The Stop Button

The Adventures of Tintin (2011) D: Steven Spielberg. S: Jamie Bell, Andy Serkis, Daniel Craig, Nick Frost, Simon Pegg, Daniel Mays, Gad Elmaleh.

Local Hero (1983) D: Bill Forsyth. S: Burt Lancaster, Peter Riegert, Denis Lawson, Fulton Mackay, Peter Capaldi, Jennifer Black, Jenny Seagrove.

The Rundown (2003) D: Peter Berg. S: Dwayne Johnson, Seann William Scott, Rosario Dawson, Christopher Walken, Ewen Bremner, Jon Gries, Ernie Reyes Jr..

The Supremes at Earl’s All-You-Can-Eat (2024) D: Tina Mabry. S: Aunjanue Ellis-Taylor, Sanaa Lathan, Uzo Aduba, Mekhi Phifer, Kyanna Simone Simpson, Tati Gabrielle, Abigail Achiri.

Thelma (2024) D: Josh Margolin. S: June Squibb, Fred Hechinger, Richard Roundtree, Parker Posey, Clark Gregg, Malcolm McDowell, Nicole Byer.

Torchy Blane.. Playing with Dynamite (1939) D: Noel M. Smith. S: Jane Wyman, Allen Jenkins, Tom Kennedy, Sheila Bromley, Joe Cunningham, Eddie Marr, Edgar Dearing. Lackluster final TORCHY picture has new leads–Wyman and Jenkins–and a script rehashing bits from previous entries. Wyman’s better than everything else, but she and Jenkins have zero chemistry (appropriate since he’s old enough to be her dad). They’re trying to catch gangster Marr through his moll, Bromley. Kennedy’s still fun. Smith’s direction is rather bad, too.

The Verdict (1982) D: Sidney Lumet. S: Paul Newman, Charlotte Rampling, Jack Warden, James Mason, Milo O’Shea, Roxanne Hart, Joe Seneca.

American Gothic (1995) s01e19 “Strangler” [1998] D: Doug Lefler. S: Gary Cole, Lucas Black, Paige Turco, Brenda Bakke, Sarah Paulson, Nick Searcy, John Mese. Cole and Paulson go full magical in the opening, resulting in Cole hiring the ghost of the Boston Strangler (Gareth Williams) to take Paulson out. Ghosts can kill ghosts. Williams tries to bring her out by befriending Black. Williams is pretty dang evil, and it’s a great episode for Searcy, but there’s a lot wrong. Especially the direction.

American Gothic (1995) s01e20 “Triangle” [1996] D: James Frawley. S: Gary Cole, Lucas Black, Paige Turco, Brenda Bakke, Sarah Paulson, Nick Searcy, John Mese. Icky episode about Cole mind controlling Turco and Bakke into needing him over self. Except it started as a showcase for Turco until she completely disappears for the finish. And Mese gets a bunch. It has occasional moments but it’s got a bad vibe. And the special effects are all either bad or ugly. It’s a sharp decline.

American Gothic (1995) s01e21 “The Buck Stops Here” [1996] D: Lou Antonio. S: Gary Cole, Lucas Black, Paige Turco, Brenda Bakke, Sarah Paulson, Nick Searcy, John Mese. Lots of problems with the episode, but considering how more mythology they get into the one episode… It’s impressive. They do a fine job getting the show to a finale. Too bad the budget’s gone (it looks very daytime soap), and all the ideas for Black are bad. But guest star Brent Jenning does get one surprisingly outstanding scene.

FROM (2022) s03e02 “When We Go” [2024] D: . S: Harold Perrineau, Catalina Sandino Moreno, Eion Bailey, David Alpay, Ricky He, Chloe Van Landschoot, Avery Konrad. The monsters have finally killed someone everyone likes, so we get a rather affecting episode. Lots of mourning, lots of anger, lots of bad ideas. We’ve also got guest star Robert Joy bringing a level of humanity to the show we don’t often get. Really good episode for Perrineau, He, and Van Landschoot. The cliffhanger’s dirt cheap, though.

Grantchester (2014) s09e05 “Episode 5” [2024] D: . S: Robson Green, Al Weaver, Tessa Peake-Jones, Kacey Ainsworth. There’s been a murder at Ainsworth and Green’s daughter Skye Lucia Degruttola’s office. It’s a little about the family, a little about the murder, a lot about the sexism women faced and face in the workplace. Degruttola is around but doesn’t get much; Johns gets a deserved spotlight. And Nair’s in a bad mood thanks to unexpected news.

Grantchester (2014) s09e06 “Episode 6” [2024] D: . S: Robson Green, Al Weaver, Tessa Peake-Jones, Kacey Ainsworth. The mystery this episode’s a showy affair involving archeologists and fraud. The meat of the episode is Nair breaking bad (turns out he’s a GRANTCHESTER vicar, after all), Weaver (who directed too, quite nicely) finding out Dimsdale’s keeping secrets, and Ainsworth being stoned on housewife’s helper. Nair’s arc mostly just reminds his character is still too unsubstatial.

Tulsa King (2022) s02e03 “Oklahoma v. Manfredi” [2024] D: Joshua Marston. S: Sylvester Stallone, Jay Will, Max Casella, Annabella Sciorra, Neal McDonough, Frank Grillo, Andrea Savage. It’s the trial episode, something the show wastes no time with. Stallone does a good job with it, though when he questions ex-girlfriend, Savage… it reminds of a more charming era. Grillo shows up to talk tough with Stallone; also fine. The episode’s usually better than fine, rarely worse. McDonough’s just a lousy season villain is all. Eh.

Agatha All Along (2024) s01e01 “Seekest Thou the Road” D: Jac Schaeffer. S: Kathryn Hahn, Joe Locke, Debra Jo Rupp, Aubrey Plaza, Emma Caulfield Ford, David Payton, David Lengel. Direct(ish) sequel to WANDAVISION has Hahn playing a prestige series detective, except her latest case starts throwing her. There’s Plaza’s FBI agent, come to help, only Hahn can’t quite remember their history. And then suspect Locke is pretty sure he knows Hahn’s secrets too. Shame she doesn’t herself. Hahn’s good, Plaza’s good, good production, but it drags.

FROM (2022) s03e01 “Shatter” [2024] D: . S: Harold Perrineau, Catalina Sandino Moreno, Eion Bailey, Hannah Cheramy, Pegah Ghafoori, Elizabeth Moy, Simon Webster. Okay season premiere has some excellent work from Perrineau. He’s trying to hold things together as the survivors run out of food (and the monsters notice). Meanwhile, Sandino Moreno is on the outside trying to figure out what to do next. Some decent mythology building, but still lots of bad acting. Bailey’s better than usual, ditto He.

Grantchester (2014) s09e04 “Episode 4” [2024] D: . S: Robson Green, Al Weaver, Tessa Peake-Jones, Kacey Ainsworth, Skye Lucia Degruttola. New vicar Nair goes to a fancy party with some racists and hot-to-trot rich ladies, but a murder spoils any subplots for him. He does get to play detective and bond–ever so briefly–with Peake-Jones. Green gets the more involved family subplot, and Weaver’s got one spinning up. It’s a solid episode.

Only Murders in the Building (2021) s04e04 “The Stunt Man” [2024] D: Chris Koch. S: Steve Martin, Martin Short, Selena Gomez, Michael Cyril Creighton, Molly Shannon, Richard Kind, Paul Rudd. Spectacular episode has the trio solving part of the mystery just to discover there’s even more to it. And with a returning guest star (Rudd, in his series best), plus some character development for Creighton. It’s a particularly good episode for Gomez, who gets a couple breathers from the boys. But will they pull off the latest reveal….

Only Murders in the Building (2021) s04e05 “Adaptation” [2024] D: Jessica Yu. S: Steve Martin, Martin Short, Selena Gomez, Michael Cyril Creighton, Da’Vine Joy Randolph, Molly Shannon, Paul Rudd. After a lackluster, if significant, resolution to the cliffhanger, the trio figures out how to filter down an increasing suspect pool. Along the way, they pick up a sidekick (Jin Ha), who just happens to be the screenwriter. And helpful for their process. There’s some great comic stuff from Short. The slow start pays off by the finish.

Slow Horses (2022) s04e03 “Penny for Your Thoughts” [2024] D: Adam Randall. S: Gary Oldman, Jack Lowden, Jonathan Pryce. Lots of reveals this episode, along with a dynamite thrill sequence. While Lowden slowly figures out his French predicament (including angry villagers), Oldman plays with a deteriorating Pryce’s fate. Oh, and James Callis–out of nowhere with the agency, no pun–all of a sudden decides to start snooping on MI-5 corruption. Bet it figures in. Stellar stuff.

Slow Horses (2022) s04e04 “Returns” [2024] D: Adam Randall. S: Gary Oldman, Jack Lowden, Kristin Scott Thomas, Jonathan Pryce, Hugo Weaving, Saskia Reeves, James Callis. There are two unexpected uh ohs this episode. First, Weaving as the big bad. He’s a parody of a parody. And, wow, that “Yank” accent work. So that part’s concerning. Also concerning is the apparent final reveal, which doesn’t get explained just implied. It’s all of a sudden a soap opera. Thomas’s stuff’s the highlight. The rest flounders.

Tulsa King (2022) s02e02 “Kansas City Blues” [2024] D: Craig Zisk. S: Sylvester Stallone, Martin Starr, Jay Will, Max Casella, Tatiana Zappardino, Garrett Hedlund, Dana Delany. Tiring episode setting up Stallone’s court case. He’s representing himself, only he doesn’t know season villain Neal McDonough is out to get him already. And then Frank Grillo’s also planning on attacking. Meanwhile, Stallone can’t even go to his hotel because of the reporters. It’s high wire drama. The finale features a truly desperate, utterly charmless cameo slot. Groan.

Black Panther (1998) #28 [2001] W: Christopher Priest. A: Sal Velluto. Lots of regal guest stars–Velluto has a great time with Namor, even giving him a splash page. Has Wakanda really gone to war with both the United States and Atlantis or is someone conspiring against its king? Priest does a fantastic job with the 616 global politics. It’s a packed, busy issue and quite good comics.

Black Panther (1998) #29 [2001] W: Christopher Priest. A: Bob Almond, Mark McKenna, Sal Velluto, Warren Martineck. Priest wraps the Klaw arc only to end on an unexpected cliffhanger. It forecasts a slightly different direction for the book, which may be interesting to see. Adjusting the scale, as it were. The issue’s a strong finish to the arc, with some fantastic art–Klaw becomes a giant wave monster at one point. PANTHER’s found its balance.

Black Panther (1998) #30 [2001] W: Christopher Priest. A: Norm Breyfogle. Well, I sure hope Breyfogle isn’t the regular artist. Ignoring the intense cliffhanger, the book slips back to a WWII flashback with Captain America. Then forced to a Senate hearing. Some flashbacks and recaps later, we find out we’re post-cliffhanger too. Would it work with the regular art… probably. But Breyfogle and–especially–colorist VLM stink it.

Black Panther (1998) #31 [2001] W: Christopher Priest. A: Bob Almond. Drastic turn for the series, with Priest ditching the bumbling narrator to do an exposition-free book focused on T’Challa. He’s worried about his extended family and ex-girlfriends because his former bodyguard turned murderous super-powered villain is back. It’s a wild ride, with the creators showing off this new direction. They’re off to a fantastic start.

Zoot! (1992) #1 W: Andrew Langridge. A: Roger Langridge. Decent effort from the Brothers Langridge. Andrew writes and (intentionally) overwrites while Roger figures out how to visualize it all. The key is expressions and Roger leans in. There isn’t really a stand out here; the stories often play like extended strips, and the pacing works. The anti-plotting in the longer stories not as much.

Zoot! (1992) #2 [1993] W: . A: . While some of the stories still feel like Roger is trying to illustrate brother Andrew’s prose, ZOOT! feels a lot more stable. The continuing stories have good entries, and the “IGNATZ” feature of purely self-contained strips works well. The recurring bit characters–I’m thinking The Gump–work better as a gag in a strip than running one.

Zoot! (1992) #3 [1993] W: . A: . Andrew writes and draws the feature, all about Elizabeth Short (the murdered woman remembered as The Black Dahlia, a moniker the story avoids). It’s not perfect but it’s pretty dang good. Then the recurring strip about the guys at the bar having bad luck is good too. The book works better with a couple long-form pieces for heft.

Zorro: Man of the Dead (2024) #4 WA: Sean Gordon Murphy. It’s the best issue but because it’s either action or resolution. With unexpected (if predictable) character developments. Can a wounded Zorro save his big sister from the bad guys? Even if Zorro has lost his nerve, his trusty fox sidekick will never give up. And Murphy sells it. Buckets of blood ZORRO and forest friend. Simply gorgeous art.

Grantchester (2014) s09e01 “Episode 1” [2024] D: Katherine Churcher. S: Robson Green, Tom Brittney, Al Weaver, Tessa Peake-Jones, Kacey Ainsworth, Charlotte Ritchie, Bradley Hall. GRANTCHESTER makes no bones about the vicar change of the season. Brittney goes from not wanting a new job to everything in the latest case trying into an analogy. It must be fate. Or contracts. Green oscillates between seeming upset about change to obvious about it. It’s all well enough done, they’re just dragging out a lame duck.

Grantchester (2014) s09e02 “Episode 2” [2024] D: . S: Robson Green, Al Weaver, Tessa Peake-Jones, Kacey Ainsworth. Exit Brittney, who outlasted the lead he replaced. GRANTCHESTER just can’t have a married vicar as lead, which the episode unintentionally showcases. There’s so much history with Brittney’s character and the rest of the cast, the episode has to pick and choose who gets a proper farewell. There’s also a murder to keep things busier. It’s solid; Green’s fantastic.

Grantchester (2014) s09e03 “Episode 3” [2024] D: . S: Robson Green, Al Weaver, Tessa Peake-Jones, Kacey Ainsworth. Hot new vicar Nair comes to town and causes an immediate stir due to his skin color and Imperial origin. In other words, he’s of Indian descent and they’re all bigots. Ish. Meanwhile, Green is in need of a new vicar Watson and has to convince the new guy. It’s a pretty good intro, giving Nair a bunch too.

Last Week Tonight with John Oliver (2014) s11e22 “September 8, 2024: School Lunch Programs” [2024] D: . S: John Oliver. Funny “news of the week” segments–Trump and Vance are such good punchlines (for now)–and then a great feature on universal school lunches. Oliver gets some real big applause for the controversial position of not letting kids go hungry. But then the dessert’s just forced (Halloween-related) blah. Also: they ought to make the talking Reagan action figure.

Only Murders in the Building (2021) s04e03 “Two for the Road” [2024] D: Chris Koch. S: Steve Martin, Martin Short, Selena Gomez, Da’Vine Joy Randolph, Zach Galifianakis, Eugene Levy, Eva Longoria. Excellent episode has the trio splitting up to hang out with their movie star counterparts. Longoria’s annoying Gomez, Levy’s fawning over Martin, and Galifinksnis can’t stand Short. They all go investigating together to some very, very funny results. Often involving the other guest stars, but the slightly off chemistry between the pairings is the key. Superb acting throughout.

Slow Horses (2022) s04e02 “A Stranger Comes to Town” [2024] D: Adam Randall. S: Gary Oldman, Jack Lowden, Kristin Scott Thomas. It’s a particularly great episode for Scott Thomas and a decent or better one for everyone else. Oldman’s still early in the first act; Scott Thomas and Lowden are finishing it up. HORSES isn’t wasting any time tying the big arcs–they’re fused. And involve a big name guest star. Real good overall, if overly deliberate.

Tulsa King (2022) s02e01 “Back in the Saddle” [2024] D: Craig Zisk. S: Sylvester Stallone, Martin Starr, Jay Will, Max Casella, Domenick Lombardozzi, Garrett Hedlund, Dana Delany. The show immediately cops out of the cliffhanger with Stallone spending a night in jail before getting bail. He then spends the rest of the episode planning on going even more legit than he has been in the era of legal weed. It’s a middling episode and a bad season premiere. Some solid acting throughout; all very professional.

Beverly Hills Cop III (1994) D: John Landis. S: Eddie Murphy, Judge Reinhold, Hector Elizondo, Timothy Carhart, John Saxon, Theresa Randle, Stephen McHattie. Dismal sequel has Murphy returning to Beverly Hills in pursuit of another killer–Carhart, who’s atrocious–this time at a theme park. Murphy teams up with Reinhold again (John Ashton wisely sat this one out, with Elizondo filling in). Truly terrible direction from Landis would sink it even without the lousy Steven E. DeSouza script and many bad performances.

Blondes at Work (1938) D: Frank McDonald. S: Glenda Farrell, Barton MacLane, Tom Kennedy, Rosella Towne, Donald Briggs, John Ridgely, Thomas E. Jackson. For their latest case, reporter Farrell and her copper boyfriend MacLane are working apart. Police captain Frank Shannon wants Farrell off the crime beat and is forcing MacLane to comply. So MacLane investigates with sidekick Jackson while Farrell snoops and sneaks. While the setup’s messy and the second act’s slow, it mostly works. The racism and bullying stink, though.

The Count of Monte Cristo (2002) D: Kevin Reynolds. S: Jim Caviezel, Guy Pearce, Richard Harris, James Frain, Dagmara Dominczyk, Michael Wincott, Luis Guzmán. Well-mounted, poorly written misfire of a Dumas adaptation has an international cast playing French to cover hero Caviezel’s non-accent. He’s a good-hearted lad imprisoned because of his bad best friend, Pearce. Caviezel breaks bad, learns swords, and avenges himself. Caviezel ranges from woefully miscast to quite good (albeit as Dracula). Pearce stinks; so does Reynold’s swashbuckling.

Torchy Blane in Chinatown (1939) D: William Beaudine. S: Glenda Farrell, Barton MacLane, Tom Kennedy, Henry O’Neill, Patric Knowles, James Stephenson, Anderson Lawler. Profound racism abounds, but at least Farrell doesn’t hang out in CHINATOWN. And the racism is part of the story? Subtlety. MacLane’s tasked with protecting American graverobber Lawler from Chinese threats (they’re mad he’s looting jade); somehow, it will also involve senator O’Neill. Strong mystery, with good moments for Kennedy in particular, but ick. Also, they’re back in NYC?

Torchy Blane in Panama (1938) D: William Clemens. S: Lola Lane, Paul Kelly, Tom Kennedy, Anthony Averill, Larry Williams, Betty Compson, Hugh O’Connell. Lacking outing has Lane and Kelly taking over the lead roles as TORCHY and her copper boyfriend, respectively. They don’t have any chemistry; in fact, Kelly spends most of the movie lecturing Lane about her outfit and general lack of usefulness (sexist much?). Suspect Averill’s solid, Williams is lousy as a rival reporter, and Kennedy’s stuck holding it all together.

Torchy Gets Her Man (1938) D: William Beaudine. S: Glenda Farrell, Barton MacLane, Tom Kennedy, Willard Robertson, Thomas E. Jackson, George Guhl, Frank Reicher. Farrell and MacLane return after their bewildering recast. When they get a moment, they have chemistry. They have few moments. Most of the time is either master counterfeiter Robertson outwitting the cops or Farrell trying to crack the case. Lots of familiar faces playing different characters. And for some reason they’re in San Francisco now (previously NYC). Good enough.

Torchy Runs for Mayor (1939) D: Ray McCarey. S: Glenda Farrell, Barton MacLane, Tom Kennedy, John Miljan, Frank Shannon, Joe Cunningham, George Guhl. In their final outing (but not the last TORCHY), Farrell and MacLane find themselves at opposite ends of an issue. Farrell’s out to reveal political boss Miljan, while MacLane’s a cog in the machine. It’s a very slight story, without much drama or mystery. Milan’s a fine villain; Farrell and MacLsne just don’t get enough to do.

My Lady Jane (2024) s01e05 “I’m Gonna Change the World” D: Stefan Schwartz. S: Emily Bader, Edward Bluemel, Anna Chancellor, Rob Brydon, Kate O’Flynn, Henry Ashton, Oliver Chris. Bader finds an unexpected connection with Brydon when she discovers how intellectually stimulating the game of thrones can be to play. And downright fun. Bader and Bluemel are also getting hotter and heavier, what with mortal danger thrown into the mix. There’s a lot going on–particularly O’Flynn getting nimble in her plotting–and the show’s keeping pace.

My Lady Jane (2024) s01e06 “I Feel Free” D: Stefan Schwartz. S: Emily Bader, Edward Bluemel, Anna Chancellor, Rob Brydon, Kate O’Flynn, Henry Ashton, Oliver Chris. Bluemel has abandoned Bader to find a cure for his were-horse curse. O’Flynn is on the run and putting together an army to return for the crown. So Bader plays a round of the game of thrones and can’t always keep up. Busy, full, and building towards the series’s first consequential cliffhanger. Rather good stuff.

My Lady Jane (2024) s01e07 “Another Girl, Another Planet” D: Stefan Schwartz. S: Emily Bader, Edward Bluemel, Anna Chancellor, Rob Brydon, Kate O’Flynn, Henry Ashton, Oliver Chris. Bluemel has abandoned Bader to find a cure for his were-horse curse. O’Flynn is on the run and putting together an army to return for the crown. So Bader plays a round of the game of thrones and can’t always keep up. Busy, full, and building towards the series’s first consequential cliffhanger. Rather good stuff.

My Lady Jane (2024) s01e08 “God Save the Queen” D: Jamie Babbit. S: Emily Bader, Edward Bluemel, Anna Chancellor, Rob Brydon, Kate O’Flynn, Henry Ashton, Oliver Chris. Dynamite (better be) season finale with the show running head first into history. Except since the audience isn’t just Tudor nerds, they build all this other tension. It gets almost too much, as Bader’s attempts to save herself or at least Bluemel keep failing. And O’Flynn’s finally into her own as a villain. Killer action finale too. More please.

Only Murders in the Building (2021) s04e02 “Gates of Heaven” [2024] D: John Hoffman. S: Steve Martin, Martin Short, Selena Gomez, Michael Cyril Creighton, Amy Ryan, Jane Lynch, Da’Vine Joy Randolph. Back home and fairly certain they’ve figured out the crime, the trio splits up to investigate. Gomez and Short go check out the strange riff-raff in the apartment side of the building, while Martin imagines (or does he) visits from Lynch and Ryan. Another beautifully paced episode. The “other part” of the BUILDING proves rather engaging.

Only Murders in the Building (2021) s04e01 “Once Upon a Time in the West” [2024] D: John Hoffman. S: Steve Martin, Martin Short, Selena Gomez, Michael Cyril Creighton, Teddy Coluca, Meryl Streep, Molly Shannon. Interestingly plotted direct sequel to last season’s finale, except the dead body is gone and the trio have no idea what they’re missing. Then Hollywood comes a-knocking–more like pounding–on a rights deal for a film adaptation, and they’re LA-bound. By the end, the season’s set up. It’s a fabulously well-executed premiere.

Slow Horses (2022) s04e01 “Identity Theft” [2024] D: Adam Randall. S: Gary Oldman, Jack Lowden, Kristin Scott Thomas, Christopher Chung, Rosalind Eleazar, Aimee-Ffion Edwards, Kadiff Kirwan. The season kicks off with two (undoubtedly eventually connected) storylines. A terror attack in London occupies Scott Thomas and the main MI-5 contingent. But then Jonathan Pryce shoots Lowden (Pryce is suffering from dementia and thinks he’s being watched), which Oldman investigates. And barely informs the rest of the team about. But all is not what it seems.

American Gothic (1995) s01e18 “Echo of Your Last Goodbye” [1998] D: Oz Scott. S: Gary Cole, Lucas Black, Paige Turco, Brenda Bakke, Sarah Paulson, Nick Searcy, John Mese. Ghost Paulson starts haunting deputy Searcy, hoping he’ll turn against boss Cole. Meanwhile, Cole’s got his corrupting hooks into lover Turco and is using that relationship to further turn Black towards the dark side. And Mese and Bakke have romance troubles. Weird episode, but some great acting from Paulson and Searcy throughout. Albeit with iffy special effects.

Evil (2019) s04e14 “Fear of the End” [2024] D: Robert King. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Andrea Martin, Kurt Fuller, John Carroll Lynch. The show takes the interesting choice to mostly setup a sequel rather than wrap up the (admittedly thin) plot strands from the last four seasons. Colter gets a little with the Vatican, Martin gets a little with the Vatican, Herbers’s kids get the main plot. Emerson gets the most resolution, while Mandvi signals his readiness to be done.

Last Week Tonight with John Oliver (2014) s11e21 “August 18, 2024: Hospice Care” [2024] D: Paul Pennolino. S: John Oliver. Oliver takes a look at hospice companies, specifically the ones ripping people off or ripping off Medicare. It’s a good feature, but there seems to be frustratingly little going on to stop them, even as awareness of how these companies are behaving grows. And, of course, it’s mostly terrible white guys doing the crimes (and getting away with them).

My Lady Jane (2024) s01e01 “Who’ll Be the Next in Line?” D: Jamie Babbit. S: Emily Bader, Edward Bluemel, Anna Chancellor, Rob Brydon, Kate O’Flynn, Henry Ashton, Oliver Chris. Delightful, fantasy alternate history of Jane of the Nine Days (Bader). In this universe an intelligent, independent woman in a world unwelcome to those qualities. Also there’s magic transforming fairy people. Bader’s mom, Chancellor, is determined to marry her off to maintain her station. Fun, frustrating, and so funny. Bader’s a great lead, Chancellor’s awesome. Such good writing.

My Lady Jane (2024) s01e02 “Wild Thing” D: Jamie Babbit. S: Emily Bader, Edward Bluemel, Anna Chancellor, Rob Brydon, Kate O’Flynn, Henry Ashton, Oliver Chris. Oodles of chemistry between newlyweds Bader and Bluemel as they deny their mutual attraction to pout about their arranged marriage. Except fate has a big surprise in store for them, and it adds a whole new layer to JANE. Plus palace intrigue with Peters, Brydon, and Cooper (who’s enjoying the silliness). It’s handily fulfilling its promise.

My Lady Jane (2024) s01e03 “With a Girl Like You” D: Jamie Babbit. S: Emily Bader, Edward Bluemel, Anna Chancellor, Rob Brydon, Kate O’Flynn, Henry Ashton, Oliver Chris. (Unconsummated, don’t be gross) newlyweds Bader and Bluemel find their new normal–she spends all her time trying to save him from his were-horse curse–while the royal machinations grind on. Brydon’s imprisoned (falsely accused), and Chancellor has to find a way to get rich without Bader being able to provide it. No big reveals, just delightful turns.

My Lady Jane (2024) s01e04 “Bluebird Is Dead” D: Jamie Babbit. S: Emily Bader, Edward Bluemel, Anna Chancellor, Rob Brydon, Kate O’Flynn, Henry Ashton, Oliver Chris. The show doesn’t waste time–Bader and Bluemel get to the castle for her to be crowned (not coronated yet), Bader sniffs out Jordan Peters’s murder, gets into it with Dominic Cooper and O’Flynn (separate from them being the murderers even). Plus Brydon’s still imprisoned and Bluemel’s worried there’s not enough time spent on curing him. Packed and fantastic.

The Adventurous Blonde (1937) D: Frank McDonald. S: Glenda Farrell, Barton MacLane, Anne Nagel, Tom Kennedy, George E. Stone, Natalie Moorhead, William Hopper. Hot on the heels of their last outing, reporter Farrell and her copper boyfriend, MacLane, are finally about to tie the knot. Except her jealous, misogynist competitors decide to stage a fake murder to foil the nuptials. Except then the murder’s real. After a slow start, Farrell’s unravelling of the crime’s fantastic. Great chemistry between the leads, too.

After Yang (2022) D: Kogonada. S: Justin H. Min, Malea Emma Tjandrawidjaja, Colin Farrell, Jodie Turner-Smith, Haley Lu Richardson, Sarita Choudhury, Clifton Collins Jr.. Sometime in an obscure but thoughtful future, sad dad (but not sad for dad reasons) Farrell tries to get the family’s android “big brother” (Min) repaired. It’s best when it’s a character study (Farrell’s phenomenal), but then it turns out Min’s the story… only Min doesn’t get to be in it. Well done (minus the CG), but just okay.

Anchorman: The Legend of Ron Burgundy (2004) Unrated version D: Adam McKay. S: Will Ferrell, Christina Applegate, Paul Rudd, Steve Carell, David Koechner, Fred Willard, Chris Parnell. Hilarious performances and sometimes incredibly strong seventies homage vibes carry this tale of Ferrell’s insipid (and incredibly popular) anchorman. Ferrell falls for Applegate, who then betrays him by… also wanting to be a news broadcaster and being better at the job than him. Some moldy jokes. Ferrell’s exceptional, Rudd’s good, everyone else at least funny. The script’s just thin.

Beverly Hills Cop II (1987) D: Tony Scott. S: Eddie Murphy, Judge Reinhold, John Ashton, Jürgen Prochnow, Ronny Cox, Brigitte Nielsen, Paul Reiser. Motormouth undercover Detroit cop Murphy heads back to Beverly Hills when now good friend Cox is shot by some eighties Eurotrash villains. Murphy’s great–though director Scott unsurprisingly doesn’t know when to tone it down–and everything is else fine, it just gets old fast. The finale’s particularly lackluster. And the misogyny and objectification don’t help either.

Dog Day Afternoon (1975) D: Sidney Lumet. S: Al Pacino, John Cazale, Charles Durning, Chris Sarandon, James Broderick, William Bogert, Penelope Allen. Sublime recounting of a real life Brooklyn bank robbery, where the robbers stand off with the police becomes a local event. Superb performances from everyone: Cazale, Allen, Durning, and Sarandon are standouts. But Pacino’s the whole show, with Lumet structuring the whole thing around where Pacino takes the performance. Beautifully paced, outstanding technicals, and a devastating conclusion.

Furiosa: A Mad Max Saga (2024) D: George Miller. S: Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne, George Shevtsov, Lachy Hulme, John Howard. Director Miller returns to the MAX well, giving Theron’s character from FURY ROAD a prequel. Except Taylor-Joy plays the part. Though maybe younger Browne a little more. Don’t count Theron out–she noticeably dubs Taylor-Joy. Story’s all about how Hemsworth and Burke are the more interesting men. Hemsworth (in a fake nose) is great. Movie’s terrible.

Klute (1971) D: Alan J. Pakula. S: Jane Fonda, Donald Sutherland, Charles Cioffi, Roy Scheider, Dorothy Tristan, Rita Gam, Nathan George. Small-town ex-cop Sutherland heads to dirty old New York trying to find his missing best friend, who’s apparently been harassing call girl Fonda. Starts a mystery, quickly becomes a romantic thriller plus character study of Fonda. Gorgeous direction from Pakula, jawdropping photography from Gordon Willis, and a phenomenal Michael Small score. Fonda’s singular. Just a great picture. The first in Pakula’s unofficial “Paranoia Trilogy,” followed by THE PARALLAX VIEW.

Trap (2024) D: M. Night Shyamalan. S: Josh Hartnett, Ariel Donoghue, Saleka, Alison Pill, Hayley Mills, Jonathan Langdon, Mark Bacolcol. Outstanding Hitchcock riff about regular dad Hartnett being a serial killer who’s trapped at the pop concert where he’s taken daughter Donoghue. Shyamalan’s starts very REVERSE DIE HARD AT A ROCK CONCERT but has some surprising developments along the way. Maybe one too many in the weaker third act. But Hartnett’s great and so’s Shyamalan’s direction. Plus Hayley Mills!

The Bear (2022) s03e07 “Legacy” [2024] D: Joanna Calo. S: Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Lionel Boyce, Abby Elliott, Matty Matheson, Liza Colón-Zayas. It’s back to the present with Edebiri finding out she’s got a late season subplot going, while Elliot is still waiting for the baby. If only she can talk to someone about their labor story, so as to perturb her plotline a bit. It’s a decent episode, but it’s all bridging. And the callbacks to flashback episodes are weird.

The Bear (2022) s03e08 “Ice Chips” [2024] D: Christopher Storer. S: Abby Elliott, Jamie Lee Curtis. Elliot’s in a jam and the only one who can help her is mom Curtis. It turns out to be the easy best episode of the season–just lots and lots of great close-up acting. While Joanna Calo slamdunks the writing, show creator Storer takes the directorial reins, which seems a little presumptious. Calo should’ve gotten that seat.

The Bear (2022) s03e09 “Apologies” [2024] D: Christopher Storer. S: Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Lionel Boyce, Abby Elliott, Matty Matheson, Liza Colón-Zayas. The review still hasn’t come in and it’s causing further problems for White, Edebiri, and Moss-Bachrach. As far as a penultimate episode, there’s not much setup. But considering they’re doing scenes from what should’ve been covered seven episodes ago… no surprise. There’s a lot of good acting and some decent character development (just nowhere near enough).

The Bear (2022) s03e10 “Forever” [2024] D: Christopher Storer. S: Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Lionel Boyce, Abby Elliott, Matty Matheson, Liza Colón-Zayas. The season finale makes the odd choice of brining in real chefs to guest star as themselves. Maybe a quarter of them are up to snuff. The rest are awkward amateurs. The episode’s all about taking advantage of having Colman guest star and punting literally everything else to next season. The whole season has just been for texture.

Evil (2019) s04e07 “How to Bandage a Wound” [2024] D: Sam Hoffman. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Andrea Martin, Christine Lahti, Jefferson White. After a dynamite opening with Lahti and Emerson, the episode punts on the outstanding revelations. Mandvi gets the most character stuff, as he starts worrying about his mental state (even more). The ghostbuster plotline quickly ties into Herbers’s house to keep things economical. Despite Martin delightfully talking to demons… the episode feels like padding around a few big developments.

Evil (2019) s04e08 “How to Save a Life” [2024] D: Tyne Rafaeli. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Andrea Martin, Christine Lahti, Wallace Shawn. The B plot involves Lahti conspiring with Martin and Shawn to baptize the antichrist, which is a lot more compelling than the team’s A plot. Colter sees something in his remote viewing and has to intervene. It might be the first time the “magic” is proven real? Though the skeptics don’t get to respond (onscreen). Great Lahti stuff, though.

Evil (2019) s04e09 “How to Build a Chatbot” [2024] D: Fong-Yee Yap. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Andrea Martin, Christine Lahti, Wallace Shawn. It’s another terrifying technology episode, except this time it’s justified. An AI chatbot mimicking the deceased is terrorizing its customers and the team needs to see if it’s demonic. Meanwhile, Emerson and Lahti play and overplay their hands. Some really good acting throughout, with Mandvi getting a particularly affecting arc. Not having the kids around always helps.

Evil (2019) s04e10 “How to Survive a Storm” [2024] D: John Dahl. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Andrea Martin, Kurt Fuller, Christine Lahti. As a hurricane hits town–complete with iffy special effects–the shit hits the fan (sometimes literally). Emerson moves in next door to Herbers to try to get her to co-parent the antichrist, while Lahti is in the end game of her attempt to take him down. Oh, and Colter finds out Emerson’s secret origin. Way too packed.

Evil (2019) s04e11 “Fear of the Future” [2024] D: Robert King. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Kurt Fuller, Patrick Brammall, Wallace Shawn. Anna Chlumsky guest stars as a mysterious woman claiming to be from the future who just happens to know way too much about Herbers’s ground situation, so everyone starts wondering if she’s legit. Meanwhile, Emerson doesn’t trust his dipshit attorney (John Carroll Lynch). And Colter gets a one-two gut punch from the Catholic Church (just bureaucracy, thank goodness).

Evil (2019) s04e12 “Fear of the Other” [2024] D: Sam Hoffman. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Andrea Martin, Kurt Fuller, Brian Stokes Mitchell. The team investigates an acquaintance of Martin’s, played by a wasted Nate Corddry. He’s having problems since finding his doppelgänger online. Plus, Emerson’s hearing has some ups and downs, and Colter finds out the Catholic church is selling his parish to pay child rape settlements. And it’ll all coincide with the apocalypse and the show’s finale. Convenient, huh?

Evil (2019) s04e13 “Fear of the Unholy” [2024] D: John Dahl. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Andrea Martin, Anthony DeSando, Wallace Shawn. After years of being indifferent to the church where the team is stationed, the penultimate episode is all about Colter getting big sads over it closing. Lots of great, almost pointless acting from Martin and Shawn. EVIL all of a sudden wants to rag on the Catholic Church. Little late. No real hints for next episode’s finale, either.

Last Week Tonight with John Oliver (2014) s11e17 “July 21, 2024: Migrant Crime” [2024] D: Paul Pennolino. S: John Oliver. Oliver starts right in with the RNC and the “migrant crime” crisis, showing it’s all a bunch of bullshit made up by lying bigots, whether the NYPD, Fox newscasters, or Democrats. It’s data-heavy but very righteous. Then the dessert is about the “oddball” Olympics, The World Games. It works well as intended; a palate cleanser.

Last Week Tonight with John Oliver (2014) s11e18 “July 28, 2024: The West Bank Settlements” [2024] D: Paul Pennolino. S: John Oliver. Oliver does his ballsiest episode maybe ever–and not just because he asked J.D. Vance to deny his couch-f**king and Vance refused. No, Oliver does an Israel and Palestine episode. Sorry, Palestine. He very pointedly refers to the land as Palestine. It’s a history of the West Bank and the settler atrocities and apartheid. Heavy and great.

Last Week Tonight with John Oliver (2014) s11e19 “August 4, 2024: RFK Jr.” [2024] D: Paul Pennolino. S: John Oliver. Taking one for the team (Team Humanity) Oliver dedicates an episode (and however much time prepping it) to RFK Jr. Turns out he’s full of shit and lies all the time. He’s also buff and hung out with lots of famous rapists. It’s a tedious episode, which Oliver acknowledges, and shows what a chore unraveling conspiracy bullshit can be.

Last Week Tonight with John Oliver (2014) s11e20 “August 11, 2024: Hawaii” [2024] D: Paul P. S: John Oliver. Some good election coverage (the first episode since Walz got selected for Dem veep), before the main story all about Hawai’i. Oliver covers the history of the islands and people, mostly focusing on how their exploitation under the British then American gun. Then how the U.S. military, billionaires, and general creeps continued screwing them over. Excellent feature.

Black Panther (1998) #25 [2000] W: Christopher Priest. A: Bob Almond, Sal Velluto. Priest wraps up big portions of the series so far, amidst a crossover issue. Aliens on Earth, Ross and Black Panther fighting them while Ross tries to resurrect the dead. Eventually they end up stranded on an alien world. The issue’s got beautiful art and strong plotting. Ross is barely sympathetic, and the resolution slight. But decent enough.

Black Panther (1998) #26 [2001] W: Christopher Priest. A: Bob Almond. Storm and Black Panther have a little superhero flying date but then have the deal with Americans rounding up stranded space alien criminals and torturing them. It’s a done-in-one story as far as that plot, but Priest is layering in all the subplots. And the main plot’s non slouch either. The final reveal is just too wild.

Black Panther (1998) #27 [2001] W: Christopher Priest. A: Bob Almond, Sal Velluto. Priest does an exquisite job plotting this one. Panther’s headed to the U.N. to talk about his military response to Lemuria. They’re mad he’s giving a “deviant” refuge (it’s a baby with mental telepathy powers and whatnot). The issue covers the moments before the trip, like Storm hanging out still. We also find out White Wolf’s scheme. Good stuff.

Catwoman (2002) #32 [2004] W: Ed Brubaker. A: Sean Phillips, Stefano Gaudiano. Selina’s back home and we get Lark and Gaudiano filling in on art. Beautifully. While Selina catches up with Bruce Wayne, Brubaker checks in on the supporting cast. Both Holly and Slam have their own subplots brewing, though no real hint at what’s next for the book. It’s some gorgeous art, but Brubaker’s lost the Selina voice.

Catwoman (2002) #33 [2004] W: Ed Brubaker. A: Diego Olmos, Jimmy Palmiotti. Brubaker seems to know he’s got voice problems too because he splits the issue into multiple first-person narrators. They’re all telling their part in Selina putting down the new rules. The book’s floundering. Even before the finale, which reveals we’re just turning back the stacks not changing them. Guest penciller Olmos is uneven but pleasant enough.

Catwoman (2002) #34 [2004] W: Ed Brubaker. A: Jimmy Palmiotti, Paul Gulacy. It’s kind of mean but the WAR GAMES crossover is just what Brubaker needs to get the book in gear. Things have to happen. Sort of. It’s mostly talking heads, then Selina kicking Mr. Freeze’s butt. Gulacy does a great Freeze. The rest, not his worst… Nice dramatics for Selina and Leslie Thompkins. And then Spoiler’s big reveal.

Catwoman (2002) #35 [2004] W: Ed Brubaker. A: Jimmy Palmiotti, Paul Gulacy. And then reality sets in and it’s just a bad crossover event. Brubaker gets a rough assignment–Batman’s deputizing the cops into the Bat Army and everyone thinks he’s a little much. Plus Spoiler’s tortured and suffering and narrating. Those pages are bad. The Selina stuff could be worse. Gulacy is pretty stretched, though. The art’s real loose.

Catwoman (2002) #36 [2004] W: Ed Brubaker. A: Jimmy Palmiotti, Paul Gulacy. WAR GAMES crossover. Not as good as the first, better than last time. Even with a boring fight between Selina and Zeiss. It’s all action with her kicking his ass, flushing the stakes from before. But Zeiss also isn’t talking so it’s less obnoxious than usual. What a toad of a character. Anyway. Could be worse crossover detritus.

Catwoman (2002) #37 [2005] W: Ed Brubaker. A: Jimmy Palmiotti, Paul Gulacy. Brubaker puts his run to bed, with a little too much Selina narration. She’s got some weird ideas. The issue is half “what kind of series has it been” and fond farewells to the cast. The Batman cameo is awkward and unnecessary. Gulacy brings back Robert Mitchum Slam. Unfortunately, the art’s barely mid. Issue’s slight but okay.

**Zorro: Man of the Dead ** (2024) #1 WA: Sean Gordon Murphy. A modern day Zorro fights the narcos with the help of his getaway car driving sister. Murphy’s got some great panels, but the story’s a little loose. The sister’s infinitely more compelling than Zorro, who’s got some mental health issues going on. Murphy plays them for laughs. But they’re also the whole idea for the book. Odd, odd choice.

**Zorro: Man of the Dead ** (2024) #2 WA: Sean Gordon Murphy. Murphy reveals the secret origin of the new Zorro–therapy failed to cure his PTSD as a kid so his uncle raised him to be Zorro (and to think it’s the 1880’s). It’s barely a plot point but it’s also a thud of a gimmick. Overall, the issue’s probably better than the first? But it’s still just pretty.

**Zorro: Man of the Dead ** (2024) #3 WA: Sean Gordon Murphy. It’s the best issue, mostly because Zorro is in the background except for action sequences. Oh, and when he seemingly has a lucid thought. Murphy’s got sister Rosa talking about taking advantage of the mental health issues, but only because even badass girls are buzzkills. The art is gorgeous, but it’s such a middling story. Zorro shouldn’t bore.

The Bear (2022) s03e03 “Doors” [2024] D: Duccio Fabbri. S: Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Lionel Boyce, Abby Elliott, Matty Matheson, Liza Colón-Zayas. It’s another montage-heavy episode, covering a month of evenings in the kitchen. Things stay tense between White and Moss-Bachrach, where Edebiri playing peacekeeper. Meanwhile, Elliott tries to keep Oliver Platt calm about White spending more than (the very busy) restaurant brings in. Excellent acting and production, but it’s getting weird they’re leaning so heavy away from narrative.

The Bear (2022) s03e04 “Violet” [2024] D: Christopher Storer. S: Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Lionel Boyce, Abby Elliott, Matty Matheson, Liza Colón-Zayas. The show needs more narrative, the show gets more narrative. After some more tonal flexes, the episode settles into a simple catch-up with the characters. Some big decisions haven’t gotten made so they can play out onscreen (someday, not yet). Nice work from Moss-Bachrach, Edebiri, and Elliot. It’s good, just a tad binge-paced with the cliffhanger.

The Bear (2022) s03e05 “Children” [2024] D: Christopher Storer. S: Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Lionel Boyce, Abby Elliott, Matty Matheson, Liza Colón-Zayas. The restaurant has to get ready for the review photographer, but Oliver Platt has also brought the accountant over for some hard truths. Plus, Elliott is about to have her baby. There’s a little character stuff for Edebiri and Boyce, then lots of it for Matheson and guest star Ricky Staffieri as they goof off. And there’s a big cameo.

The Bear (2022) s03e06 “Napkins” [2024] D: Ayo Edebiri. S: Matty Matheson, Liza Colón-Zayas, Jon Bernthal, Christopher J. Zucchero, Edwin Lee Gibson, David Zayas, Paulie James. Colón-Zayas gets a secret origin episode (secret origin flashback episode) about how she ends up working at the restaurant. Real life husband Zayas plays her husband, and we’re treated to a nice extended cameo from Bernthal. It’s a nice showcase for Colón-Zayas, but it doesn’t answer any questions about the half-over season’s trajectory.

Evil (2019) s04e02 “How to Train a Dog” [2024] D: Peter Sollett. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, Patrick Brammall, Wallace Shawn. It’s a “scary tech” episode, this time with robot white dogs (trained to hunt Black people). Despite some profoundly obvious plot holes, it’s a decent mystery with solid thrills. Colter gets lots this episode, ditto Mandvi. Herbers gets less, mostly supporting Brammall and the kids, with Lahti then getting a major subplot. Shawn’s a continued delight. EVIL’s rising.

Evil (2019) s04e03 “How to Slaughter a Pig” [2024] D: Fong-Yee Yap. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Kurt Fuller, Christine Lahti, Patrick Brammall. Despite a nice cameo from Tony Plana, and a check-in with every character (except the daughters, which makes so much room), the mystery isn’t very good. And Herbers’s seeming new plot line is pedestrian. There some great team building though. At its best, it reminds of the show’s strongest early outings. At its worst… it just never delivers.

Evil (2019) s04e04 “How to Build a Coffin” [2024] D: Darren Grant. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Andrea Martin, Christine Lahti, Wallace Shawn. It’s almost a mythology episode but only because it follows Martin on her unexpected demon hunting around the rectory. Otherwise, it’s a potpourri of story threads, one for each character. Everyone’s losing the ability to find the right words to speak. It gets a little too meta (or not meta enough), but there’s some good and great acting throughout.

Evil (2019) s04e05 “How to Fly an Airplane” [2024] D: John Dahl. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, Chukwudi Iwuji, Patrick Breen. After punting on all last episode’s big deals, the team heads to Rome because the Vatican wants to see the Catholic relic being smuggled (as part of their latest case). Meanwhile, back home, the four daughters have to take care of themselves. No one really gets anything to do? Some decent moments–funny, even scary–but it’s listless.

Evil (2019) s04e06 “How to Dance in Three Easy Steps” [2024] D: Joe Menendez. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Kurt Fuller, Christine Lahti, Chukwudi Iwuji. Yawner more than stinker episode has Herbers falling under the spell of dancer and possible witch Stella Everett. Meanwhile, Lahti finds out Emerson’s been up to no good. Well, worse no good. Maybe if Everett were compelling, or if the episode didn’t hinge on the Catholic Church not liking female autonomy; Iwuji’s particularly not charming while delivering those lines.

Evil (2019) D: Darren Grant. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Andrea Martin, Christine Lahti, Wallace Shawn. It’s almost a mythology episode but only because it follows Martin on her unexpected demon hunting around the rectory. Otherwise, it’s a potpourri of story threads, one for each character. Everyone’s losing the ability to find the right words to speak. It gets a little too meta (or not meta enough), but there’s some good and great acting throughout.

The Blob (1958) D: Irvin S. Yeaworth Jr.. S: Steve McQueen, Aneta Corsaut, Earl Rowe, John Benson, Robert Fields, James Bonnet, Olin Howland. Talky, tedious teen sci-fi picture has killer space jello terrorizing a small town. Can McQueen convince the cops he’s not just having a laugh at their expense? Some kind of acting on display abound. Better cinematography, direction, and special effects would help too. McQueen never really forecasts his glow-up, but he is in the three better scenes.

Color Out of Space (2019) D: Richard Stanley. S: Nicolas Cage, Joely Richardson, Madeleine Arthur, Elliot Knight, Tommy Chong, Brendan Meyer, Julian Hilliard. Entertaining, highly derivative H.P. Lovecraft adaptation starts as an effective (albeit trite) family horror drama about goth kid Arthur trying to magic away mom Richardson’s cancer. Dad Cage quietly goes full Nicolas Cage by the end, with very mixed results. The practical effects are iffy but the CGI works. Richardson and Arthur are great; script’s not.

Deadpool & Wolverine (2024) D: Shawn Levy. S: Ryan Reynolds, Hugh Jackman, Emma Corrin, Matthew Macfadyen, Morena Baccarin, Rob Delaney, Leslie Uggams. Cameo-filled sequel gently intros Reynolds’s obnoxious, invincible mutant mercenary into the Marvel Cinematic Universe, but mostly just wraps up leftover Fox Marvel adaptation fodder. Starting with Jackman, but with a number of surprises. Solid laughs and action; the best performance is either Corrin’s thinly written villain or Macfadyen’s dipshit time travel middle manager. Post-credits is good, too.

The Devil Rides Out (1968) D: Terence Fisher. S: Christopher Lee, Charles Gray, Niké Arrighi, Leon Greene, Patrick Mower, Sarah Lawson, Paul Eddington. Sometimes (but not enough) surprisingly okay Hammer tale of Lee and Greene trying to save their pal Mower from Satanist Gray and his cult. Along the way, Greene falls for coven member Arrighi and everyone ignores Lee’s warnings so they can have a movie. Lee’s fantastic, Gray’s not, everyone else is in between. The lousy special effects hurt too.

Fly Away Baby (1937) D: Frank McDonald. S: Glenda Farrell, Barton MacLane, Gordon Oliver, Hugh O’Connell, Marcia Ralston, Tom Kennedy, Joe King. Ace reporter Farrell is so sure blue blood Oliver is actually a diamond-stealing murderer, she’s willing to follow him around the world. Her boyfriend, copper MacLane, thinks she’s wrong but supports the endeavor. Fast paced mix of mystery and comedy has winning performances–Farrell’s a dynamite lead, Oliver’s a solid foil, and O’Connell’s delightful as the comic relief.

The Lives of Others (2006) D: Florian Henckel von Donnersmarck. S: Martina Gedeck, Ulrich Mühe, Sebastian Koch, Ulrich Tukur, Thomas Thieme, Hans-Uwe Bauer, Volkmar Kleinert. Belabored thriller slash melodrama about East German master eavesdropper Mühe getting involved in the lives of his targets–playwright Koch and actress Gedeck. Mühe’s great when he’s got material (even when it’s trite). Koch and Gedeck have less chemistry than wet cardboard. Tukur’s awesome as Mühe’s boss. While pedestrian direction and middling plotting hurt, the bland obviousness is worst.

Origin (2023) D: Ava DuVernay. S: Aunjanue Ellis-Taylor, Jon Bernthal, Niecy Nash-Betts, Emily Yancy, Vera Farmiga, Audra McDonald, Blair Underwood. Singular dramatization of author Isabel Wilkerson (Ellis-Taylor) as she decides to write her next book, which will link American racism to the Holocaust and the Indian caste system. Ellis-Taylor’s phenomenal, as is Nash-Betts as her cousin. Bernthal is great as her husband, too. DuVernay’s narrative and adaptive approach prove the concept. Exceptional work all around.

Black Panther (1998) #21 [2000] W: Christopher Priest. A: Bob Almond, Sal Velluto. Beautifully paced issue has Black Panther teaming up with Moon Knight to search the afterlife for his katra. Back on Earth, Ross continues to make bad choices as temporary Wakanda regent, including surrendering to Killmomger. Awesome art. The conclusion punts–continuing the series’s biggest problem, the endless punting. It’s still impossible to get a good idea where Priest’s headed.

Black Panther (1998) #22 [2000] W: Christopher Priest. A: Bob Almond, Sal Velluto. Oh no, is there a DEADPOOL crossover? Panther and Moon Knight fight Nightmare in the dream world. Lots of twists and turns, with Ross off to dumb antics throughout. It’s a brisk, full read, with great art. But then there are crossover hypes galore; it plays desperate. The rest of the comic’s perfectly good, with some nice dream gags.

Black Panther (1998) #23 [2000] W: Christopher Priest. A: Bob Almond, Sal Velluto. The DEADPOOL crossover concludes. Thank goodness. There’s more transphobia, misogyny, and homophobia (so, so much of the last). Some great art. Some good dialogue, but then more bad. And the lousy jokes. But Priest does get to say the Avengers are super shitty to their marginalized members. They whine their way out of the conversation. It’s pretty cool.

Black Panther (1998) #24 [2000] W: Christopher Priest. A: Walden Wong. The guest art is fine. The issue plays like a bureaucracy comedy, just with all the Wakandan details. Killmonger needs to pass rites before he’s really the Black Panther and gets the super-plant. T’Challa isn’t interested (though more interested in that situation than the many other subplots going on). It’s a different issue but a good one.

Catwoman (2002) #27 [2004] W: Ed Brubaker. A: Paul Gulacy, Jimmy Palmiotti. Seriously iffy art does the issue no favors. It’s already in enough trouble, with Brubaker spinning out and doing repeats to avoid having to move forward. We do meet Slam’s boring kid though. And another talking heads scene for Selina and Holly about whether the East End is worth fighting to save. Plus a Batman cameo. CATWOMAN’s stuck.

Catwoman (2002) #28 [2004] W: Ed Brubaker. A: Jimmy Palmiotti, Paul Gulacy. Selina underestimates Zeiss (again), getting her friends hurt (again), and learns nothing from it (again). Gulacy’s art is fairly wobbly. He’s doing it pure noir, complete with Robert Mitchum as Slam Bradley, and he’s not very good at the fight scenes or the costumes. Lots of it is fight scenes and costumes. Some nice work too, obviously.

Catwoman (2002) #29 [2004] W: Ed Brubaker. A: Jimmy Palmiotti, Paul Gulacy. So now everyone yells at Selina for not learning anything the past few issues. If only she’d learned something maybe there’d be a story. Also Gulacy’s giving up on a bunch. He still works at the Robert Mitchum as Slam thing but nothing else. Bad Gulacy eyes, not a pretty sight. Especially for talking heads. It’s a slog.

Catwoman (2002) #30 [2004] W: Ed Brubaker. A: Jimmy Palmiotti, Paul Gulacy. It’s an all-action fight issue except the fighting is limited and it’s mostly just Zeiss blathering (why are modern age Batvillains all so lame) or Selina bleeding. Brubaker seems to have decided Selina sucks and is bad at her job and everything else. Sure, Zeiss is a murderous psychopath but nothing he taunts her with is incorrect.

Catwoman (2002) #31 [2004] W: Ed Brubaker. A: Jimmy Palmiotti, Paul Gulacy. It’s an incredible ending, with Brubaker doing a TEMPLE OF DOOM-esque romance novel story where Selina has to escape an arranged marriage. The issue is a complete mess and miss, with Gulacy doing all scantily clad Selina, contorting. Someone had a bad idea and never improved on it because the book just crashed into a wall. The pits.

Deadpool (1997) #44 [2000] W: Christopher Priest. A: Jim Calafiore, Jon Holdredge. A BLACK PANTHER crossover. While T’Challa recuperates, Deadpool goes after Killmonger Black Panther’s pet at Avengers Mansion. Deadpool’s villainous supporting cast bicker along the way (transphobic and sexist from the dude). Tony Stark worries about the stock market. Impressively full, but also desperately unfunny. They also take a “Deadpool isn’t racist for saying that if the writer’s Black” stance.

American Gothic (1995) s01e17 “Learning to Crawl” [1996] D: Michael Lange. S: Gary Cole, Lucas Black, Paige Turco, Brenda Bakke, Sarah Paulson, Nick Searcy, John Mese. After a near death experience, Black goes fishing with Cole, only to get in the middle of Cole messing with Bakke and Mese’s date night. And to interrupt kidnapper Ted Raimi and company. Good acting from the regular cast can’t compensate for the terrible performances from the guest stars or the direction. Or the neglectful writing. Very low okay.

The Bear (2022) s03e01 “Tomorrow” [2024] D: Christopher Storer. S: Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Lionel Boyce, Abby Elliott, Matty Matheson, Liza Colón-Zayas. The show does one of its concept episodes–a flashback filled montage showing White at various points in his professional career. Sometimes they even involve returning guest stars, just in for cameo bits. There are some reveals (it’s a mythology episode), but it’s mostly just exquisitely done food p*rn. Great direction from Storer. The best possible (narrative) dodge.

The Bear (2022) s03e02 “Next” [2024] D: Christopher Storer. S: Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Lionel Boyce, Abby Elliott, Matty Matheson, Liza Colón-Zayas. Intense, initially Edebiri-fronted episode before it widens to the group and does a proper follow-up to last season’s finale. Some outstanding curse banter exchanges between White and Moss-Bachrach. Great performances. Oliver Platt shows up for some fun, and there’s a nice, unexpected coda. BEAR’s ripping. And the opening titles Chicago montage is a winner.

The Boys (2019) s04e06 “Dirty Business” [2024] D: Karen Gaviola. S: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Jessie T. Usher, Laz Alonso, Karen Fukuhara. The show pushes the gross-out, even for it, as Quaid goes undercover as the Spider-Man analog in the Batman analog’s mansion. Well, the cave. Upstairs it’s Starr trying to court the 1% of the 1% into a coup, downstairs it’s even more objectionable. And then there’s a lot for Urban to figure out on his own.

The Boys (2019) s04e07 “The Insider” [2024] D: Catriona McKenzie. S: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Laz Alonso, Tomer Capone, Karen Fukuhara. The show remembers it’s the season finale next time, so after a relatively chill episode–minus the bad guy tearing their skin off (intentionally, so they can shape-shift) and things getting worse for Capone, Jesse T. Usher, and Chace Crawford (series best work from the latter two)–things get wild. And double and triple wild. Alonso’s awesome too.

The Boys (2019) s04e08 “Season Four Finale” [2024] D: Eric Kripke. S: Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Laz Alonso, Tomer Capone, Karen Fukuhara. Powerhouse season finale gives lots of folks great scenes, starting with Urban and Moriarty (probably her best episode, acting-wise, to date), with Starr getting some great material too. And Claudia Doumit. Can’t forget her. Things just get progressively worse for the gang, as Urban lays dying and Moriarty’s imposter’s got her prisoner. Tense, passionate, knowing; real, real good.

The Equalizer (2021) s04e07 “Legendary” [2024] D: Tamika Miller. S: Queen Latifah, Tory Kittles, Adam Goldberg, Liza Lapira, Laya DeLeon Hayes, Lorraine Toussaint, P.J. Boss. Exquisite righteous violence episode has Latifah searching for daughter Hayes’s missing friend, a trans teenager (Avery Sands). Yasha Jackson plays Sands’s (understandably) panicked mom. She’s real good. Meanwhile, Toussaint goes to visit her reformed mugger from last season, Sosko; they have a nice but complicated visit. The sometimes amateurish guest performances are still earnest and the script’s rock solid.

The Equalizer (2021) s04e08 “Condemned” [2024] D: Cheryl Dunye. S: Queen Latifah, Tory Kittles, Adam Goldberg, Liza Lapira, Laya DeLeon Hayes, Lorraine Toussaint, Stephen Bishop. Latifah, Toussaint, and Hayes go to their annual block party, have gentle adventures, and learn important lessons. It’s a concept episode. Except, meanwhile, Kittles is shooting it out with the mob (in a bickering buddy pic with dad Danny Johnson). While it’s fun to see director Dunye do action sequences and Kittles is good, script’s a tad thin.

The Equalizer (2021) s04e09 “The Big Take” [2024] D: Millicent Shelton. S: Queen Latifah, Tory Kittles, Adam Goldberg, Liza Lapira, Laya DeLeon Hayes, Lorraine Toussaint, Deepti Menon. Sometimes okay, sometimes not good episode has Latifah and Kittles teaming up to take down his partner-killing nemesis (returning guest star Berto Colon, who’s… low energy; the writing doesn’t help but… low energy). They bicker over approach and Kittles has his worst episode in ages. But Hayes and Toussaint have a perfectly solid mini-episode with squatter Menon.

The Equalizer (2021) s04e10 “Shattered” [2024] D: Darren Grant. S: Queen Latifah, Tory Kittles, Adam Goldberg, Liza Lapira, Laya DeLeon Hayes, Lorraine Toussaint, Donal Logue. It’s the season finale, with some early forecasts at cast changes. Before the shake-up, Lapira finds herself in unexpected danger with the team racing to save the day. Sadly, it’s the network-mandated Islamophobic episode so it’s a bad A plot. Hayes’s educational future should be the B plot, but gets downgraded. Maybe the cast refresh will help.

Evil (2019) s04e01 “How to Split an Atom” [2024] D: Robert King. S: Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Andrea Martin, Christine Lahti, Patrick Brammall. Is it really good or is it just Wallace Shawn joining the cast as the team’s boss? It’s really good (because Herbers finally gets to let loose). And they’ve got a doomsday clock (multiple ones, actually). Maybe it’ll be a good last season. The cast deserves it. Mandvi gets a good subplot too. Colter… not so much.

Last Week Tonight with John Oliver (2014) s11e16 “June 23, 2024: UK Elections” [2024] D: Paul Pennolino. S: John Oliver. The feature’s all about the July 4th UK election and what utter wankers the Tories have been for the last fourteen years. It’s a well structured episode, with great recaps for the familiar audience member, while still being geared towards less familiar viewers. Lots of good laughs at terrible people. Oliver rarely does one for the homeland; nails it.

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.

Black Panther (1998) #8 [1999] W: Christopher Priest. A: Amanda Conner, Jimmy Palmiotti, Joe Jusko, Vince Evans. After a pretty but narratively pointless flashback to T’Challa’s first adventure with Captain America, it’s back to the present. A crowd of Black New Yorkers want to see Black Panther. The NYPD wants to shoot them for being lawfully assembled. Will the cops even listen to Captain America? Plus, international intrigue, ex-girlfriends, and assassination attempts. Good as usual.

Catwoman (2002) #13 [2003] W: Ed Brubaker. A: Cameron Stewart. Just as everything starts coming together for Selina and company, an unseen enemy conspires to take everything away. There’s a lot of good material, lovely timing, great art, but the mix of sweet and sour is off for the ending. There’s a too effective thriller scene following a too effective action sequence. Oh. The arc’s called “Relentless.” Got it.

Werewolf by Night (1972) #39 [1976] W: Doug Moench. A: Don Perlin. Despite some serious hiccups, not to mention Jack immediately returning to the friends he said he was forever abandoning, it’s not too bad. There’s some bad art, sure, but Brother Voodoo is a decent guest star and the characters are all sincere in their concerns. And Jack does have a decent surprise development. But the cliffhanger is utter nonsense.

Werewolf by Night (1972) #40 [1976] W: Doug Moench. A: Don Perlin. It’s the worst writing from Moench in a while. Pointless references, low-key racism (so Jack’s on point), the too much padding. The werewolf and Brother Voodoo might zombies. Lots of fighting, while Jack discovering he has more control of wolfing out. The finish is more can kicking from Moench. I can’t believe they’re back to promising big changes.

Werewolf by Night (1972) #41 [1976] W: Doug Moench. A: Don Perlin. More putting things in order has Wolfman Jack in full control, fighting monsters and old foes. It’s fantastical and silly. But there’re lots of little Perlin panels, which still charm. Also, Moench–in Jack’s first-person narration–finally contextualizes that narration: Jack’s journaling, sometime after the fact. Kind of compelling (because Topaz is in danger, really), kind of not.

Werewolf by Night (1972) #42 [1977] W: Doug Moench. A: Don Perlin. Jack and Topaz go to New York City to celebrate his being able to control good lycanthropy. Before they know it, he’s playing superhero only to get in a fight with Iron Man. Then Jarvis shows up. It’s a lot, but Perlin’s much better with Iron Man than wolf men. Moench’s desperately enthusiastic; last ditch effort before cancellation.

Werewolf by Night (1972) #43 [1977] W: Doug Moench. A: Ernie Chan. Despite Moench closing the series with the cancellation announcement, WEREWOLF leaves some loose threads. The story wraps the Iron Man team-up, complete with Jarvis being a weirdo about Jack. Moench’s narration is bland and omnipresent, but they’re fighting a giant robot with the traits of an ape, an alligator, and a cheetah. It’s silly, and an unfortunate finish.

The Big Door Prize (2023) s02e04 “Storytellers” [2024] D: Heather Jack. S: Chris O’Dowd, Gabrielle Dennis, Josh Segarra, Sammy Fourlas, Djouliet Amara, Patrick Kerr, Aaron Roman Weiner. Never mind, they’ve lost the plot with Amara and Fourlas again. And O’Dowd’s post-date guilt becomes a thing. Though it does rescue Dennis from an overwrought gal pals subplot. About the only solid material is for Kerr and Weiner, who bond over incomplete memories. Segarra’s got some funny moments. For everyone but Kerr, the show’s vamping for time.

Doctor Who (2005) s14e03 “Boom” [2024] D: Julie Anne Robinson. S: Ncuti Gatwa, Millie Gibson, Joe Anderson, Caoilinn Springall, Bhav Joshi, Susan Twist, Varada Sethu. So good I recommended it to a real human person show-off episode written by former show runner Steven Moffat. It’s anti-war, anti-capitalism, anti-religion. Gatwa is stuck on a land mine. But still rescues Gibson and the assorted guest stars from a war planet. Real good acting. Gates’s the most accessible Doctor ever.

Beacon 23 (2023) s02e06 “Luan Casca” [2024] D: Lewin Webb. S: Hannah Melissa Scott, John Kapelos, Milton Barnes, Diane Johnstone. The show punts the shark-jumping decision for a flashback episode, with Scott playing a teenage version of Lena Headey’s (still) deceased season one lead. Scott shows up as a beacon-keeper trainee to Kapelos’s working-class hero. It turns out they’ve both got secrets, but only one involves a mystery man (Barnes). Kapelos’s good; Scott’s making admirable swings.

The Big Door Prize (2023) s02e03 “Power & Energy” [2024] D: Heather Jack. S: Chris O’Dowd, Gabrielle Dennis, Josh Segarra, Sammy Fourlas, Djouliet Amara, Ally Maki, Justine Lupe. On his first night “separated” from Dennis, O’Dowd starts an iffy arc with a date; fellow teacher Lupe. Meanwhile, Dennis gets trapped in a social situation with mean mom Crystal R. Fox. Hopefully, Lupe’s not supposed to be likable because she’s not. Some fun Segarra, and Fourlas and Amara recover their balance on screen. But the show is rocking.

Crashing (2016) s01e04 “Episode 4” D: George Kane. S: Damien Molony, Phoebe Waller-Bridge, Jonathan Bailey, Louise Ford, Julie Dray, Adrian Scarborough, Amit Shah. It’s… next level. Not just the best episode of an excellent series, but double it. Or more. Molony and Waller-Bridge have an old school hangout adventure, while Ford discovers herself after an accident. Then Bailey’s taking his new flirt-jerk thing with Shah to even more extremes. Series best acting from everyone with enough to do. Including Molony.

Doctor Who (2005) s14e02 “The Devil’s Chord” [2024] D: Ben Chessell. S: Ncuti Gatwa, Millie Gibson, Jinkx Monsoon, Chris Mason, George Caple, Jeremy Limb, Kit Rakusen. Interdimensional god Monsoon arrives in the 1920s to steal all the music for themself, then running into Gatwa and Gibson in the sixties when Gibson wants to see The Beatles. Can Gatwa and Gibson save music itself? Gatwa and Gibson maintain their charm, even in what amounts to a special effects extravaganza action episode. Monsoon’s fun. It’s just thin.

Doctor Who (2005) s14e01 “Space Babies” [2024] D: Julie Anne Robinson. S: Ncuti Gatwa, Millie Gibson, Angela Wynter, Michelle Greenidge, Golda Rosheuvel. Gatwa and Gibson kick off the regular series with an obnoxiously adorable outing involving a bunch of super intelligent babies trapped on a space station with a monster. The monster gives major ALIENS vibes, so there’s some nice contrasts. It’s funny, yucky, charming, and extremely charming. Gatwa continues to be a delight, Gibson’s coming along; it’s absolutely wonderful.

Last Week Tonight with John Oliver (2014) s11e10 “May 5, 2024: Public Libraries” [2024] D: Paul Pennolino. S: John Oliver. It’s another crowd pleaser episode with the feature covering attacks on public libraries throughout the United States. Well, maybe not throughout. Lots of solid jokes, and some good running bits. The news of the week covers students protesting Israeli’s attack on Palestinians, which gets fairly heavy. The library feature gives Oliver something where civic involvement still has a chance.

Black Mirror (2011) s03e02 “Playtest” [2016] D: Dan Trachtenberg. S: Wyatt Russell, Hannah John-Kamen, Wunmi Mosaku, Ken Yamamura, Elizabeth Moynihan, Jamie Paul. Appealing performance from Russell doesn’t make up for the rest of the episode, which is a “plug-the-brain-into-the-computer and not know reality anymore” story. Charlie Brooker’s script doesn’t bring anything to the genre. John-Kamen is good as Russell’s love interest, Mosaku as the technician talking him through the “experience.” The performances deserved better writing.

Beacon 23 (2023) s02e05 “Song of Sorrow” [2024] D: Ayoka Chenzira. S: Stephan James, Natasha Mumba, Noah Lamanna, Ellen Wong, David Tompa, Tenika Davis, Dylan Taylor. Did BEACON 23 just jump the shark? Maybe. After bringing in guest star Tompa, who doesn’t appear to be a professional actor, James and Wong find themselves contending with even more unexpected horse guests. It’s an exceptionally weird episode. Including major world building exposition dumps, which terrify because the show’s awful with those devices. Wong’s great, James looks bored.

The Big Door Prize (2023) s02e02 “Visions” [2024] D: Steven K. Tsuchida. S: Chris O’Dowd, Gabrielle Dennis, Josh Segarra, Sammy Fourlas, Djouliet Amara, Damon Gupton, Ally Maki. Ish episode about O’Dowd and Dennis deciding to go ahead with their “don’t call it a” separation. Plus awkward social moment comedy, the fortune telling machine actually being magic, and not much else. Either they’re all too one dimensional or it’s a LOST situation. Seems like the former. Good Gupton performance. He’s the only standout. Again, concerning.

Crashing (2016) s01e03 “Episode 3” D: George Kane. S: Damien Molony, Phoebe Waller-Bridge, Jonathan Bailey, Louise Ford, Julie Dray, Adrian Scarborough, Amit Shah. Best episode so far about an extremely uncomfortable dinner party for the regular cast. Molony’s making multiple curries, Waller-Bridge’s getting drunk, Ford’s getting embarrassed, and Bailey’s getting jealous. Very intricate cringe humor–Waller-Bridge’s script this time is phenomenal–and some good laughs as well. Excellent performances, pacing, timing, all the things. It’s an exceptional half hour.

My Life Is Murder (2019) s04e02 “Tough Love” [2024] D: Michael Hurst. S: Lucy Lawless, Ebony Vagulans, Rawiri Jobe, Joseph Naufahu, Lisa Chappell, Chelsie Preston Crayford, Anna-Maree Thomas. It’s murder at the country club when a jerkhole tennis pro (Jonno Roberts) ends up dead on the court–killed by his own tennis ball machine. Likable supporting cast of suspects (prick victim helps) gives everyone a nice featured scene or two. Lawless gets to have fun messing with fellow private investigator Chappell. They’ve got their formula down.

My Life Is Murder (2019) s04e01 “To Dye For” [2024] D: Michael Hurst. S: Lucy Lawless, Ebony Vagulans, Rawiri Jobe, Joseph Naufahu, Erik Thomson, Albert Cho, Albert Cho,Sia Trokenheim. Lawless and Vagulans are back with a straightforward murder mystery episode–a wellness influencer washes up on a beach, only she’s been drowned with champagne, not water. And she left her estate to her cat. The investigation quickly focuses on Thomson’s hair salon and rising star Cho. Lots of twists and turns to fill the runtime, but it’s swell.