Beverly Hills Cop: Axel F (2024) D: Mark Molloy. S: Eddie Murphy, Joseph Gordon-Levitt, Taylour Paige, Judge Reinhold, John Ashton, Paul Reiser, Kevin Bacon. Fun, straight-faced legacy-quel with everyone being way too old for this shit. Murphy’s back in 90210 to protect lawyer daughter Paige, who’s teamed up with Reinhold against dirty cops. The structure and, often, soundtrack play like franchise greatest hits. Except Paige keeps up with Murphy and they’re a delight. The end’s a little thin, but not too.

Hayseed Romance (1935) D: Charles Lamont. S: Buster Keaton, Dorothea Kent, Jane Jones. Outstanding physical work from Buster, but when he’s got to act it’s iffy. He’s answering a want ad–farmhouse handyman who also is in the running for husband–and thinks it’s from fetching young Kent. Turns out it’s her aunt, Jones, and the house is a disaster. Jones is great at the physical comedy too, which helps.

In Bruges (2008) D: Martin McDonagh. S: Colin Farrell, Brendan Gleeson, Ralph Fiennes, Clémence Poésy, Thekla Reuten, Jordan Prentice, Elizabeth Berrington. Moody, boozy, talky mobile play about hit men Farrell and Gleeson waiting for a call from the boss (Fiennes) for the next assignment. Strong first half falls apart in the second when writer-director McDonagh confuses himself with a better director. Fiennes’s writing forecasts McDonagh’s fumbles. Farrell and Gleeson are great, though. Nice Carter Burwell score too.

Late Night with the Devil (2024) D: Colin Cairnes. S: David Dastmalchian, Laura Gordon, Ian Bliss, Fayssal Bazzi, Ingrid Torelli, Rhys Auteri, Josh Quong Tart. Beautifully produced pseudo-pseudo-documentary about a seventies late-night talk show host’s missing episode, forgotten to history (unlikely) and just rediscovered. Deceptively mid performance from Dastmalchian; he’s dynamic until it matters. The supporting cast’s also iffy. Bliss’s fun, Gordon’s not, Torelli’s solid. Perfect costumes, gorgeous photography; shame it’s just about the final act twist(s).

One Run Elmer (1935) D: Charles Lamont. S: Buster Keaton, Lona Andre, Dewey Robinson, Harold Goodwin. Buster owns a gas station in the desert and competes with Goodwin’s station, first for business then for fetching Andre. Turns out she likes baseball and, wouldn’t you know it, both fellows play for rival teams. Some great stunt work from Buster and nice production values help things immensely. And Robinson’s fun as the umpire. Slight end, though.

Smart Blonde (1937) D: Frank McDonald. S: Glenda Farrell, Barton MacLane, Wini Shaw, Addison Richards, Robert Paige, Craig Reynolds, Charlotte Wynters. Fun little (doesn’t even break an hour) programmer about reporter Farrell solving crimes with her beau–police detective MacLane. The scoop? Richards is a straight-edge nightclub promoter who wants to get out without any funny business; he thinks he’s out, but they pull him back in. Great pace, and Farrell’s a delight. Practically no sexism (but… definite racism). Followed by FLY AWAY BABY.

Your Name. (2016) D: Makoto Shinkai. S: Ryunosuke Kamiki, Mone Kamishiraishi, Ryo Narita, Aoi Yuki, Nobunaga Shimazaki, Kaito Ishikawa, Kanon Tani. Lovely anime about two geographically distant high schoolers who, inexplicably, start switching bodies on irregular regular. It starts as a comedy with heart, then turns into something much more affecting. Great direction from Shinkai (who also scripted), even when the animation veers towards tepid. Kamiki and Kamishiraishi’s performances–along with Shinkai’s narrative impulses–more than cover for it.

The Big Door Prize (2023) s02e10 “Deercoming” [2024] D: Declan Lowney. S: Chris O’Dowd, Gabrielle Dennis, Ally Maki, Josh Segarra, Damon Gupton, Sammy Fourlas, Djouliet Amara. Oh, no, they’re doing another season. Or want to do another season. The season finale gives almost no one any good material (O’Dowd should fire his agent). The one exception (well, Aaron Roman Weiner’s always awesome), but other than him, only Crystal R. Fox comes through it. She even has a good arc, seemingly intentionally. Everything else? The dumps.

The Boys (2019) s04e01 “Department of Dirty Tricks” [2024] D: Philip Sgriccia. S: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Laz Alonso, Tomer Capone, Karen Fukuhara. Phenomenal season starter time jumps from last season’s cliffhanger to Starr on trial for murder, Urban circling the drain (as his superpower serum-caused tumor gets worse), and Alonso running the team. Oh, and evil politician and secret super-head popper Claudia Doumit is just about to be vice president. Beautifully paced, full of great setup for season arcs.

The Boys (2019) s04e02 “Life Among the Septics” [2024] D: Karen Gaviola. S: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Laz Alonso, Tomer Capone, Karen Fukuhara. Another superb episode. Alonso and Urban butt heads over Alonso’s leadership style, while Starr and his new consigliere (Susan Hayward, playing the smartest person ever… literally) try to turn reluctant super-son Cameron Crovetti into a full-fledged hero. Everyone else has lots going too, because the show’s great with its plotting. It even has micro-plots; so good.

The Boys (2019) s04e03 “We’ll Keep the Red Flag Flying Here” [2024] D: Fred Toye. S: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Laz Alonso, Tomer Capone, Karen Fukuhara. Everyone has a bad day. Urban’s bonding with Cameron Crovetti (in order to knock him out and kidnap him away from Starr). Moriarty finds out why the shitty white supremacist supe (Valorie Curry) hates her. Quaid’s still fighting with mom Rosemarie DeWitt. And Fukuhara’s hunting a supe-child trafficking ring, except Capone’s tripping. Literally. This season’s on fire.

The Boys (2019) s04e04 “Wisdom of the Ages” [2024] D: Philip Sgriccia. S: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Laz Alonso, Tomer Capone, Karen Fukuhara. Primo roosters coming home to roost episode. Redneck supe Valorie Curry stages a six hour telethon to piss of Moriarty, which the team tries to use to their advantage. Meanwhile, more with Quaid trying to save dying dad Simon Pegg. And then Starr goes back to his childhood home–a bunker lab–with an ice cream cake and questions.

The Boys (2019) s04e05 “Beware the Jabberwock, My Son” [2024] D: Shana Stein. S: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Laz Alonso, Tomer Capone, Karen Fukuhara. Quaid’s got a very big episode with reunited parents Simon Pegg and Rosemarie DeWitt. Very earnest, very good. Even if Pegg’s accent is still terrible. Then Urban and Alonso enlist an unlikely ally to get some superhero poison. The rest of the team nurses their various wounds on their horrifying mission. And Starr’s making moves. Lots going, all good.

Doctor Who (2023) s01e07 “The Legend of Ruby Sunday (1)” [2024] D: Jamie Donoughue. S: Ncuti Gatwa, Millie Gibson, Bonnie Langford, Jemma Redgrave, Yasmin Finney, Michelle Greenidge, Susan Twist. Fantastic setup for the season finale has Gatwa and Gibson back on Earth (in the present) trying to figure out mystery woman Susan Twist’s identity. They’re sure it’s got something to do with Gibson’s still unrevealed origin. Great performances from Gatwa and Redgrave. It’s great to see Finney again, too. (How’s uncle?). Next episode’s going to be a doozy.

Doctor Who (2024) s01e08 “Empire of Death (2)” D: Jamie Donoughue. S: Ncuti Gatwa, Millie Gibson, Bonnie Langford, Jemma Redgrave, Anita Dobson, Michelle Greenidge, Gabriel Woolf. Heartfelt, heartwarming season finale has almost too much heart, but also some absolutely terrifying sequences as the Mad Titan Thanos snaps his fingers and everyone turns to dust except Gatwa, Gibson, and Langford. Some more awesome acting from Gatwa as he tries to find the memory stones to set things right. Or something along those lines. Nail biter.

The Equalizer (2021) s04e06 “DOA” [2024] D: Paul Holahan. S: Queen Latifah, Tory Kittles, Adam Goldberg, Liza Lapira, Laya DeLeon Hayes, Lorraine Toussaint. Latifah and company try to help a poisoned, turncoat sleeper agent (Edward Astor Chin, who’s far below par), navigating the winding, Chinese-fear mongering plot. Some big action (maybe the DOD film office wrote a check). Toussaint and Hayes plan on going to a protest, which the show waffles on until the actually surprising conclusion. Busy but blah.

Last Week Tonight with John Oliver (2014) s11e15 “June 16, 2024: Trump’s Second Term” [2024] D: Paul Pennolino. S: John Oliver. Oliver covers the very unfun idea of a second Trump presidency, focusing on how the Republican establishment is now ready to dismantle the federal government in a way they weren’t before. Definitely worth a watch (but he’s preaching to the choir, so it’s unclear why it’s a topic other than some good digs). The bakery follow-up is stellar.

My Life Is Murder (2019) s04e04 “One Man’s Poison” [2024] D: Kiel McNaughton. S: Lucy Lawless, Ebony Vagulans, Rawiri Jobe, Joseph Naufahu, Joel Tobeck, Tandi Wright, Ben Black. It’s most hands on deck when Lawless investigates an obnoxious personal chef (Tobeck) accused of poisoning a client. Turns out Naufahu knows the accused; he goes undercover at the scene of the crime, with Vagulans in tow. The guest stars aren’t particularly notable, acting-wise, but the mystery is solid and the regular cast has lots of fun.

My Life Is Murder (2019) s04e05 “En Pointe” [2024] D: Sima Urale. S: Lucy Lawless, Ebony Vagulans, Rawiri Jobe, Joseph Naufahu, Emily Wiseman, Miranda Harcourt, Josh Thomson. As far as revelations go, they foreshadow it all too soon this episode. But the investigating more than makes up for it, with Lawless looking into a ballerina being shot dead (in the back) with arrows. Vagulans has a great time going on assignment as an archery student, which leans Lawless poking around the ballet school. Often very fun.

My Life Is Murder (2019) s04e06 “The Good Oil” [2024] D: Sima Urale. S: Lucy Lawless, Ebony Vagulans, Rawiri Jobe, Joseph Naufahu, Martin Henderson, Bill Bailey, Nicole Whippy. Pretty good episode even if only for the empathy. Sometimes it’s reluctant, sometimes it’s angry, but there’s so much of it. Lawless is looking into the murder of a coconut oil entrepreneur. The investigation shares time with brother Henderson returning for a subplot. The home stuff gives Lawless a just enough kick in the pants. She’s real good here.

My Life Is Murder (2019) s04e07 “The Widow’s Club (1)” [2024] D: Katie Wolfe. S: Lucy Lawless, Ebony Vagulans, Rawiri Jobe, Joe Naufahu, Martin Henderson, Jacqueline McKenzie, Rodger Corser. First part of the show’s first two-parter (at most second) has Lawless enlisting brother Henderson into the gang. They’re investigating country club murders, so lots foVagulans’s to do before the third act additional subplot. It sets up the cliffhanger, but tired into everything else. Henderson’s fun, Lawless flexes comedy and drama, and Vagulans’s new solo field investigating’s delightful.

My Life Is Murder (2019) s04e08 “The Widow’s Club (2)” [2024] D: Katie Wolfe. S: Lucy Lawless, Ebony Vagulans, Rawiri Jobe, Joe Naufahu, Martin Henderson, Jacqueline McKenzie, Siobhan Marshall. Solid enough season finale also gives Lawless the most character development in ages (seemingly to hedge the episode being a series finale too). Lawless and the gang have to clear her name from a (sort of) unexpected charge, which means solving the leftover mystery from last episode too. It’s mostly Lawless and guest star Jacqueline McKenzie staring daggers.

World of Giants (1959) s01e04 “Death Trap” D: Byron Haskin. S: Marshall Thompson, Arthur Franz. After a dirt cheap reopening series recap, tiny Thompson finds himself stranded in an unknown yard without his handler (Franz). He’s got to get to the nearby gardening shack to wait for rescue, except there are clumsy gardeners and hungry squirrels around. Actual Hollywood sci-fi director Haskin does the best job anyone has with the show so far.

World of Giants (1959) s01e05 “Gambling Story” D: Nathan H. Juran. S: Marshall Thompson, Arthur Franz, Marcia Henderson, Berry Kroeger, Ivan Triesault. Hollywood sci-fi producer Bill Alland takes over this episode and things are immediately different. And better. Better writing, better special effects. Same Thompson performance, however. And he gets to be mean to new regular, lady secretary Henderson. But Franz has never been better. And recognizable guest stars with speaking parts? It’s like a real TV show.

Black Panther (1998) #17 [2000] W: Chris Giarrusso, Christopher Priest, Glenn Alan Herdling. A: Bob Almond, Gregg Schigiel, Richard Case, Sal Velluto. Just when it seems like Priest has run out of surprise guest stars, he introduces another. Black Panther teams up with the Heroes for Hire and Falcon to fight a bunch of villains. It’s more Killmonger conspiring, which helps get Ross back into the action. The art gets looser as it goes, but the issue’s good. And impressively complicated.

Black Panther (1998) #18 [2000] W: Christopher Priest, Glenn Alan Herdling. A: Eric Powell, Gregg Schigiel, Kyle Hotz, Richard Case. Hotz’s guest art is a big departure from norm, even if it’s often beautiful stuff. Some gorgeous inking from Powell. After promising the Killmonger finale, Priest punts and instead has Ross beat up his girlfriend. Killmonger beats up with female supporting character too. It’s a big dampener on the issue, which introduces (and immediately resolves) a new narrative wrinkle.

Black Panther (1998) #19 [2000] W: Christopher Priest. A: Bob Almond, Sal Velluto. The feature–as Wakanda rapidly goes bankrupt, Panther does a bunch of exposition dumps regarding the story so far. Excellent art keeps it going, even as Priest lets the story threads get convoluted. Then there’s a done-in-one backup, all about how dangerous Ross’s job can get. It’s pointless… and just seems like filler to punt resolution.

Black Panther (1998) #20 [2000] W: Christopher Priest. A: Bob Almond, Sal Velluto. The Velluto and Almond start rises to the next level this issue, which has Panther and Killmonger punching on each other. There are some delightful POV panels; the fight’s dynamic but can’t be followed; it’s all about making things visceral. Real good. Even with Moon Knight guesting. The ending is truly surpassing, wrapping up some big threads… maybe.

Catwoman (2002) #22 [2003] W: Ed Brubaker. A: Cameron Stewart, Nick Derington. Selina and Holly get into some very predictable trouble on the road while Slam and Batman talk about who “deserves” Selina. Stewart’s just finishing Derrington’s layouts, which works out better than last guest layout artist but it’s just okay art. No great shakes. The issue reads like filler, with Brubaker grinding through tropes at the characters’ expenses.

Catwoman (2002) #23 [2003] W: Ed Brubaker. A: Cameron Stewart, Guy Davis. Holly and Selina fail Bechdel during a shopping trip to Opal City. While there, Catwoman teams up with JSA regular (?) Bobo Bennett to fight the Egyptian assassins who are following her. We also find out the whole road trip is surprise Holly with a still unannounced guest star. Davis doing layouts with Stewart finishing works out. Okay but thin.

Catwoman (2002) #24 [2003] W: Ed Brubaker. A: Cameron Stewart, Guy Davis. Selina and Holly’s road trip comes to an end, with Selina spending most of her time with the other guest stars. Brubaker once again fails Bechdel, but he also reveals the action subplot for this arc is going unresolved (as a tease, apparently). It feels more like wasted pages at this point. The Davis and Stewart art still delivers.

Catwoman (2002) #25 [2004] W: Ed Brubaker. A: Jimmy Palmiotti, Paul Gulacy. Gulacy joins as the new artist and does an okay job while never particularly vibing with Brubaker’s script. Selina is back home and the Mob has moved into her turf. Her part of the issue is fine; the villain stuff is very blah. Disappointingly, Gulacy’s main contribution seems to be “classy” cheesecake, And the end’s an eye roll.

Catwoman (2002) #26 [2004] W: Ed Brubaker. A: Jimmy Palmiotti, Paul Gulacy. Slam and Selina go to save a kidnapped kid from the bad guys, only for it to be an obvious trap they weren’t expecting because writer Brubaker is shrugging through. Selina even has a talk with Leslie Thompkins about how the series hasn’t gone anywhere so let’s try again. Zeiss is even more tedious than expected. It’s slipping fast.

American Gothic (1995) s01e16 “Doctor Death Takes a Holiday” [1996] D: Doug Lefler. S: Gary Cole, Lucas Black, Paige Turco, Brenda Bakke, Nick Searcy, Jake Weber, John Mese. While Cole is trying to corrupt judge Will Leskin against Weber, guest star Veronica Cartwright is trying to egg Weber into killing Cole. She tells him Cole’s the next Hitler. It’s nice to see Tina Lifford back (for a scene) and Mese and Bakke are cute together, but the script and direction are big whiffs. Probably the worst episode.

The Big Door Prize (2023) s02e09 “Un-Selfploration” [2024] D: Declan Lowney. S: Chris O’Dowd, Gabrielle Dennis, Ally Maki, Josh Segarra, Damon Gupton, Sammy Fourlas, Djouliet Amara. Segarra, Mary Holland, and (especially) Aaron Roman Weiner are all-stars for this episode, the penultimate in the season. Weiner’s got the episode’s best arc (by far), and Segarra and Holland are always on. Dennis realizes O’Dowd’s a condescending prick, and O’Dowd realizes he wants the other woman. The show presents them as equal realizations. There is no PRIZE.

The Big Door Prize (2023) s02e07 “Rehearsals” [2024] D: Satya Bhabha. S: Chris O’Dowd, Gabrielle Dennis, Josh Segarra, Sammy Fourlas, Djouliet Amara, Crystal R. Fox, Melissa Ponzio. No longer satisfied with O’Dowd being the only unlikable one, the episode goes out of its way to put Dennis in the same boat. O’Dowd is a terrible dad to Amara, trying to get her to co-sign his affair, and Dennis tries to ruin mom Fox’s first date with Ponzio. Fun stuff. At least Segarra keeps it together.

The Big Door Prize (2023) s02e08 “Our Town” [2024] D: Satya Bhabha. S: Chris O’Dowd, Gabrielle Dennis, Ally Maki, Josh Segarra, Damon Gupton, Sammy Fourlas, Djouliet Amara. The show’s reached a point where it’s either desperately course-correcting because O’Dowd’s “is he or isn’t he” philandering husband arc is a bust or just poorly perturbing the plot. For no reason, Segarra gets tasked with saving the episode, which also unfairly leverages Fourlas, Amara, and Gupton with crowd-pleasing but thin arcs to compensate for O’Dowd.

Doctor Who (2005) s14e06 “Rogue” [2024] D: Ben Chessell. S: Ncuti Gatwa, Millie Gibson, Michelle Greenidge, Jonathan Groff, Indira Varma, Paul Forman, Camilla Aiko. Gatwa and Gibson head to BRIDGERTON times for some time tourism only to discover a fetching bounty hunter (Groff) already there on a mission: stop a killer alien shapeshifter. Gatwa and Groff spend the episode flirting and bantering while Gibson hangs out around the manor. It’s often very cute (and eventually a Gatwa episode), with a strong finish.

Last Week Tonight with John Oliver (2014) s11e14 “June 9, 2024: Deep-Sea Mining” [2024] D: Paul Pennolino. S: John Oliver. The feature is all about seabed mining and the Bond villain at the center of it. Bureaucracy and capitalism are behind it all, with the mining company able to exploit an already exploited small island nation to get it done. It’s an informative, interesting piece but not really a call to action. The postscript is then is top tier.

Ren Faire (2024) s01e01 “Daddy’s Dyin’, Who’s Got the Will?” D: Lance Oppenheim. S: Jeffrey Baldwin, George Coulam, Louie Migliaccio. Captivating look at the behind-the-scenes of a power struggle for the future of Texas’s (and the United States’s) largest renaissance fair. Baldwin and Migliaccio both think they deserve the (literal) crown of founder Coulam. Beautiful editing and computer color grading–it looks like a narrative drama–make for a fascinating, bewildering, disturbed experience. Good stuff.

Ren Faire (2024) s01e02 “Make Big Choices” D: Lance Oppenheim. S: Jeffrey Baldwin, Darla Smith, George Coulam, Louie Migliaccio. The machinations continue as Migliaccio tries to put together the financing to purchase the festival from Coulam. Meanwhile, we get to see Coulam’s pursuit for romance (with a woman sixty years his junior). And then we also meet Smith, who’s the more capable version of Baldwin (who’s freaking at the sale news). It remains compelling and beautifully produced.

Ren Faire (2024) s01e03 “We’re Done!” D: Lance Oppenheim. S: Jeffrey Baldwin, Darla Smith, George Coulam, Louie Migliaccio. The grand finale does not disappoint, with Coulam–not unsurprisingly, but not to this degree–turning out to really hate women. In particular, his new general manager, Smith. The filmmakers back off too long. When the fair’s trying to find another buyer, they rush it too fast. But still real good; one stranger than fiction moment after another.

World of Giants (1959) s01e03 “Teeth of the Watch Dog” D: Monroe P. Askins. S: Marshall Thompson, Arthur Franz, Carol Kelly, John Gallaudet, Charles Maxwell. The bad guys get the upper hand on Franz, and–as usual–only six-inch tall Thompson can save the day. Some wild special effects, along with Kelly getting the inglorious distinction of being the first lady on the program. Thompson thinks girls are silly! The story’s real, real dumb so the elaborate giant-size sets help.

World of Giants (1959) s01e02 “Time Bomb” D: Otto Lang. S: Marshall Thompson, Arthur Franz. Mostly real-time action episode has Thompson trying to prevent a time bomb from taking out he and partner Franz’s apartment building. The problem? Thompson’s six inches tall and has to go get Franz from the garage. Decently ambitious effects work keeps things going for most of it, especially since the finale’s a snoozer. Also… animal cruelty. Yuck.

Allez Oop (1934) D: Charles Lamont. S: Buster Keaton, Dorothy Sebastian, George J. Lewis, Harry Myers, Sidney Kibrick. Buster’s a klutzy clock repair guy who falls for fetching lady customer Sebastian. He wants to take her to the circus, not realizing she’s got a thing for the acrobats. The physical stunts–once Buster starts practicing his own high wire show–more than make up for the sluggish beginning. It’d also be nice if Sebastian had anything.

The Ghost Breakers (1940) D: George Marshall. S: Bob Hope, Paulette Goddard, Richard Carlson, Paul Lukas, Anthony Quinn, Willie Best, Pedro de Cordoba. Finely produced but charismatically inert comedy about Goddard inheriting a haunted mansion in Cuba. Hope’s a radio broadcaster who goes along for very complicated reasons. After the first act, pretty much all of Hope’s jokes are just racism. Often at the expense of Best, but sometimes basic racist observations. And they keep contriving Goddard’s clothes off her. Just ew.

Godzilla x Kong: The New Empire (2024) D: Adam Wingard. S: Rebecca Hall, Brian Tyree Henry, Dan Stevens, Kaylee Hottle, Alex Ferns, Fala Chen, Rachel House. Surprisingly entertaining crossover sequel has Kong and Godzilla teaming up to take on a bigger threat. Eventually. Until then, it’s reasonably compelling Kaiju science fantasy nonsense about the hollow earth. Good pace, solid soundtrack choices, great effects, fun characters. Stevens is a particular delight as the goofy stud monster vet. The end’s thin but whatever; it’s a monster fight.

The Gold Ghost (1934) D: Charles Lamont. S: Buster Keaton, Warren Hymer, Dorothy Dix, Roger Moore, William Worthington, Lloyd Ingraham, Leo Willis. A wealthy fop (Buster) heads west after being thrown over by his intended (Dix). He ends up at a ghost town in Nevada, soon joined by outlaw Hymer. Keaton’s physically able but there aren’t very many good gags. Nothing particularly ambitious as far as set pieces (and the GHOST bit is strange). The ending’s one note too, unfortunately.

Lone Wolf and Cub: Sword of Vengeance (1972) D: Kenji Misumi. S: Tomisaburō Wakayama, Fumio Watanabe, Tomoko Mayama, Shigeru Tsuyuguchi, Asao Uchida, Taketoshi Naitō, Akihiro Tomikawa. Often gloriously stylized ultra-violence–and just some glorious stylization–in the tale of an unstoppable, badass ronin who’s also a single dad in feudal Japan. Wakayama’s a sturdy lead in what amounts to a samurai Western. The kid (Tomikawa) is adorable. The first half’s really good. Then there are just numerous sexual assaults before the big finale. Eh.

Ma Rainey’s Black Bottom (2020) D: George C. Wolfe. S: Viola Davis, Chadwick Boseman, Colman Domingo, Glynn Turman, Michael Potts, Jeremy Shamos, Taylour Paige. Exquisite adaptation of August Wilson’s (fictional) play about (real-life) twenties jazz diva Rainey (Davis) and her racist white management bungling a recording session. One of her band members (Boseman) is an ambitious hothead, which causes more problems. Beautifully directed and photographed. It’s all about the performances: Boseman’s exceptional; Davis’s superb; Domingo, Turman, great. It’s relentlessly serious, so the success is even more impressive. Screenplay by Ruben Santiago-Hudson.

Mad God (2022) D: Phil Tippett. S: Alex Cox, Niketa Roman, Satish Ratakonda, Harper Taylor, Brynn Taylor, Hans Brekke, Brett Foxwell. Decades in the making stop motion epic about a trip through Hell and–maybe–creation. Almost entirely animated, and without any dialogue; lots of revolting visuals (warning: poo), all ingeniously executed. Tippett’s got a fantastic narrative sense when it comes to getting the point across. Unfortunately, the finale’s a philosophical shrug. But it’s a one-of-a-kind experience.

Palooka from Paducah (1935) D: Charles Lamont. S: Buster Keaton, Joe Keaton, Myra Keaton, Louise Keaton, Dewey Robinson, Bull Montana. It’s a Keaton family outing–Pa Joe and Ma Myra head a backwoods moonshining clan who discovers Prohibition is (long) over, and they need to find another racket. Joe decides to turn their other son, Robinson, into a wrestler, with Buster refereeing matches. It ought to be a lot funnier, even if the stunt casting is reasonably charming.

A Serious Man (2009) D: Ethan Coen. S: Michael Stuhlbarg, Richard Kind, Fred Melamed, Sari Lennick, Aaron Wolff, Jessica McManus. Big, narratively forgetful swing from the Brothers Coen. It’s the late sixties; professor Stuhlbarg is going to have a very weird, very bad time of it. Wolff plays his son and is kind of the protagonist. Ish. It’s got some great moments, but the Brothers fail at regular human emotion. Still solid; they go for the easy laughs instead.

American Gothic (1995) s01e15 “The Plague Sower” [1996] D: Mel Damski. S: Gary Cole, Lucas Black, Paige Turco, Brenda Bakke, Sarah Paulson, Jake Weber, John Mese. An unknown (to the characters, anyway) illness comes to town, bringing with it guest star John Mese as a CDC doctor, which is good since it takes Weber out. Meanwhile, Cole’s got a “corrupt the innocent” arc; it ties into the illness thing. Sort of. And all the illness gets Turco ravenous for Cole’s bod. Jumbled, messy, but okay.

The Big Door Prize (2023) s02e05 “Night Under the Stars” [2024] D: Jordan Canning. S: Chris O’Dowd, Gabrielle Dennis, Josh Segarra, Sammy Fourlas, Djouliet Amara, Damon Gupton, Ally Maki. Same as it has been problems abound–O’Dowd’s pursuit of fellow teacher Justine Lupe now affects Amara. She’s already having stupid problems with Fourlas, which get resolved beautifully. They’re the show’s only assuredly successful arc. Some great Segerra and Mary Holland stuff. And, as usual, the show’s got no idea what it’s doing with second-billed Dennis. She’s floundering.

The Big Door Prize (2023) s02e06 “Back in the Saddle” [2024] D: Jordan Canning. S: Chris O’Dowd, Gabrielle Dennis, Josh Segarra, Sammy Fourlas, Djouliet Amara, Aaron Roman Weiner, Crystal R. Fox. The episode starts focused on Weiner, as he makes some changes before putting himself out there romantically. It’s a very cute arc, especially with Fourlas and Amara hanging around and offering support. Meanwhile, Fox meets a potential love interest (Melissa Ponzio) and bickers with her. Dennis does finally show some agency (but at the very end). And Segarra’s fun.

Doctor Who (2005) s14e05 “Dot and Bubble” [2024] D: Dylan Holmes Williams. S: Ncuti Gatwa, Millie Gibson, Callie Cooke, Tom Rhys Harries. Another very anthology feeling episode centers on Cooke, who lives in some social media future world. Russell T. Davies’s script doesn’t bring much new to the familiar sub-genre, but the space bugs trying to eat Cooke are novel. And they create lots of tension. Gatwa and Gibson mostly appear on Cooke’s feeds. Until the gut-punch final twist.

Last Week Tonight with John Oliver (2014) s11e13 “June 2, 2024: India Elections” [2024] D: Paul Pennolino. S: John Oliver. The main story is the Indian election and the show’s third focus on religious bigot, authoritarian President Modi. Some good laughs in a hopeless exposition dump. Good opening with the Trump verdict, good digs in the interstitials, and a great “one more thing” to close it out. Despite the subject matter, it’s a very fun episode. Maybe intentionally.

Last Week Tonight with John Oliver (2014) s11e12 “May 19, 2024: Corn” [2024] D: Paul Pennolino. S: John Oliver. Okay feature story on the problems of corn production in the United States. The episode’s does a great job laying out the history, but when Oliver’s offering solutions… I mean, they don’t say the audience has to be red state voters… but the audience for his solutions has to be red state voters. Some great laughs, though. Great laughs.

World of Giants (1959) s01e01 “Special Agent” D: Otto Lang. S: Marshall Thompson, Arthur Franz. Not very exciting (or even trying to be exciting) story of an FBI agent Thompson getting shrunk to six inches. No jokes please, it’s 1959. Thompson and regular size partner Franz go on a mission only they can do. DRAGNET meets INCREDIBLE SHRINKING MAN, just without much budget. Though they do the cat bit. Cute cat, I guess.

Beacon 23 (2023) s02e07 “Free” [2024] D: Nick Copus. S: Stephan James, Natasha Mumba, Noah Lamanna, Ellen Wong, David Tompa, Tenika Davis, Ben Cain. Thank goodness for Wong because otherwise the show’d be completely derailed? They skip last episode’s cliffhanger for two episodes ago and set the show up for cancellation after next episode’s finale. It’s an interesting flex: not playing chicken with renewal, instead proving why it’d be a bad idea. But Wong’s awesome. And Mumba’s still good. Poor James, though.

Beacon 23 (2023) s02e08 “Disintegration” [2024] D: Lewin Webb. S: Stephan James, Lena Headey, Natasha Mumba, Wade Bogert O’Brien, Ellen Wong, Tenika Davis, Eric Lange. The finale mostly just provides chum to the shark the show’s jumped. Everybody comes back in one form or another, and when the show doesn’t seem excited to have Headey back for the only time this season… well, if they didn’t know she made the show, no surprise they screwed it up. Good special effects? Wong? Otherwise, big stinker.

Crashing (2016) s01e05 “Episode 5” D: George Kane. S: Damien Molony, Phoebe Waller-Bridge, Jonathan Bailey, Louise Ford, Julie Dray, Adrian Scarborough, Amit Shah. Hilarious, weird, uncomfortable, and gross penultimate episode sets up the characters for a grand finale (of some kind or another). While everyone’s still recovering from drunken debauchery, their communal living comes under threat. Series best performances from Bailey and Scarborough, the latter doing it quietly, the former loudly. And guest star Lachie Chapman turns the extra up to eleven.

Crashing (2016) s01e06 “Episode 6” D: George Kane. S: Damien Molony, Phoebe Waller-Bridge, Jonathan Bailey, Louise Ford, Julie Dray, Adrian Scarborough, Amit Shah. Good last episode resolves all last episode’s resolutions, which all had cliffhangers. Bailey, Dray, Scarborough, and Shah come out best. Waller-Bridge and Molony’s will-they-or-won’t-they occupies all their time, even when Ford’s chasing them around. Literally. Some really good laughs and some rather heartfelt moments. Also, some near-grating ones. Though the punchline’s choice.

Doctor Who (2005) s14e04 “73 Yards” [2024] D: Dylan Holmes Williams. S: Ncuti Gatwa, Millie Gibson, Jemma Redgrave, Angela Wynter, Michelle Greenidge, Aneurin Barnard, Sophie Ablett. A companion “solo” episode sends Gibson on a bewildering situation involving a missing Doctor, and a mysterious woman who haunts her from… seventy-three yards. It’s okay? As a showcase for Gibson, it’s fairly one note. The script keeps implying supernatural forces in the situation, limiting her potential. The end’s a yawner, too. This season’s lovable but damned bumpy.

Last Week Tonight with John Oliver (2014) s11e11 “May 12, 2024: Opioid Settlements” [2024] D: Paul Pennolino. S: John Oliver. Excellent opioid settlement money spending feature. It’s a call-to-action episode, which are hard as the world burns. Stupid or evil politicians are mispending the cash, but it’s not too late. Also a great bit about airborne fentenyal overdoses (e.g. they’re still bullshit). The opener is fun from Eurovision and the British government being shirty even for them.

My Life Is Murder (2019) s04e03 “Location, Location, Location” [2024] D: Kiel McNaughton. S: Lucy Lawless, Ebony Vagulans, Rawiri Jobe, Joseph Naufahu, Ilona Rodgers, Benedict Wall, Jess Hong. Lawless investigates smarmy weasel realtor Wall for killing a competitor. Possibily in a haunted house. Good guest stars for Lawless and Vagulans to pester. Wall and Rodgers in particular. Rodgers is the nosey neighbor who bonds with Lawless. No character development or the whiff of any to come, which works for the show. It’s breezy. And Lawless’s infectiously extra.

Black Panther (1998) #12 [1999] W: Christopher Priest. A: Mark Bright, Nelson (Nelson DeCastro). Just okay wrap up for the series-to-date. There’s some nice art and some okay jokes. Lots goes unresolved. And there’s a big reveal to change the impact of the story. Priest opens the issue with one eh reveal, and then does a pointless Captain America guest spot. Cap’s just around so they could have him on the cover.

Black Panther (1998) #13 [1999] W: Christopher Priest. A: Bob Almond, Sal Velluto. Priest kicks off the next story arc with elaborate narration from Ross. There’s trouble afoot, not to mention betrayal, and a more sedate than usual Ross breaks it down. Priest gives all Ross’s dorky white boy lines to guest star Justice. It’s a packed issue. Also: Hydro-Man attacka. The new art team is fantastic and they know it.

Black Panther (1998) #14 [2000] W: Christopher Priest, Glenn Alan Herdling. A: Gregg Schigiel, Richard Case, Sal Velluto. After a tedious if well-illustrated Ross introduction, the issue switched over to Black Panther rescuing a plane from Hydro-Man. The passengers don’t know they’re hostages, which gives T’Challa some page time. Must be nice just to have the suit turn on and off. Great action issue. Veluto and Almond’s art, Priest’s writing–the book’s delightfully sturdy.

Black Panther (1998) #15 [2000] W: Christopher Priest. A: Bob Almond, Sal Velluto. It’s a very quick issue. Black Panther is giving a statement to former squeeze Nikki, while her boyfriend Ross is calling for help. Plus a lengthy, very amusing sequence about the Hulk getting radicalized against capitalism. Ross’s bit (he’s on a ceremonial hunt) is a little rote; since the art’s good now, it’s fine. Stable is the new BLACK.

Black Panther (1998) #16 [2000] W: Christopher Priest. A: Bob Almond, Sal Velluto. Panther’s New York side mission now has Nightshade guest starring as the villain. She’s a LUKE CAGE villain, hired by Killmonger to disgrace Wakanda. Meanwhile the actual Killmonger is protecting Monica Lynne and running a capitalist utopia. Someone’s got to be confused, right? The ending is a lot of fun. The Ross gag (dipshit white narrator) is getting tiring.

Catwoman (2002) #18 [2003] W: Ed Brubaker. A: Javier Pulido. It’s another major downer issue, starting with Holly teetering on the edge of the wagon. Then Slam is trying to get lost in work, only for the case to disappoint. His attempt to include Selina proves a poor decision, with Brubaker confusingly setting the story in the aftermath. Lovely, emotive art from Pulido. Hopefully Bru baker’s going somewhere.

Catwoman (2002) #19 [2003] W: Ed Brubaker. A: Javier Pulido. As far as resolutions go, it’s frankly mid. Selina gets more self-destructive; eventually Batman shows up so they can get that sales bump. He’s not in it long enough to matter, just another tool on Brubaker’s narrative utility belt. The art gets too much for Pulido too. He’s great at movement and mood, but definitely not monologues.

Catwoman (2002) #20 [2003] W: Ed Brubaker. A: Cameron Stewart. Selina and Holly hit the road to find themselves and whatnot. First stop: Catwoman’s top secret… farm. There, Wildcat Ted Grant provides sage advice and fight training. The duo is in need of both. Some really good action art. Holly’s letters home provide the majority of the narration. The script’s full of such narrative devices; they’re usually successful.

Catwoman (2002) #21 [2003] W: Ed Brubaker. A: Cameron Stewart. Selina teams up with Captain Cold. He’s got information she needs, he needs help on a heist. Holly wanders Keystone (mostly off-page). The script’s okay, but Brubaker avoids exploring the team-up dynamics for the most part, which is good because they’re problematic. Nice GET SHORTY homage. Great art. The action, the “travelogue.” It’s a good looking book.

Black Panther (1998) #9 [1999] W: Christopher Priest. A: Mike Manley. The cartoonish Manley art hurts immeasurably as Priest thoroughly unravels the conspiracy against Wakanda. Turns out the Avengers’ racist uncle at Thanksgiving was after the vibranium the whole time. If only someone had said something. Lots of (ugly) action, lots of expert exposition, and a little bit of character work. The Manley art hurts the character work the most.

Black Panther (1998) #10 [1999] W: Christopher Priest. A: Mike Manley. The Manley art continues to be terrible, but Priest’s writing is so good it doesn’t matter. I mean. It does but not catastrophically. The story is all about the politics of the situation, but from the Wakandan point of view. Plus lots of action. Some of that action might even be good if the art weren’t terrible. Alas.

Black Panther (1998) #11 [1999] W: Christopher Priest. A: Mark Bright, Nelson (Nelson DeCastro). Bright can draw. Not only can he draw, Priest trusts him to draw. So Priest tries things. They don’t always work–the movie references, which rarely involve the art, flop. But there’s a bunch of character work, even on Ross, and numerous pleasant surprises. Priest does an excellent job with the pacing. More intrigue and action. Finally okay looking.

Catwoman (2002) #14 [2003] W: Ed Brubaker. A: Cameron Stewart, J.G. Jones, Mike Manley. Team Catwoman starts investigating sister Maggie’s missing husband and whoever blew up Selina’s community center. Odd Batman isn’t involved. Odder he doesn’t know Black Mask has been slaughtering rival crews. Marley’s inks kind of spoil things, but the story’s all regulars in great danger so it still compels. Whether Brubaker’s got a point besides cruelty remains to be seen.

Catwoman (2002) #15 [2003] W: Ed Brubaker. A: Cameron Stewart, J.G. Jones. It’s more of the same relentless suffering, along with some torture. There’s also some phenomenal art. And some iffy cheesecake. To discover the mystery villain, Selina goes one way, Holly goes another. One of them is in greater danger by the end. It’s an outstanding finish to a yucky issue. The extreme is too much the point.

Catwoman (2002) #16 [2003] W: Ed Brubaker. A: Cameron Stewart, J.G. Jones. It’s a good finish, but even when Brubaker ties it all together–including the torture and all that jazz–it comes up thin. And he’s got to pivot. And that pivot isn’t any better. It’s just more. Some real good art. The action gets a tad protracted. Then Brubaker punts the POV away from Selina, which stinks.

Catwoman (2002) #17 [2003] W: Ed Brubaker. A: Javier Pulido. Pulido’s art’s controlled but rough; it’s kinetic; every line bursting with potential. Exactly what the story needs. Selina and company are trying and failing to recover from last arc’s heavy losses. Holly’s veering toward using, Selina and Slam are in a drunken, power imbalance hookup spiral. Brubaker gives Selina her time. Pulido draws Robert Mitchum as Slam. It’s awesome.