Weekend Watch - The last of Us Episode 1

                Welcome back to the Weekend Watch where each week, we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers is the first episode of HBO’s new television series, The Last of Us, based on the critically acclaimed survival horror games from Naughty Dog and Sony. The show stars Pedro Pascal, Bella Ramsey, Gabriel Luna, Merle Dandridge, and Anna Torv and opened its first episode to widespread acclaim from fans of the games and fans of television in general, briefly earning the highest IMDB rating for a television show ever. Let’s get into it.

Letter Grade: A-; this show is clearly well-made and has made fans happy. We’ll see how it continues to handle the hype.

Should you Watch This Show? Probably. If you loved the games, my understanding is that this is must-watch television and a phenomenal adaptation. If you know nothing about the games but like post-apocalyptic stuff, this looks to be one of the better offerings out there too.

Why?

                The Last of Us’s first episode, titled “When You’re Lost in the Darkness,” comes out swinging, feeling equally like a high-quality television show and a solid video game adaptation at the same time. If you’re like me and have only heard about the games but never played (because you’re an Xbox gamer only or something), the show does a good job of establishing characters, relationships, and the world in the first episode, doing enough to keep us less knowledgeable viewers hooked while paying enough service to the initiated to not alienate them. Their combination of worldbuilding and character establishment has made this one of the better first episodes that I’ve watched in a while, even if it is nearly an hour and a half in runtime (cable used to do double features for their premieres right?).

                Like he does in so many of his features, Pedro Pascal helps sell the product. His performance as Joel just in the first episode has me hooked and interested in his character development. He plays the hardened cynic who secretly cares about people really hard so well at this point that you’d almost forget his first major HBO role as Oberyn Martell. In The Last of Us, he dons a relatively believable southeast Texas accent and shows us a range in this first episode that goes from stretched but loving father to mournful and hardened veteran to begrudging caretaker who finally has had enough and decides to do something about it. Honestly, if he just turns this first episode in as a sizzle reel to casting agencies from here on, he’ll probably be in a job for the next twenty years.

                Luckily for Pascal, The Last of Us is no Wonder Woman 1984, and he doesn’t have to carry the show on his back. As apocalyptic shows go, the production value is high, and the storytelling seems to be taking it in a good direction. Director Craig Mazin and his team do a phenomenal job in this first episode of capturing the world and, strange as it may seem, the gameplay of The Last of Us in the medium of television. From an early scene of a truck suddenly forcing Joel and his daughter to take the longer, more dangerous route out of town to Joel’s to-do list of sidequests in Boston to what I assume is cutscene dialogue options when Joel and Tess are offered the job of transporting Ellie, this first episode showcases the right ways to turn a video game into a less interactive and more linear form of visual media.

                The Last of Us episode one introduces the show’s audience to its world and characters in brilliant fashion, capturing the spirit of the video game in the form of a television show that is sure to make most fans, new and old, happy. One small knock is the show’s current similarity to many other apocalyptic shows, which should be assuaged by the end of this first season if my friends who played the games are to be believed. Should it achieve that uniqueness and distance itself from the pack, I think we can optimistically say that we have been blessed with yet another hit from HBO. The show’s next episode airs tomorrow night, and all episodes are available from the time of release on HBO Max.

Weekend Watch - The Lord of the Rings: The Rings of Power

                Welcome back to the Weekend Watch, where each week we take a look at a new piece of film or television media and give it a review and recommendations. This week’s subject, as voted by our Instagram followers, is The Lord of the Rings: The Rings of Power, Amazon Prime Video’s new show set in Middle Earth, thousands of years before the events of The Hobbit and The Lord of the Rings trilogies. The show stars Morfydd Clark, Ismael Cruz Cordova, Markella Kavenagh, Megan Richards, Charlie Vickers, Robert Aramayo, Nazanin Boniadi, and others as a slew of returning and new characters in the Lord of the Rings franchise. The first three episodes are streaming now, and that’s what this review will be based on. Let’s get into it.

Letter Grade: A-; a fun return to Middle Earth, it might not have as much of a pull for new viewers.

Should you Watch This Show? Short answer: Yes. Long answer: This show probably has more to offer fans of the franchise than new viewers, but its production value and originality might be enough for them too.

Why?

                The Lord of the Rings: The Rings of Power offers a new look at the history of Middle Earth, bringing a combination of familiar characters and new faces, set at the pivotal moments surrounding the forging of the Rings of Power. Thus far, the show has done a good job showcasing its many storylines, giving the audience a solid mix of action, potential romance, suspense, drama, and lore dumps across its three currently streaming episodes. The leading performers have done well with their roles so far, with Morfydd Clark’s Galadriel, Ismael Cruz Cordova’s Arondir, and Markella Kavenagh’s Nori Brandyfoot featuring as early standouts. With each of these new/old characters come storylines that should grasp the interest of Tolkien die-hards and new viewers. The stories of the fall of Numenor, the hunt for and return of Sauron, the forging of the Rings, the coming of the Istari (wizards), and the founding of the kingdoms of Gondor and Rohan have all been seeded just in these first episodes, offering plenty of potential for great tales as the show moves forward. Against the backdrop of these great moments, the show has also brought plenty of the personal character moments that made the Lord of the Rings trilogy into one of the greatest ever made. Galadriel’s rescue by Halbrand in the sea, Nori’s decision to help “the Stranger”, Arondir’s complicated relationship with Bronwyn, and Elrond’s friendship with the dwarf prince Durin and his wife are all personal moments that already stand out as important and memorable in these first episodes. But perhaps the most intriguing aspect of the show’s story so far has been the teasing of Sauron’s return. Due to the nature of the show’s overall story, we know Sauron is coming, but we don’t know the form he will take, other than deceptive. So far, at least two possibilities have been teased with potentially another coming at the conclusion of this week’s episode. I have enjoyed the mystery surrounding the show’s ultimate villain so far, and I feel that it has created some solid discourse around the show. In addition to its solid characters and story, the show’s production value has been high so far. Utilizing a combination of real locations and CGI like Jackson’s trilogies, the show looks and feels very much like a true return to Middle Earth. Being a television show, some of the CGI doesn’t look perfect, but revisiting The Hobbit trilogy, some of that wasn’t the best either. Additionally, the show also brought back Howard Shore to score the show, delivering new but familiar music to go along with this return to Middle Earth. Overall, The Rings of Power offers a refreshing return to Middle Earth, offering plenty of new stories and characters in a familiar setting to bring in both old fans and new. Check this one out, with new episodes streaming every Friday for the next few weeks.

Weekend Watch - House of the Dragon - Pilot Episode

                Welcome back to the Weekend Watch, where each week we take a new piece of film or television media, as voted by the followers on the blog’s Instagram, and give it a rating, review, and watch recommendation. This week’s subject is the pilot episode of HBO’s House of the Dragon, a prequel series to the wildly successful Game of Thrones, set 172 years before Robert’s Rebellion, the event that directly set up the events of Thrones. The pilot stars Matt Smith, Paddy Considine, Rhys Ifans, Steve Toussaint, Fabien Frankel, Milly Alcock, Emily Carey, and Graham McTavish, among others, as major players in this family drama set in the land of Westeros. The viewership numbers for the pilot episode were apparently the highest of any HBO premier in recent history, allowing the show’s second season to already receive the green light before its second episode has released. Let’s get into it.

Letter Grade: B+/A-; there’s a lot to love and a lot of potential in this pilot, but I want to wait before I’m fully sold on the show.

Should you Watch This Show? If you were a fan of Game of Thrones, absolutely. If you like Succession or other family dramas and also want something with a more medieval/fantasy bent, absolutely. If those things are not your cup of tea, you’re probably okay skipping this one.

Why?

                House of the Dragon comes out swinging with a pilot episode full of intrigue, dragons, violence, big characters, and difficult content. After a brief, possibly unnecessary, prologue, the show flashes to its present with a dragon front and center, flying over King’s Landing – a shot that might be slightly triggering to certain fans of Game of Thrones who were less than satisfied with that show’s final season. Immediately, the show’s production value (much higher than most comparable shows) becomes apparent, with some pretty good CGI work, excellent set pieces, and decent costume and makeup design (some of the wigs look a little more wig-ish than others). The characters, whose names might be a bit more difficult to pronounce/remember than Ned, Jon, or Jaime, still stand out as individuals, particularly Matt Smith’s villain(?) Daemon Targaryen, Fabien Frankel’s hot, young nobody Criston Cole, and Milly Alcock’s young heroine Rhaenyra Targaryen. Smith embodies a combination of characteristics reminiscent of some of Thrones’s most iconic villains – the creeping menace of Ramsay Bolton and the entitled violence of Joffrey Baratheon – I’m intrigued to see where they take his character as the show progresses. Frankel’s simple charm combined with his character’s skill on a battlefield make him a potentially great tragic hero, alongside Robb Stark or Jon Snow or Oberyn Martell from the original show. Alcock brings much of the charm of a young Arya Stark and combines it with the tact of Margaery Tyrell to become the show’s new protagonist (at least at this point), having to walk the complex minefield that is the political state of Westeros. If we’re being honest, my two biggest concerns going forward with the show are its inevitable time jump, which has already been teased, as both Rhaenyra and her friend Alicent Hightower are portrayed by different actresses later on in the season, and its lack of a fully likable character (a Tyrion Lannister). Time jumps in the middle of a show’s inaugural season make me considerably nervous, as audiences don’t always react super well to a change in actor, particularly in shows with character lists as lengthy as House of the Dragon’s. I also know that you shouldn’t compare two shows when doing a review, but it’s hard not to with Dragon and Thrones, especially with the knowledge of how the original ended. The surprise deaths and complex political games will only take a show so far if it doesn’t have an almost universally beloved secondary protagonist. Overall, House of the Dragon’s pilot episode does a great job of filling the shoes that its fans expected it to fill with a combination of high production value and memorable characters; we’ll see where it all ends up as the season progresses, but there’s a lot here to be optimistic about in HBO’s return to Westeros. The first episode is available on HBO Max if you missed its premier, and the second episode drops on Sunday night on HBO and HBO Max simultaneously.

Weekend Watch - She-Hulk: Attorney at Law Episode 1

                Welcome back to the Weekend Watch, where each week we take a look at a new piece of film or television media and give it a review and recommendation. This week’s Watch, chosen by votes on the Instagram account, is about the new MCU Disney+ show She-Hulk: Attorney at Law whose first episode dropped this week and will run for another eight weeks on the streaming service. It stars Tatiana Maslany as Jennifer Walters/She-Hulk as well as featuring Mark Ruffalo, Ginger Gonzaga, Jameela Jamil, and Steve Coulter. Future episodes are also supposed to feature Tim Roth, Charlie Cox, Benedict Wong, Josh Segarra, and Griffin Matthews. The show follows the origins of She-Hulk and Jennifer’s efforts to maintain a normal professional and social life as she gains these new powers; let’s get into the review.

Letter Grade: A-; for what is essentially a pilot episode, this might be one of the MCU’s best so far.

Should you Watch This Show? I’m gonna say yes. This show feels like it has a lot of potential to take its characters in fun directions and it feels worth checking out.

Why?

                This first episode of She-Hulk: Attorney at Law serves as the hero’s origin story. It starts as Jennifer is prepping her closing arguments for a case against some powerful individual. She then breaks the fourth wall (as the character often does in the comics) to cut and acknowledge that she is in fact a “Hulk” and then goes into the back-story. The origin involves a trip with her cousin Bruce Banner where she becomes a Hulk and then a long training journey where he teaches her how to be a Hulk. Along the way, we get a lot of development of both characters, delving deeper into Bruce’s connections to Tony Stark and Steve Rogers in some fun and even briefly emotional ways. At the same time, we see a little bit of what makes Jennifer tick, learning about her love for her job and her hesitancy to become a superhero in spite of her new powers. The threads that are set up in the flashback provide some nuggets for strong character development as the show goes forward. The CGI, which was a problem for many when the show’s trailers first dropped, has been touched up surprisingly well, especially for a T.V. show on a streaming service. It’s by no means perfect or “movie-quality” but it’s better than most of the other MCU shows for sure. I have seen people complaining about Maslany’s characterization of Jennifer and She-Hulk as too abrasive or “feminista” or whatever, comparing her to Brie Larson’s Captain Marvel/Carol Danvers, and I cannot disagree more. Yes, she has some talking points that should be expected in a show featuring a female superhero (only the fourth Marvel project to do so in a solo endeavor, I might add), but the character is legitimately funny and doesn’t feel overconfident or disingenuous at all to me. She is a New York attorney whose job is prosecuting powerful people (maybe even superpowered people), confidence and an ability to adapt on the fly are incredibly necessary in that world. I will also say, the show’s comedy harkens back to some of the more classic MCU days in a way that is highly reminiscent of the Iron Man franchise and even the first Avengers, and I didn’t hate it. In fact, this episode’s post-credits scene might be the best that Marvel has ever done, in terms of comedy; I was dying laughing when it went to black. Overall, She-Hulk: Attorney at Law’s first episode sets the tone for a solid superhero origin story featuring a mix of likable original characters and familiar MCU favorites with some quality topical comedic writing thrown in to top it all off. I’m excited to see where the rest of the show goes. Follow it as it releases each week on Thursdays on Disney+.

Weekend Watch - The Sandman

                Welcome back to the Weekend Watch, where each week we take a look at a new piece of film or television media and give you a review and recommendation for watching it. This week, the subject is Netflix’s latest horror series: The Sandman, based on the graphic novel by Neil Gaiman. It features Tom Sturridge as the titular “Sandman” or “Morpheus” or “Dream” and also Boyd Holbrook, Patton Oswalt’s voice, Vivienne Acheampong, Vanesu Samunyai, David Thewlis, and many others. It follows the story of the King of Dreams after he escapes one hundred years of imprisonment in the human world and seeks to set his realm and the things associated with it back to relative normalcy. Let’s get into it.

Letter Grade: B+, there’s a lot of potential here, but it still needs some work to be great

Should you Watch This Show? If you are at all a fan of the graphic novel, yes! If you are looking for a dark fantasy show with really good worldbuilding, then also yes. I don’t think this show is as universally watchable as some of Netflix’s other releases (read Stranger Things) though.

Why?

                Let’s start with some of what makes the show good. From what I can tell, fans of the graphic novel are highly pleased with most of what the show has done with the source material, which is always a good sign for adaptations (we’ll see how Amazon fares next month with their Rings of Power series). The aesthetic of the art comes through well in the visuals, which are mostly phenomenal to behold – some of the more intricate CGI leaves a little to be desired, but for a television show, the effects are pretty solid. The world of the novel also comes through well in the worldbuilding of the show. The many realms and mythical characters come into the story naturally and with adequate explanation, leaving very little confusion as to the role of each new character. The worldbuilding also leaves you wanting more by the end of the season – at least, it did for me, the sucker for good worldbuilding. Unfortunately, because of all of the characters and story arcs that are brought into the ten-episode season, the story sometimes gets left by the wayside and then caught up with later, rather quickly. The two main stories that feature in this season are deeply interesting in their own right, but because of the exposition that also has to occur, the stories both resolve rather quickly and conveniently with little payoff of things set up earlier in the show. At the same time, it feels like this show wants to set up for an adaptation of the entirety of The Sandman, the graphic novel, as many characters have now been introduced who have larger roles to play later on in the greater story, so that’s promising. (That does mean that we need even more watchers when season 2 drops in the future so that Netflix doesn't cancel it as they so often do. In addition to the solid worldbuilding and oddly paced storytelling, the shows acting is at times great and, at others, only so-so. Vanesu Samunyai, whose first credit is this show, puts forth a valiant effort as Rose Walker, the Dream Vortex and focus of the second half of this season, playing to the levels of the actors in her scene. When across from Tom Sturridge, Boyd Holbrook, and John Cameron Mitchell, she brings a very solid A-game, showcasing the emotional and emotive range of a far more experienced actress, holding her own and even upstaging these more seasoned actors. At the same time, in scenes with Razane Jammal’s Lyta or Eddie Karanja’s Jed, the show reverts to acting more on the level with a CW superhero show (still entertaining in a popcorn-y way, but definitely with more cheese). In addition to the performances of Sturridge, Holbrook, and Mitchell, the true highlights of the show come from David Thewlis as the villain of the first arc – the very creepily unhinged John Dee, whom he portrays with just the right amount of menace – and Kirby Howell-Baptiste and Vivienne Acheampong as the two positive mythical influences in Dream’s life – Death and Lucienne the librarian respectively. Death’s one episode in the middle of the season serves as a high point in both the acting and worldbuilding of the show, showcasing its potential, highlighted in Howell-Baptiste’s subtly emotional portrayal of the avatar of Death, who is apparently Dream’s favorite sibling and the one with the most influence over him. In similar fashion, Acheampong plays Lucienne, the librarian of the realm of Dream, and the closest thing Dream has to an advisor or a friend in his own realm. Her acting is consistent throughout the show, delivering a lot of exposition without ever feeling unnecessary and while having a legitimately involved character arc at the same time, developing alongside Dream. All told, the first season of The Sandman is a mixed bag of great worldbuilding, inconsistent storytelling, and acting that is all over the board. The show’s potential to get better makes it worth watching, along with its skillful adaptation of the original source material.

Weekend Watch - Obi-Wan Kenobi

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give a recommendation and review of it. This week, we’re taking a look at the now completed Obi-Wan Kenobi miniseries from Disney+. It started streaming at the end of May and just released its final episode on Wednesday. It features cameos and performances from many of the Star Wars prequel actors alongside some characters who haven’t yet been featured in live action or whose version has not yet been featured in live action and a couple of brand-new characters as well. Let’s dive in.

Letter Grade: B+, imperfect but highly enjoyable (Last episode is an A)

Should you Watch This Show? If you are a Star Wars lover, particularly of the prequel era, this show will make you happy. There are things for non-fans as well, but a lot of what makes it great is the connection to pre-existing content.

Why?

                Obi-Wan Kenobi does a few things extremely well and a few others much more poorly. For starters, Ewan McGregor gets to live in the character of Obi-Wan more than he ever did in the prequel films, creating a deeper on-screen Obi-Wan than we’ve gotten outside of maybe some episodes of the animated Clone Wars show and the final scenes of Revenge of the Sith. In addition, the show uses cameos from the prequel actors well, using them to provide motivation and explanation, not just as fan service (aside from maybe one at the very end of the show). Obi-Wan Kenobi’s Vader is also arguably better than the Rogue One Vader because he gets more screen time, more development, and even more opportunity to be the incredibly powerful and menacing figure that we all saw in that hallway scene – his moments are highly rewarding in this show. The show’s introduction of new characters/actors goes both ways with some very well executed and some less so. The child actress cast as young Leia is a revelation, holding her own with every adult on-screen and serving as a consistent reminder across every episode how much cooler Leia is than Luke. The new character of Reva, played by Moses Ingram of The Queen’s Gambit fame, is somewhat less consistently good – due in no part, as far as I could tell, to Ingram’s acting. Her character arc is highly predictable, and much of her dialogue feels more Phantom Menace than Empire Strikes Back, but at the same time, her character does a lot to make the action of the show happen, and she has some moments to shine, particularly at the end of the show’s second and fifth episodes. The young Luke actor is probably the weakest of the bunch, but he is kept off-screen for most of the show’s episodes and has very little to do when he is there, so it’s not a huge issue. Story-wise, the show’s first two episodes and last episode and a half are incredibly good, giving great action sequences, solid character development, and interesting locales to visit along the way. The middle two episodes drag somewhat in getting to the actual end of the show but do offer a good Vader moment and a solid enough break-out plot to keep you engaged for the show’s climax and conclusion. I’m going to close this out by highlighting what makes this show as good as it is – its devotion to character-driven story and lightsaber fight content. Both Obi-Wan and Anakin/Vader get strong character development individually and relationally throughout the show’s episodes, and their dynamic game of cat-and-mouse is a big part of what makes the show so enjoyable even through moments of weak dialogue and occasional pieces of what feels like filler. And the lightsaber fights between the two help showcase the development of the two characters and their relationship. From their first encounter to their final epic showdown, we see both how both characters have changed from the end of the prequels and how the show is setting them up for their fateful meeting on the Death Star in A New Hope. All told, the show is certainly worth watching thanks to its faithful exploration of the character, quality performances from McGregor and Vivien Lyra Blair, and some phenomenal lightsaber battles. Check it out on Disney+ when you are next in the mood for some Star Wars content.

Weekend Watch - Our Flag Means Death

                Welcome back to the Weekend Watch where each week I talk about a new-ish piece of media and give you a brief, mostly spoiler-free review and tell you whether or not to watch it. This week, we’re back in the world of streaming television with a show that I’m kinda late to, and I’m sure you’ve heard about but may not have watched. It’s Our Flag Means Death on HBO Max. I started this show weeks ago when it first got big, but only watched the first episode and was relatively entertained. This week, a friend from high school recommended the show to me, so I decided to pick it back up, and let me just say, it did not disappoint.

Letter Grade: A – high quality pirate comedy

Should you Watch This Show? Yeah! Definitely.

Why?

                Our Flag Means Death fits into quite a few genres very well but also plays outside the lines of most of those genres. Perhaps most fitting genre is comedy, which it delivers on consistently in each episode, often following the Taika Waititi brand of comedy in a similar fashion as What We Do in the Shadows, crafting satire, witticisms, and legitimately quality humor into a show about pirates. At the same time, this show is not comedy just for the sake of comedy – it deals heavily with modern issues (not just modern for the 1700s either) and focuses concepts like masculinity and femininity and everything that goes into that conversation with the tact and familiarity that such concepts should be discussed. As an action show, it delivers on occasion, often seeking to poke fun at the ways we expect action sequences to go and very much emphasizing the show’s protagonist’s (Stede Bonnet played by Rhys Darby) physical aversion to violence. As a pirate show, it has those in spades. Many historical figures from the “golden age of piracy” are featured in this show in both cameos and major roles. Stede Bonnet the “Gentleman Pirate”, Edward “Blackbeard” Teach, and Izzy Hands all feature heavily in the show, no doubt pleasing those looking for historicity. Also, though, the pirate stuff is just plain fun. The show plays on audience expectations of how pirates are supposed to be and turns a lot of that on its head in consistently creative and interesting ways. Our Flag Means Death does a really good job of making a show about pirates into something wholesome about friendship, relationships, gender, sexuality, and also lots of pirates.

Weekend Watch - Moon knight (episodes 1-3)

                Welcome back to the Weekend Watch where each week, we do a brief exploration of a new piece of media – film, television, and apparently sometimes video games. This week, we’ll be taking a look at the first half of Marvel’s latest small-screen outing, Moon Knight, whose first three episodes are now available to stream on Disney+.

Letter Grade: B+ with a potential to become an A or a C depending on how they close out the back half

Should you Watch This Show? It’s a must-watch for people looking to stay updated on the MCU and Oscar Isaac fans; right now there’s nothing making it unwatchable but also nothing to say anyone else has to watch it.

Why?

                Moon Knight is the latest of Marvel’s television shows that have released on Disney’s streaming platform. It follows WandaVision, The Falcon and the Winter Soldier, Loki, and Hawkeye, focusing on a lesser-known Marvel property and, probably, testing their wider marketability. Moon Knight is also unique thus far, in the fact that it contains no pre-existing MCU characters through its first three episodes, at least not explicitly. Even referentially, the only overt reference made to outside events, locations, and characters has been the mention of the criminal island of Madripoor from The Falcon and the Winter Soldier, and this came only in passing during the third episode. In its newness, Moon Knight is a refreshing deviation from typical MCU properties of late, but it also begs the question of why this show exists. It is fine as a character study and even has moments of comedy and is flirting with some potential romance, but none of those are what the show bills itself as. Its trailers presented something trippy, mystical, violent, and at times even terrifying. Thus far, there hasn’t been much delivery on any of those fronts. There has been some scratching of the surface of each of those content pieces, but if you were hoping for a full-on deviation from the light-hearted flavor of the MCU, then you will most likely be at least a little bit disappointed with the first half of this season. Honestly, the biggest factor that keeps this show watchable is its central character’s actor Oscar Isaac. Isaac portrays (so far) the two characters inside the head of one body that operates as the titular Moon Knight – marine turned mercenary Marc Spector and mild-mannered museum worker Steven Grant. His turn as both characters is the heart and soul of the show that has kept me coming back week after week, even if his British accent for Steven leaves something to be desired. There is a lot of potential in the threads of character development and story lines that have been opened in the show that we have yet to see played out all the way. Knowing Marvel, it should finish in a fairly satisfying way that also connects the character more deeply to the wider MCU, so if those are things that you are looking forward to, check this show out.