all quickly changed when Ray changed, and his true intentions made themselves known.

Ray’s manipulation extended past words and reached the point where conversations that began calmly ended in tense moments and physical altercations. He demanded money, attention and submission from the students, and it eventually escalated to forced labor and sexual exploitation. He systematically made his way through the group, gaining their trust one by one and he eventually became the de facto leader of Slonim Woods 9.

All members of the cult soon found themselves alienated from their friends and families as a result of Ray’s influence.

Later on, Santos would unintentionally bring his sisters, Yalitza and Felicia, into Ray’s circle of terror.

The show focuses on the aftermath of Ray’s reign of terror as the former students and members of his cult spoke of their time with Ray and why they chose to leave. Not all who were a part of the cult decided to leave. Most left sporadically throughout the years, speaking of the violence and emotional manipulation they experienced from Ray. Those who remained saw the fall of Ray in 2020, but they weren’t left unscathed.

When it all ended and Ray was in prison, all those who were under Ray’s influence suffered from the psychological consequences of their time with him, even those who had left years before.

The conditioning and emotional manipulation were extreme to the point that some of the survivors, particularly Isabella and Felicia, still believed that Ray was innocent. The video footage showed the way that all the survivors lived in a cramped apartment in New York City’s Upper East Side neighborhood and the way Ray treated the survivors, using violence and gaslighting them into believing that they owed Ray everything, he was right and they were betraying him if they felt otherwise.

The Hulu docuseries focuses on the before and direct aftermath following the downfall of Ray’s cult. The survivors who stood with Ray until the end had to begin to go through the deprogramming process, which included therapy and brainwashing reversal techniques, such as the new belief system and attitudes, helping them rediscover their identities. The docuseries made it clear that this was not an easy process, as many of the participants were unwilling to begin due to the brainwashing. It is possible though, as it showed Felicia, one of Ray’s victims that still believed that he was innocent, beginning to reclaim her identity and her beliefs and views as she strived to make her way back to her family.

“Stolen Youth: Inside the Cult at Sarah Lawrence” ended on a hopeful note, as it showed all the survivors slowly but surely integrating back into society and making their way back to their families and new lives away from Ray’s influence.

The separation of real and fictional Rhys Montrose (Ed Speleers), who Joe Goldberg (Penn Badgley) imagines, was interesting and compelling to watch, even if it was predictable from the beginning of the season. However, when the fictional Rhys is shown to represent aspects of Joe’s character is where it gets more interesting. Rhys has a more tense dialogue with Joe, representing the darkness that Joe attempts to ignore and showing how insane Joe is becoming. Rhys is a major aspect of his delusions, which is emphasized every time the camera cuts from Rhys and Joe’s heated argument to the reality of Joe standing by himself in a room. The shot in the last episode even displayed how Joe stopped running from his dark side and embraced it when he looked in his reflection and saw Rhys, which adds a whole new layer to Joe’s character.

Season four depicts the pain that Marianne Bellamy (Tati Gabrielle) goes through, as well as her point of view of being kidnapped and watching Joe’s obsession and the beginning of his insanity. This shift in perspective was influential considering that the audience thought that she was free and happy before this reveal. The addition of Marianne is pivotal not only because it creates more stakes in the show, but adds to Nadia’s discovery of information relating to “Professor Moore” and shows what really happened when Joe first went to London. This was one of the twists that season four part two incorporated that may leave the audience speechless.

Even though there were significantly more interesting plotlines in season four’s part two, Adam (Lukas Gage) and Lady Phoebe’s (Tilly Keeper) marriage was not one of them. Even though it was flowing naturally, at the end of the season their relationship is simply there to keep the story moving along because neither of them had lasting ties to any other characters. The only connection is their clearly flawed relationship foreshadowed the nature of Joe and Kate Galvin’s (Charlotte Ritchie) relationship. Adam used Phoebe for her resources and money and she did not recognize that, which is the same thing that Joe did to Kate to cover up his murders. It would have been interesting if Phoebe had stuck around in Kate’s life, maybe opening Kate’s eyes to this. These characters were too important to be sitting on the back burner, only to be removed entirely.

The first half of season four showed Joe as a hero, a stark contrast to the season’s end where he was embracing his darker side — something he was trying to remove until now. If the show continues, it may show how a new Joe no longer claims he is the good guy, but instead who knows he is a murderer and embraces it. That alone may be a much scarier concept for the audience, considering that up until now he was killing people under the idea that he was not that kind of person. A main character who embraces their darker side and encourages it is a scary idea, especially now that Joe is incredibly powerful with an almost unlimited supply of resources.

Even though the release of season four in two parts was to make the impact of the events more compelling, it instead separated them rather than uniting them. Many viewers will be watching the entirety of season four instead of watching the two parts separately. Overall, it would have been more appealing if there was more foreshadowing of Joe’s decency into insanity in the first part of season four.

Overall, the second half of season four was much more interesting than the first. As the audience roots for the eventual downfall of Joe in another season, they will be left with the idea that monsters, like Joe, could be lurking all around us.

Rating: 4 out of 5 stars

With a season finale viewership of 8.2 million, this 2023 fungal-zombie TV show has cemented itself as the first true success story of its kind. That is to say, “the video game adaptation.” Adapted from the 2013 video game masterpiece of the same name, “The Last of Us” has accomplished on film what “Tomb Raider,” “Assassin’s Creed” and Dwayne Johnson’s “Doom” could not — something at all. “The Last of Us” is not dead on arrival, financially or critically, and that should be considered a miracle in its own right. That being said, simply having a pulse does not make a great TV show. It may be good enough to play on the level of its TV contemporaries, but “The Last of Us” is a little more than exactly that. Good enough.

The plot of “The Last of Us” stays quite true to that of the game. The year is 2023, 20 years after the outbreak of the cordyceps virus, a mutated version of a real-world fungal infection. The virus spreads primarily through a bite, controlling the minds of its hosts. In other words, mushroom zombies. The United States has become a disparate collection of survivors, raiders and “QZ”s — blocked-off cities controlled by martial law.

This brings us to Joel, a Texas man who lost his teenage daughter in the chaos of 2003. He has little to live for — that is, until a certain character-developing teenage girl falls under his care. Ellie, a sharp-witted 14-year-old, needs to be transported across the country. The reason is gravely important, the money is good and Joel is the only man available for the job. He accepts, and conflict — of course — ensues.

Let’s start off with what the show does right. The visuals are passable-to-good, the sound design is expert and the music is as perfect as it was in the game. And let’s not forget to mention the many wonderful performances that side characters manage to bring to the table. But its setting, however, is truly something special. Set design goes a very long way in “The Last of Us,” successfully bringing the evocative world that co-writers and creators Neil Druckmann and Craig Mazin — of “Chernobyl” fame — penned to screen. Whatever actually happens in the show — ”good” TV or “bad” — it is securely surrounded by this hopelessly depressing and utterly lovely world.

But let’s talk more about Druckmann and Mazin’s writing. Without it, we couldn’t have our touching story of what is essentially a “father” and “daughter” finding love in a hopeless place — something which would make for a much longer Rihanna song, to be sure. Granted, theirs is a story that is really and truly moving, but there’s one major flaw here. To put it simply — all this writing of hopelessness just can’t help itself.

Exhibit A — flashback episodes. These flashbacks are given the artistic respect of being allowed to play out uninterrupted and in long form — a bold faith in writing one rarely sees on the screen these days — but a decision that considerably stutters the forward-moving narrative. Fifty minutes at a time for that matter. Other shows, although less “inspired” for doing so, maintain their pacing by simply intercutting their flashbacks into the main plot of an episode periodically. The writers of “The Last of Us” seem to be under the impression that their flashback episodes are impactful enough to exist independently — pacing be damned. And they’re wrong.

Not only do these episodes feel like a stoplight on a freeway, but they also take away time, precious time. Time that is desperately needed elsewhere. Where else, exactly? Well, in the most important part of the whole show — Joel and Ellie’s relationship.

For a show that is so willing to take its time, it rushes the most delicate part. In the video game iteration of “The Last of Us,” Joel and Ellie’s interpersonal character growth was a recipe for success. Here, however, it’s a recipe too hastily followed.

Perhaps it is the delivery of the lines, most of which are too obvious. That’s not to say Bella Ramsey is wholly to blame for Ellie’s overstated performance, however, the dialogue written for her is simply not meant for 14-year-old girls. Apocalypse or not, high school freshmen do not sound like that — seriously, why do film and TV demand that every teenager sound wise? But these lines, like everything else in the Joel-Ellie relationship, are the symptoms of a time crunch. The pacing is once again to blame.

Episodes four to six and eight to nine, as a result of extended flashbacks, play a major game of catch-up in developing Joel and Ellie’s relationship. Touching moments, once hours apart in the video game, happen too frequently and decisively. The viewer is not stupid — they know that this love is inevitable. But it must still develop organically — the writers must never be noticed, and “The Last of Us” sees several moments in each episode where character development is visibly planted.

There are still incredibly poignant moments to be appreciated. Infected new friends and surprise cannibals are liable to twist your guts in the best way possible. “The Last of Us” is not a bad show, but it’s not great, either. Interesting asides and cool details, as many as there are, cannot cure what are at the end of the day overconfident and unrestrained writing decisions.

Rating: 3 out of 5 stars