JamieClaye Reviews

Carol & The End of the World (2023)

Beautiful but depressing as hell

[5/10 · 22 December 2023]

"Carol & The End of the World," Netflix's latest offering, presents a unique visual journey that plunges deep into existential themes, yet its heavy, melancholic tone might not resonate with everyone. Set against an apocalyptic backdrop where Earth is destined for destruction in six months (similar to Melancholia), the series mirrors the current global mood of existential dread, making it a poignant but heavy watch.

The show's narrative centers on Carol, who clings to mundane routines amidst chaos, offering a bleak commentary on human resilience and futility. This central plot, while thought-provoking, adds to the series' overall sense of despair. Each episode, exploring different human responses to the end times, reinforces a feeling of inescapable doom, resonating uncomfortably with the viewer's own anxieties in today's troubled world.

Visually, the series stands out with its unique, yet divisive, animation style. Reminiscent of the comic strip "Cathy," the characters are drawn with exaggerated, stark features that might not appeal to all. This artistic choice, while bold, often feels jarring and can detract from the emotional depth of the story.

A particularly peculiar aspect is the consistent depiction of a strange black shadow under the characters' chins, resembling a beard or an odd opening in their necks. Intended perhaps to symbolize the overshadowing apocalypse or internal turmoil, this feature tends to be more distracting than meaningful, adding an element of visual dissonance to the already heavy narrative.

The series' humor, dark and sarcastic, provides occasional relief but is often overshadowed by the prevailing mood of melancholy. "Carol & The End of the World" thus walks a fine line between being emotionally resonant and oppressively somber.

Concluding in a manner reminiscent of Lars von Trier's "Melancholia," the show leaves viewers with a profound sense of desolation. It's an artistic endeavor that delves into the ephemerality of human existence and the inevitability of fate, yet its overwhelming thematic gravity can be challenging to endure.

In summary, while "Carol & The End of the World" is visually striking and thematically deep, its depressing undertone and challenging animation style make it a demanding watch. The series is a significant contribution to existential storytelling, yet its appeal might be limited to those who can endure its heavy emotional and intellectual demands.

Leave the World Behind (2023)

The Monsters Are Due on Maple Street! (did it better)

[2/10 · 10 December 2023]

For those who haven't experienced the iconic "Twilight Zone" episode "The Monsters Are Due on Maple Street," you might find it offers a more satisfying narrative experience compared to "Leave the World Behind." The Netflix film, while echoing several themes from the classic TV episode, such as the unraveling of societal norms in the face of unexplained events and the resulting human paranoia, falls short in delivering a similarly impactful conclusion.

The anticipation for a twist or revelation akin to what "The Twilight Zone" famously delivered is palpable throughout "Leave the World Behind." However, this expectation remains unfulfilled, leaving a sense of incompleteness by the film's end. Additionally, the movie's duration feels unnecessarily prolonged. At a point, it becomes evident that a tighter, more concise storytelling approach, possibly trimming the film by about an hour, would have been more effective.

Moreover, the film is laden with numerous subplots and elements that seem to distract rather than enrich the main narrative. These aspects, which initially appear intriguing, ultimately don't contribute significantly to the story's progression or thematic exploration. This leads to a feeling of dissatisfaction, as these narrative strands neither converge meaningfully nor enhance the overall understanding of the film's central message. In essence, while "Leave the World Behind" shares thematic ground with "The Monsters Are Due on Maple Street," it unfortunately lacks the same level of narrative cohesion and impactful storytelling.

30 Rock: Live Show (2010) Season 5, Episode 4

Tina Fey, what happened to you?

[10/10 · 1 September 2023]

Dear Ms. Fey,

Given the recent scrutiny surrounding specific controversial episodes of "30 Rock", there's been a significant push towards censoring or removing particular content deemed inappropriate. While it's essential to be sensitive to evolving societal values, it's also crucial to preserve the artistic integrity and audacious spirit of the show that has resonated with so many.

Rather than erasing these episodes or moments from history, a more balanced approach might be to include a disclaimer before each episode. This would inform viewers of potential content that some might find offensive, allowing them to make an informed choice about their viewing. By leading every episode with this disclaimer, you'd be recognizing the changing cultural landscape while also standing firm against the complete erasure of art.

"30 Rock" has always been a beacon of comedic genius due to its unapologetic irreverence. Implementing a disclaimer respects the audience's intelligence and choice, without surrendering to the sweeping waves of cancel culture. Your voice, humor, and perspective are invaluable in these times. We hope you'll consider this balanced approach.

Warm regards,

30 Rock Fans.

30 Rock: Live from Studio 6H (2012) Season 6, Episode 19

The Beat down goes on!

[10/10 · 1 September 2023]

In an era where comedic bravery faces constant scrutiny, "30 Rock's" "Live from Studio 6H" episode stands in the spotlight. This live broadcast, a daring nod to television's golden age, finds itself under the microscope of cancel culture. Among the historical parodies, Jon Hamm's portrayal in blackface is a flashpoint for debate. Yet, where is the outcry over other controversial sketches?

With the myriad of boundary-pushing jokes throughout this particular episode, some might argue that "Live from Studio 6H" should be buried in the annals of TV history, forever hidden from future viewers. But if we begin censoring such episodes, where do we draw the line?

"Live from Studio 6H" epitomizes "30 Rock's" brilliance and its brazen approach to comedy. At a time when the world seems to have lost its funny bone, this episode reminds us of the fearless spirit of live television, unafraid to challenge and provoke.

Are we on the brink of a world where live, spontaneous humor is extinct? If we keep putting every comedic endeavor under the intense scrutiny of cancel culture, might we forget the joy of unscripted laughter? It's crucial to celebrate creativity, even as we critically engage with it. The future of comedy hangs in the balance.

30 Rock: Christmas Attack Zone (2010) Season 5, Episode 10

Cancel Christmas Culture at its finest

[10/10 · 1 September 2023]

So, "30 Rock" is now the latest show getting heat, all because Jenna tried to be like Tracy for a joke. But when Tracy did the opposite and painted his face white? Crickets. Why's no one talking about that?

Honestly, with all the edgy jokes in this show, it's like people want to delete the whole thing from the internet. Like, are we just gonna cancel everything?

The coolest part about "30 Rock" was how it just didn't care and made fun of everything. Now, with everyone getting mad over every little joke, it feels like we're losing our sense of humor.

Seriously, if we keep this up, will we even know how to take a joke in the future? Cancel culture is like zooming in on every tiny mistake and forgetting how awesome the big picture is. It's kinda wild.

30 Rock: Believe in the Stars (2008) Season 3, Episode 2

WTF is wrong with people?

[10/10 · 1 September 2023]

In a world where humor is seemingly on trial, "30 Rock" has become the latest defendant. Jenna, in her audacious attempt to portray Tracy, has led the show to face the guillotine of cancel culture. But what about when Tracy donned WHITE FACE? Why hasn't there been an uproar about that?

The sheer number of politically incorrect jokes in this show could lead one to believe that every single episode should be locked away in the vaults of television history, never to be seen again. If we go down this rabbit hole, where does it end?

What made "30 Rock" a beacon of comedic genius was its unapologetic irreverence. In an era where laughter is under siege, this show dared to poke fun at the very noise drowning our society.

It seems we are on the precipice of a humorless abyss. If we continue down this path, will we even remember how to laugh? The magnifying glass of cancel culture seems to be amplifying the most minute of faults, casting shadows over the brilliance of creative freedom. The end is nigh!

Passengers (I) (2016)

Passengers: A Voyage Through Visual Splendor and Narrative Black Holes

[3/10 · 1 August 2023]

"Passengers" is a film that compels the audience to make a considerable number of leaps in order to fully engage with its narrative. This sci-fi romance, although visually stunning and bolstered by strong performances from its lead actors, is built on a foundation riddled with numerous cracks.

The ship, designed to accommodate 5,000 passengers and 258 crew members, houses only a single AutoDoc facility-an exceedingly impractical design choice (other than a bad plot device).

Then there is an inconsistent representation of artificial gravity. As the ship's rotation (its source of gravity) slows, gravity is lost gradually, yet it returns instantaneously when the system is restored-a scenario that contradicts basic physics.

As a plot convenience the crew is in hibernation behind an impenetrable hatch. Conveniently one does get 'accidentally' revived later a deck chief (Gus). Where was his pod, not behind the locked hatch apparently.

Anyway, typically a Deck Chief would oversee the ship's various systems, coordinate the activities of the crew within his jurisdiction, and ensure the general safety and efficiency of operations. As Gus discovers he's about to die because of (reasons) they never think to awaken another crew member to help with the current crisis. This is the way, can't have a pesky competent crew member interfering with the intended drama.

Now, the ship's internal system, baffling in both design and operation, is another puzzling aspect of the film. Despite the advanced technology onboard, the system seems fully capable of recognizing multiple severe errors and how long it will take before the ship dies but it chooses not to awaken the necessary crew members? This flaw seems particularly egregious considering the voyage's duration and the sheer number of lives at stake.

Compounding these shortcomings, the ship lacks a contingency plan for reasonably foreseeable issues such as meteor strikes or system anomalies. I mean hell, my car's engine light comes on if the gas cap isn't closed properly.

Another plot convenience is the ship's inability to return passengers to a state of hibernation once awakened- clearly a narrative contrivance required to propel the story.

Worth noting, however, is the passengers' state for the journey is referred to as 'hibernation,' a physiological state of inactivity in animals, quite distinct from 'suspended animation' or 'cryogenics' commonly depicted in sci-fi narratives. You would grow older if you simply hibernated. Not sure why they didn't simply call it cryogenic sleep or suspended animation but frankly with all the other technical issues this is trivial.

Similarly baffling are the personal decisions of the characters. Opting not to have children during their many decades alone, or Aurora's self-deprecation about her work despite available communication channels, are incongruities that add to the list of narrative inconsistencies. Hell, after discovering the AutoDoc can put you into suspended animation (why there could only be one) they could have just alternated times awake thus significantly reducing their aging at minimum by 33% (one month awake, one together, one hibernating).

Another significant plot hole revolves around the ship's inconsistent access system. Jim Preston enjoys elaborate meals and activities, despite the same identification preventing him from indulging in simple luxuries like premium coffee. This discrepancy suggests a flawed design or perhaps a missing scene explaining a system hack.

"Passengers" presents an intriguing concept but challenges the audience with a multitude of logical inconsistencies and plot holes. While it offers a visually appealing journey exploring complex themes of isolation, love, and morality, this journey is marred by a series of questionable design and narrative choices that undercut the film's overall impact.

Awarding +3 stars for the visual effects and deducting -7 for the story.

Star Trek: Strange New Worlds: Under the Cloak of War (2023) Season 2, Episode 8

Was this episode rushed because of the pending writer's strike?

[2/10 · 28 July 2023]

The recent episode 'Under the Cloak of War' of Star Trek: Strange New Worlds serves as a stark reminder of the series' unfortunate detour from the essence of Star Trek. The issues are manifold, but the focus on vigilante justice, insubordination, and anachronistic war depictions strike as especially egregious.

Dr. M'Benga's "dark" character arc, involving a premeditated murder with no consequential actions, leaves a bitter taste. Similarly, Captain Pike's surprisingly placid response to this blatant breach of ethics and Federation law seems out of place. The insubordination by the crew, spearheaded by 'Number One' and character Ortega, adds to the episode's disappointing trajectory.

The presentation of this episode also raises eyebrows. The shift from a previous cartoonish episode to a (yet to be seen) musical was a jarring transition, indicating a series in disarray, echoing problems that similarly befell Star Trek: Discovery. Perhaps the quality of the episodes might be attributed to the looming writers' strike, potentially rushing the creative process and marring the overall narrative.

The attempt to juxtapose ground warfare in an era of photon torpedos and transporters seems anachronistic, highlighting a disconnect in the writers' approach to this episode. It feels like Star Trek: Strange New Worlds is heading towards an abyss of irrelevance, straying far from its Sci-Fi roots. This episode, although not the worst of this faltering second season, still underlines the deteriorating quality of the series.

The show's departure from the classic Star Trek principles may prompt die-hard fans to reconsider investing time in knitting or learning to line dance.

Unless future episodes bring about a dramatic turnaround, fans may be left to wonder whether the hopeful title 'Strange New Worlds' was a false promise.

Star Trek: Strange New Worlds: Those Old Scientists (2023) Season 2, Episode 7

Skip this one - unless you want to hate the show

[2/10 · 28 July 2023]

This cross-over episode sucks, I'm even writing this while watching it, there is no good reason to have had this insipid script.

They snuck it on to the stream on a Saturday Night, no doubt this is the night Upper Deckers (oh wait, Lower Decks) airs.

Like many, we only noticed it when looking for the Thursday show and thought there was a listing error when Upper Deckers cartoony look introduced the episode.

Cross-over time travel episodes blending a goofy cartoon series with a serious non-cartoon series pose immense risks. These audacious endeavors can disrupt the consistency of tone and character development. They risk alienating audiences by juxtaposing comical, fantastical elements with the grave and grounded realism that non-cartoon series typically embody. Furthermore, the leap from 2D animations to live-action characters can feel incongruous, creating an immersion-breaking experience. Conclusively, such cross-overs should be avoided to preserve the integrity of both series.

The Bear: The Bear (2023) Season 2, Episode 10

Sloppy ending to a great season

[3/10 · 2 July 2023]

This latest episode left me with mixed feelings. There were noteworthy moments, but poor scriptwriting spoiled my overall enjoyment.

The key plot point - Carmen getting locked in a walk-in fridge - was poorly set up. His responsibility to fix a faulty handle and the lack of a typical internal safety release left me scratching my head. The fact that this faulty latch wasn't spotted during previous safety inspections further disrupted the plot's realism. Was there a cut scene where they paid off an OSHA official? This plot device was so contrived and poorly executed, I'm shock that it made it past the first script revisions.

Then, Carmen's monologue, revealing his worries about his new relationship distracting him from his restaurant, felt forced. It was made worse by his girlfriend silently (predictably) eavesdropping outside the refrigerator. Any concerned partner would surely announce her presence, once she arrived there.

Towards the end, characters elect to cut open the fridge door to free Carmen. It was annoyingly clear that the latch could have been unscrewed with a screwdriver, especially since they had a handyman, working front of house, who carries a screwdriver. Furthermore, why didn't anyone call emergency services, who could have arrived discreetly? 'Jaws of life' took the knight off?

What frustrated me the most was how this episode, meant to cap off a great season, fell short due to weak writing and glaring inconsistencies.

I hope the creative team considers this feedback, assuming they read it (doubtful).

Regardless, this rant was cathartic.

New Amsterdam: How Can I Help? (2023) Season 5, Episode 13

The future sure looks grim

[1/10 · 2 February 2023]

So the scenes with 'Dr. Luna' have to be 30 years into the future AND this is what the future looks like? All the cars on the street are from now (no hover cars, delivery robots, police drones) and the hospital and tech all looks the same. So, in 30 years health care will still be a huge mess? Wonderful.

Wish this show had ended when the pandemic hit but it didn't - maybe after the low rated Roe V Wade episode and many of the other progressive themed failures they felt they needed to pull the plug on this disaster.

The show was SO predictable (from the start), contrived, dangerously wrong medically, overly maudlin, and often (almost) unbearable to watch. My wife watched it because of the train wreck effect.

I would often come in and out of the room as she plowed through the episodes, were I would predict - oh that one is a lesbian, that one will hook up with that one and so on then one of them will have to leave for (St.) Elsewhere. She often 'hated' when I was right.

This was no ER, Saint Elsewhere or Chicago Hope. Often we would watch Scrubs just to cleanse ourselves of the crap writing in NA.

Anyway - I can't tell you how happy I was when this finally ended and how cathartic writing this stupid review has been.

Don't get me started.

Last Night in Soho (2021)

Don't waste your time - started well but ended poorly

[3/10 · 8 January 2023]

Some (mostly) great casting and very clever visual effects could not save this from an empty and insulting ending.

As many have pointed out, the first half of the film is very entertaining and mysterious but when the train derails in the second half, it's quite the wreck.

First we're shown that a young girl (Eloise) who is heading off to design school can see her dead mother (magically through mirrors of course). But is that insanity or metaphysical? She hints that her mother died of some mental malady.

At school, she is immediately rejected by the cool girls. Eloise slowly develops a relationship with one of the few young male leads who is also attending the fashion design school and is also (hard to believe) straight. Did I mention he is black? That felt like a 'check mark' on a progressive achievement list. Not that there's anything wrong with that. He seems like a nice young actor but was one of the weaker characters in the story.

Because the mean girls are so mean, Eloise moves out of the school dorm, renting a nearby loft. The landlord is a stern but reasonable matron (Diana Rigg).

Eloise's first night sleeping in the loft is magical and (via her dream?) she finds herself transported back to the 60s where she is both herself watching and Sandie, a young woman with stars in her eyes. This is where many of the very clever visual effects take place as Eloise and Sandie are swapped out on camera and in mirrors. This is why I gave this movie 3 stars.

Life as/with Sandie seems to be wonderful and magical with Eloise even getting a hickey from her nocturnal adventures. The story starts to get dark as Eloise discovers Sandie has descended into the life of a prostitute that 'evil men' forced her into with the lure of stardom. When Eloise sees/dreams that Sandie gets murdered and she and her new boyfriend take on the task of unmasking the killer.

I should note, the story takes place in our modern day world, however the technology that we're immersed in makes rare appearances. Eloise does have a smart phone in one scene but instead uses a pay phone to call her grandmother later. NO ONE uses smartphones in any significant manner (not even the mean girls) and later when Eloise is researching the murder she thinks she witnessed, she goes to the public library instead of Google. Maybe if they had established that she rejects smartphones OR had problems with her phone's battery that could justify this contrivance but NO ONE EVER in ANY PUBLIC SCENE is seen using a smartphone. Obviously this is some alternative reality the writer needed to make the story (in their head) work.

When the macabre events of seeing dead face distorted men increases, the 'train' finally derails and falls into the abyss.

It was clear Diana Rigg was going to have a key roll but are you ready for this? Turns out she is a serial killer of 20+ men - she hid the bodies in that very loft 60 years ago. She managed to kill them brutally, clean up the mess, hide the bodies under the floorboards, mask the smell, evade any investigations and continue on her day-to-day life, eventually earning enough money to buy the building with the loft. Boy is that a lot to let go of.

When it is revealed to Eloise that Rigg is Sandie AND the killer, a chase ensues resulting in an ashtray with a lit cigarette falls into a bin with a collection of vinyl records. Suddenly the house is ablaze and dead men rise from every possible cliché location.

Eloise realizes she chose the wrong loft to rent.

After chasing Eloise into the loft, Diana Rigg's character realizes she has been found out and accepts her fate to burn to death and Eloise and her boyfriend escape DIAF.

Not a fitting farewell to Diana Rigg.

And to add insult to injury, the final scene is a year later - Eloise's fashion show debut. Hideous designs on gender neutral looking models. She sees her happy mom in one mirror and in the final twist, she looks into another mirror and there is Sandie.

I mean what the eff?

If you like train wreck endings, this is a good film to study.

Quantum Leap: Somebody Up There Likes Ben (2022) Season 1, Episode 3

Leaping the shark? Oh boy.

[3/10 · 7 October 2022]

Well it's the third episode and all I can say is anything goes now that they've opened up the 'leaping zone' to any time anywhere and added the second hologram station? Or will it be a second leap station? (meh)

This means Ben could leap into some of the same times as Sam or even further back in history - heck, could he and Sam leap into the same body at the same time, why not?

They still haven't discussed the waiting room, at all that I can recall.

You have to let go of SO much to allow this story premise to play out, very much like the original.

The cast (Bakula/ Stockwell) made the original series fun to watch, the stories were mostly morality plays with transparent themes.

This cast is not as appealing and there is WAY too much time spent in the 'here and now' with the lab crew and the subplot of Al's angry daughter. So will she become the evil leaper? (one of the dumber story lines of the original series).

Unless they bring Bakula back in somehow, I don't see how this show doing a second season.

Quantum Leap (2022–2024)

Where to start? Oh boy!

[4/10 · 20 September 2022]

Fans of the original series should rewatch it BEFORE starting this new series, at least the first two seasons as the writing and acting was about the same (if not worse) than this debut episode. I speak from experience as I was a fan of the original series 30 years ago. Loved it when NBC had "Leap Weeks" when they would re-run episodes every day of the week. Good times then.

However upon rewatching TOS, I found I remembered it being WAY better than I find it today (we are spoiled by the quality of writing and production for content these days.)

So, because of the hoopla around the return of the show, we started rewatching the old show and only made it halfway into season two. The original series was peppered with contrived plots, conveniently timed events and HUGE plot holes. Don't get me wrong, there are some really good scripts in there but most of them don't stand the test of time.

So, after watching this first episode, I see nothing has changed in that regard. SO many plot holes, so much contrivance, so much bad writing and acting. It is laughably bad. Seriously, you must really let go of all that if you want to find this new version entertaining.

The base cast is a little bigger than the original series, the quantum computer is still Ziggy (I assume a David Bowie nod.) In the 30 years since Sam Becket 'was lost' not a lot has changed, sure there is a new younger team and somehow, they managed to keep Ziggy going despite them always being at risk of losing their funding.

The new cast is ok, but I suspect they'll drag down the coming episodes with unneeded story arcs to help develop them further. Don't know if a show this complicated already really needs that frankly. The acting is all over the map. Raymond Lee is just fine, Ernie Hudson is great, but the rest are fairly wooden or just unremarkable.

It is interesting to note that Raymond Lee is only listed for 2 shows, maybe this is an IMDB error? But it may also indicate they're going to give Caitlin Bassett the Leaper roll and Raymond doesn't survive his trip into space. We'll see.

So, the noise regarding Scott Bakula not returning to the show may be synthetic and designed to get 'free' social media marketing. There is no reason they can't bring him in for a guest appearance if they want as he's still "missing" and an integral part of the story. Heck, with the help of deep fake technology, they could even bring Dean Stockwell back for a "Very Special Christmas" episode where they stop Sam taking his first leap.

We plan to give the show 3 episodes before making the final call, I may do follow-up reviews (that are more cathartic than anything else.)

Oh and don't mention the butterfly effect.

The Orville: Future Unknown (2022) Season 3, Episode 10

Future Unknown is an apt title

[1/10 · 5 August 2022]

After watching this cringe filled episode, I think 'not knowing' if the Orville will return is reasonable to ponder. Technically the Orville never returned as what we got 'this season' was some alternative universe subtitled ":New Horizons". I really hope this flavor of the Orville doesn't return in the future.

Every episode was a disappointment and just when you think they hit rock bottom, they dug in deeper.

I didn't think it possible for this series to be as bad as Star Trek: Discovery or Picard but it has managed to slide down to that level in contrived and convoluted stories that offer nothing more than a platform for (Seth?) to espouse his views of society (certainly his prerogative).

I'm not sure what they had hoped for, but it really felt like they threw in the towel trying to make this episode have any real story arc.

I mean it starts off with a re-mating ritual of the two Mocklands that then inspires the android to want 'marry' the Dr. Finn, Medicine Woman. All I could say was WHY? There really isn't any logic to it and the best reason comes in a very superficial reveal that once married, Isaac would dedicate his existence to taking care of ALL her descendants for eternity.

She admits that while there is no love FROM him, it sounds like a sweet deal for the future of her family, a family tree security system for life. (remember all health care, food, clothes and toys are free in this society) Security is the one thing you don't get 'for free' so 'marrying' Isaac secures that future. The one motivation unexplained is why Isaac WANTS this. Why would an emotionless android have ANY wants? Isn't 'want' desire? Isn't desire an emotion? Ah, binary love is so complicated.

And that's just one of the story arcs (I think there were 3) that litter this episode but frankly I don't see the point in going deeper into those stories. If you're reading this, you no doubt saw this episode already.

I do question why I bothered to write my reviews for this season, I didn't for Discovery or Picard. I think it's because I was SO looking forward to this season but as it progressed, it was clear that the show runners abandoned the original fans of the show, so I wanted to share my observations with them here (a fella can dream).

Bravo, Seth. If I had roses to throw onto your curtain call, I would.

End scene.

The Orville: Domino (2022) Season 3, Episode 9

Who was this season written for? Not the original fans.

[1/10 · 29 July 2022]

I suspect in the not too distant future (next Sunday, AD?) classes in creative writing and content development will use this season as an example of what can go wrong when a firehose of cash is pointed at good IP and the show runners get free reign to drive the 'message' each episode seems required to deliver.

The first two seasons of The Orville were created under the time and content constraints of broadcast television. The shows HAD to be 44 minutes long and the effects budget modest. The stories were based on current societal issues but amplified by the classic extreme 'the future' would allow (like the original Star Trek.) Most were not dependent on a (problematic) serial story arc.

This particular episode may be the Marianas trench of this season's writing (but there is one last episode that could still get that trophy.) This episode is so contrived and bloated (and not really worth itemizing) - it becomes laughable and not in a good way, more MST3k than Galaxy Quest. I would pay to watch the MST3k folks riff this steaming pile.

The only overdue pleasure in this episode was seeing the end of the "Charly" character, even if it was under one of the most contrived and overused tropes. Since her introduction this season, she's been a horribly written, unbelievable and unlikable character. (AND) She better be really gone, no god damn flashbacks or hologram simulations, NO!!

My biggest fear was that they would just add one more contrivance that would somehow save Charly while she was 'saving the day'. The memorial for her HAD to be satire or done to mock other shows that had memorials for cast members. (I mean shouldn't there be a bunch of memorials for all those who died in this episode anyway?)

Bottom line is there were NO surprises in this episode, not one (other than how poorly written it was.) Sure, they tried to surprise us with some story 'twists' but because the overarching story is so contrived and implausible one just shrugs, laughs and keeps the stream flowing just to get to the end.

But then they cut back to the chick fight and the show just keeps dragging on, one domino after the other.

The Orville: Midnight Blue (2022) Season 3, Episode 8

This train wreck won't watch itself

[1/10 · 22 July 2022]

No real need for a review - there are SO many problems with this episode that also epitomize this season.

They had one job to do, bring 'back the Orville' and they blew it (or BLUE) it.

With any luck Hulu won't renew this show - yeah, I'm just another complainer but maybe the Mockland story will be finally die off.

Obi-Wan Kenobi: Part V (2022) Season 1, Episode 5

Han Solo is STILL ALIVE

[2/10 · 19 June 2022]

Well, yes - in this timeline he IS but if anything THIS episode establishes is that in future SW exploitation films, and if the geniuses at Star Wars Writing Academy want, they could bring him bacta life. (tank you for getting the joke)

Seriously - Lightsabers through the gut are clearly not fatal (you can even get chopped in half and survive.) They may knock the wind out of you but you'll be fine. And if you happen to conveniently fall into a foggy abyss (like Solo did) you could easily be secretly rescued. (like the Emperor)

What's that you say, he's DEAD JIM? I mean, there's that whole scene with him and Kylo in the 'final' episode, but that was just Kylo having an psychotic break and seeing stuff. The force can really mess with your head.

So why is Qui-Gon gone then?

Maybe he isn't?

Anyway - regarding this episode - it's probably the worst one so far - there are MANY other reviews that I agree with here, read them. Don't make me force you.

The Orville: Electric Sheep (2022) Season 3, Episode 1

Suicide is Fatal

[3/10 · 17 June 2022]

(Sigh) Can show runners PLEASE stop with the sensational opening battle scenes that are dreams or simulations? (yawn) It was apparent early in the opening sequence that it wasn't real to the story and before it got to the end we were guessing 'it's a dream' - 'it's an immersive game the kid is playing' or some other fake out. Not a great way to return to the series.

And was this script originally planned as a follow up to S2E9? It feels way out of sequence, not to mention it's long and over written, clearly a 'soapbox' episode to discuss the topic of suicide.

However - where was the obligatory suicide warning or "viewer discretion is advised" notices at the start or conclusion of the episode? I guess they didn't feel the need (or were embarrassed?) because this 'suicide' is an emotionless robot deciding its presence on the Orville was causing the crew to perform less efficiently, so it 'unplugs' itself.

Isaac's logic to terminate himself made perfect sense but I don't think that's the message you want to convey to those contemplating suicide, not to mention it was clear from the start they would find a way to restore him. After all he is just a machine. There is even a scene where the halodeck replicates him to an acceptable form so a grieving child can interact with him. Felt like a setup for a way to restore him, and yet the real solution was way more contrived.

So that's the core theme of this episode and it's a weak one and very disappointing. There is also a lot of filler material in this episode. I can almost see Seth doing the 'stretch it out' hand gestures as we spend an exorbitated amount of time flying around looking at the vast fleet, space port, new fighter doing a test drive, and of course that opening fake out battle.

I really hope the rest of the season is stronger than this opening salvo.

The Orville: Mortality Paradox (2022) Season 3, Episode 3

Dude, where's my script?

[3/10 · 16 June 2022]

Sadly this is an old story told again with only a minor twist. While an away team (consisting of key characters, no red shirts) is exploring a planet that seems to be more developed than it was when last scanned.

Their scanners lead them and betray them and the crew are puzzled by what is going on, however, they're the only ones as most fans of this genre recognize that they're in some sort of simulation designed to get a specific result from the 'trapped' crew.

My favorite guess (that would have made the show better) was that they were lured into this trap to unwittingly participate in a 'Squid Game' or 'The Amazing Race: Galaxy Quest' reality show.

Not for one second did we think they were in any peril as they were ALL key cast members. If there had been a red shirt that got killed, that would have helped.

And in the end it was just the Orville introducing their version of the Q Continuum (OQ?) Sourced up from the first season, they are the 'evolution' of the species the crew met in S1E12. "Mad Idolatry"

So...the are immortal all powerful 'OQ' don't experience death anymore and are bored. 'OQ' decided to trap their old friends and one at a time make them all think they've died, just so "OQ" can experience death once more. Uh...what now?

They're become SO advanced that they look like Tron characters, torture innocent 'friends' and are so powerful reality is whatever they decide to make it. Isn't that convenient for backdoor script fixes when painted into a corner? You watch.

So...then there's this distraction with sending down the search team, you know because scanners can't be trusted. The second crew land on the planet about 1/4 mile away from the first shuttle - why not land right next to it?

They then walk over the the shuttle that's obviously empty (who trust scanners) and announce they're not here. Duh. How far could they have gone on foot? "It's a big planet, can't risk another landing party, return to the ship" - Uh...how about flying around looking for them?? Meh x 2.

Why did we have that scene???

Anyway, it feels like the visual effects folks got all the budget with this new season, the scripts aren't nearly as good as the first two seasons (so far)

War of the Worlds (2019– )

This is not 'War of the Worlds', you might want to skip it.

[2/10 · 12 August 2021]

It's Terminator with humans.

It's not about aliens coming to take over our planet, it's about Humans from some dystopian future coming back to...uh...stop the Professor that helped to create them and I guess cure themselves of too much inbreeding?

The first season was fun, dark and showed promise but so many plot holes ripped open wide once they introduced the time travel / the aliens are future humans from Earth elements into the mix in season 2.

Note: The problem with almost ALL time travel stories is the TTP (Time Travel Paradox) -> If you travel in time to fix something in history when that new timeline reaches the point you left from, you won't need to travel in time to fix the problem and thus not have the reason to travel back. And if you say it spawns a parallel universe - then you're not really fixing the problem now are you?

This is a problem that has plagued time travel stories and in this series there are no new story offerings to solve that (at all) - but this story adds a few more flawed layers. Like what was the origin of the space ships with killer robots and the time machine? When Bill travels back time to fix the alien invasion problem what happened to the Bill of past timeline. (Did he quantum Leap?) What about the 'aliens' that somehow traveled back with him, how do they still exist even if their future creation was terminated? And why are people 'dreaming' about future events that will not happen?

They sort of left it open a little for a season 3 BUT I really hope they don't do one.

This time sink hole needs to end now. STOP and consider watching something else.

I gave this two stars because the visual effects (at times) were good and the first season could have just ended on the last episode.

Shameless: Father Frank, Full of Grace (2021) Season 11, Episode 12

What did Emmy Rossum (Fiona) do to deserve this ending?

[1/10 · 14 April 2021]

This episode was swiss cheese with limburger filling. There were some golden moments but a lot of holes are filled with the stinkiest of cheesy writing.

So ok Emmy Rossum (Fiona) left the show but did she burn some bridge on the way? I figured she left the show to 'sync' with the English version, but there must be a darker reason.

Regardless Fiona should have made a cameo (someone suggested as a savvy realtor selling Southee properties) - but she wasn't even mentioned in Frank's suicide note. How the frank does that make any sense?

There are some great moments as Frank stumbles about reliving his life and the clips of the younger kids were great to remind us of how much they grew on the show (some of us skipped the stupid clip show filler episodes).

We see a lot of character arcs left uncompleted. This is good if they want to do spin-offs or some continuance of the show without Frank. That part was ok.

But on to the end... the hospital tests dying Frank for COVID and he dies shortly after the results are positive. (maybe a FALSE positive even?) Uh...so the whole family, out celebrating has been exposed? And the people they're in contact with and so on and so on...what crap.

And the whole rising up to heaven on the bar stool was really cheesy. They should have ended that on Liam and Frank exchanging glances across the astral plane.

Now, what COULD have saved this last episode would have been Frank returning from the dead just before they slide him into the oven. The final shot being a closeup of his shocked face., that would have been epic and a little redeeming.

The exploding crematory oven gag was SO stupid, so many things wrong with it technically but they could have saved THAT scene if after the explosion it's revealed one of the workers blown back was Fiona.

Did Shameless go full Dexter? Almost.

Mr. Mayor (2021– )

30 Rock in L.A.

[9/10 · 27 February 2021]

Two things this show has going for it - Ted Danson and the 30 Rock jabs at current media trends and political absurdities.

If you liked the broad stroke humor of 30 Rock you should like this though the cast (other than Ted) isn't as immediately appealing but they grow on you.

Having lived in L.A. for 8 years, I do wonder if I'm the prime audience for this as many of the jokes to parody the reality there.

The show is still finding its legs - but I think the basic structure is good and there is a an unending supply of things in L.A. to make fun of.

We'll keep watching.

Cats (2019)

Start 50 minutes in and you'll be fine.

[5/10 · 13 June 2020]

Went in with VERY low expectations and was pleasantly surprised BUT - (and this is a big butt) the film really needs to start about 50 minutes in, just after the Jellicle ball.

That said, if you don't know the play - starting there may be confusing because there is a tiny bit of story arc established in the first half.

Let me fix that for you. There are a number of cats vying for the opportunity to be born again. Judi Dench gets to pick the only cat to get that prize on the night of the Jellicle Moon. That's all you need to know to be able to start at 50 minutes.

The CGI cat appendages (Ears and tails) are pretty amazing. The costumes not too unlike the play - form fitting (not necessarily a good thing) and the sets...well they're pretty.

The dance numbers in the first half are horribly choreographed, shot and edited. It's almost like someone else took over for the second half as they were more entertaining but note the second half is where all the signature songs reside, so that helps a lot. IF I were to watch it again, it would be at 50 minutes in.

I think fans of the play (and you need to be) - will enjoy that part of the film.

Frankly I didn't expect to make it through the film, but I waited for the first performance of Memory and am glad I did.

So there is that.

The Witcher (2019– )

Did I watch the wrong series?

[1/10 · 21 December 2019]

Maybe it's because I'm not a fanboy of the game or books but after watching the first 3 episodes of this I'm confused about all the 10 star ratings this has.

Three is my test for almost any series. This one failed.

Seriously this feels like a low budget 80s action series, filmed in another language (and that's being polite). There's no need to elaborate on that.

I wouldn't even recommend watching this to study bad film making.