TV Reviews
This is a domain where I can journal the TV shows I watch. The newest reviews will be at the bottom of the page - that does not mean the viewing is chronological. If the review is from a show I watched a year or more ago they will be marked with an approximate date - otherwise consider it fresh : )
May 28, 2023
The Bear (Season 1)
(Christopher Storer, United States, 2022-)
4.6/5
The Bear (2022) is so far an excellent show that is tightly written, perfectly paced and with just the right amount of character drama and thematic writing that I love in a show like this. Following the slew of the workplace/service industry terror genre that we’ve seen particularly post-pandemic; this entry is quite magnificent - I was unable to stop watching!
The cinematography and editing is excellent to say the least - everything feels like it builds the correct tone and atmosphere when it’s supposed to - nothing feels overt for the sake of being overt. Dream sequences are gorgeous, kitchen scenes are edited to build tension (without being noticed - the way good editing is supposed to feel like) - really well-done. It’s well-shot, well-directed, and doesn’t feel pretentious at all. The score and soundtrack also adds to the atmosphere - I wasn’t too big on most of the soundtrack I must say.
The acting across the board especially by the leads is just incredible and it really is complemented by great writing. Each character in the show HAS character - they all feel entirely unique. I think Carmy is pretty well-written and his struggle with expressing and/or facing his emotions and grief from the death of his brother is really well-displayed and well- depicted. You really get where he’s coming from as a seasoned chef who’s dealing with workplace trauma in a new kitchen environment as well; it's fish-out-of-water-like. Very entertaining dynamic and so satisfying to see the arc of him (and Sydney) transforming the restaurant by the end of the show.
Tonally, the show is very good. It feels like a tragicomedy, and while it does have some heavy subject matter - it feels realistic and empathetic rather than exploitative and melodramatic. This realism stems from the dialogue for sure - but also from that unique combination and interplay of comedy and drama. It works really well, and the scenes that feel like need to linger a bit longer and don’t have any humour feel fitting rather than jarring.
The show is quite thematically rich and explores a lot of different issues in a comprehensive way throughout the 8 episodes. There are several such as nostalgia, the instability of the service industry (especially post-COVID), and just class in general - but two were pretty recurrent and stood out to me as being the best-developed (for good reason).
The realism of the show’s kitchen environment can probably be recognised by people who work in the service industry - the high-octane pressure and consistent stress is just so meticulously and realistically depicted in the show so that because of time constraints restaurant environments have to use shortcut words such as “behind”, etc. and have to create a hierarchy in order for the kitchen not to descend to chaos - even this is not enough sometimes.
This element of working in the service industry and the immense pressure that comes with it - even though it is an industry that mostly does not pay well and traps the (working) class that often tends to occupy positions within it - is a large part of the show. In addition to this, the specific context of (restaurant) workplace trauma is illustrated through Carmy and Sydney’s experiences in more high-end restaurants but also through the way it is also re-created in the restaurant in the show’s context. We see Carmy develop though and recognise this throughout the show which is great. I’m really happy we are seeing stories like this - especially post-COVID with other films that I was reminded of during my viewing such as Boiling Point (2021) and The Menu (2022) that really commentate on the service industry (and the working class) - with depictions traditionally not being kind to either.
Grief in the show and survivor’s guilt is well-depicted in the show, really. The main characters all deal with the passing of Michael in differing ways, and especially Carmy’s way of dealing with it - from repression/guilt to healthy admission throughout the show is written well. His relationship with his brother is really clear and can really be seen in the way his character responds to situations in the show - in a show of brotherly competition but also admiration. I would have liked to see more of Sugar but the show already has a lot on its’ plate in terms of character - here’s to season 2. I also think Jerimovich’s way of dealing with grief - still with repression - perhaps suggests a larger theme of masculinity and grief - just a thought though!
There’s not much to dislike about the show if I’m being honest. Yes, there is a redundant scene here and there, but these tend to be so short that it doesn’t matter. I guess the ending left me slightly puzzled about why a certain plot point developed the way it did and how that would potentially change things moving forward but I am just looking forward to see how Season 2 tackles this. I hope it builds on this solid foundation and even potentially exceeds the first season!
The Bear (Season 1)
(Christopher Storer, United States, 2022-)
4.6/5
The Bear (2022) is so far an excellent show that is tightly written, perfectly paced and with just the right amount of character drama and thematic writing that I love in a show like this. Following the slew of the workplace/service industry terror genre that we’ve seen particularly post-pandemic; this entry is quite magnificent - I was unable to stop watching!
The cinematography and editing is excellent to say the least - everything feels like it builds the correct tone and atmosphere when it’s supposed to - nothing feels overt for the sake of being overt. Dream sequences are gorgeous, kitchen scenes are edited to build tension (without being noticed - the way good editing is supposed to feel like) - really well-done. It’s well-shot, well-directed, and doesn’t feel pretentious at all. The score and soundtrack also adds to the atmosphere - I wasn’t too big on most of the soundtrack I must say.
The acting across the board especially by the leads is just incredible and it really is complemented by great writing. Each character in the show HAS character - they all feel entirely unique. I think Carmy is pretty well-written and his struggle with expressing and/or facing his emotions and grief from the death of his brother is really well-displayed and well- depicted. You really get where he’s coming from as a seasoned chef who’s dealing with workplace trauma in a new kitchen environment as well; it's fish-out-of-water-like. Very entertaining dynamic and so satisfying to see the arc of him (and Sydney) transforming the restaurant by the end of the show.
Tonally, the show is very good. It feels like a tragicomedy, and while it does have some heavy subject matter - it feels realistic and empathetic rather than exploitative and melodramatic. This realism stems from the dialogue for sure - but also from that unique combination and interplay of comedy and drama. It works really well, and the scenes that feel like need to linger a bit longer and don’t have any humour feel fitting rather than jarring.
The show is quite thematically rich and explores a lot of different issues in a comprehensive way throughout the 8 episodes. There are several such as nostalgia, the instability of the service industry (especially post-COVID), and just class in general - but two were pretty recurrent and stood out to me as being the best-developed (for good reason).
The realism of the show’s kitchen environment can probably be recognised by people who work in the service industry - the high-octane pressure and consistent stress is just so meticulously and realistically depicted in the show so that because of time constraints restaurant environments have to use shortcut words such as “behind”, etc. and have to create a hierarchy in order for the kitchen not to descend to chaos - even this is not enough sometimes.
This element of working in the service industry and the immense pressure that comes with it - even though it is an industry that mostly does not pay well and traps the (working) class that often tends to occupy positions within it - is a large part of the show. In addition to this, the specific context of (restaurant) workplace trauma is illustrated through Carmy and Sydney’s experiences in more high-end restaurants but also through the way it is also re-created in the restaurant in the show’s context. We see Carmy develop though and recognise this throughout the show which is great. I’m really happy we are seeing stories like this - especially post-COVID with other films that I was reminded of during my viewing such as Boiling Point (2021) and The Menu (2022) that really commentate on the service industry (and the working class) - with depictions traditionally not being kind to either.
Grief in the show and survivor’s guilt is well-depicted in the show, really. The main characters all deal with the passing of Michael in differing ways, and especially Carmy’s way of dealing with it - from repression/guilt to healthy admission throughout the show is written well. His relationship with his brother is really clear and can really be seen in the way his character responds to situations in the show - in a show of brotherly competition but also admiration. I would have liked to see more of Sugar but the show already has a lot on its’ plate in terms of character - here’s to season 2. I also think Jerimovich’s way of dealing with grief - still with repression - perhaps suggests a larger theme of masculinity and grief - just a thought though!
There’s not much to dislike about the show if I’m being honest. Yes, there is a redundant scene here and there, but these tend to be so short that it doesn’t matter. I guess the ending left me slightly puzzled about why a certain plot point developed the way it did and how that would potentially change things moving forward but I am just looking forward to see how Season 2 tackles this. I hope it builds on this solid foundation and even potentially exceeds the first season!
Sometime in May, 2023
The X-Files (Seasons 1-9)
(Chris Carter, United States, 1993- 2002)
4.1/5
Season 1: 4.5/5
Season 2: 4.5/5
Season 3: 4.7/5
Season 4: 4.2/5
Season 5: 4/5
Season 6: 3.5/5
Season 7: 3/5
Season 8: 3/5
Season 9: 2/5
h, The X-Files… where to start. Well, first of all, I finished Season 9 a while ago and am spacing out and dialling down The X-Files content (for my own good as well). I will also not go into immense details as this took months and my recollection would not be as detailed as it would be with a shorter show or one season. I also write at length about the show across the blog. I chose to keep S10 and S11 separate as they are not the original run.
The X-Files as a whole is great - I think it really is if you were to take a step back and look at the whole thing. However, after Season 6, the show starts an irrevocable decline. The show has always been ambitious, but after that season the ambition just started feeling less like asking fresh questions about real, relevant fears while being self-reflexive to what that actually means and more like shooting itself in the foot because it wanted to prove a point about the randomness of the world or something (bear with me, hopefully I will make sense soon). Let’s tackle this in two parts.
Up until Season 6, it is hard to say the show had flawless writing. Yes, there were plot conveniences and contrivances but it was not impossible to follow the underlying storyline even though it felt far-fetched. The show felt self-aware, campy and unpretentious enough - because of this it could essentially get away with these moments because there was that feeling of limitlessness and moving beyond the realm of imagination. It implored you to think about the possibilities rather than believe in all of them resolutely.
Even though it was horror, it had that 90’s sense of campiness to it that made it just so deliciously fun. You could then really forgive the show for just pretending like things were fine as the characters go on regular cases after the huge plot-defining episodes - because the show allowed itself to really not take itself way too seriously even though at times it WAS asking important questions and addressing potential cultural fears which I talk about at length in a blog post on another page on this website. I mean, yes, stupid writing moments, but it was just fun(ny) rather than frustratingly head scratching.
The characters of Mulder and Scully are probably my favourite on-screen duo in terms of dynamic as well as writing (especially in the first 6 seasons). They are my favourite thing about this show which arguably does not fit so well in today’s conspiracy-ridden landscape (it was a product of when it came out, duh). Their writing ages so well. Their backstories really flesh them out and both of them feel like they’re thoroughly thought out. Dana Scully is written with more care than expected for a 90’s female character (she is actually one of my favourite female characters ever!) and is placed in the more straightforward/realistic role rather than the stereotypically female role of the dramatic and emotional skeptic. You also really see where Mulder comes from too as a character with his sister’s abduction and family background.
The two leads’ relationship and dynamic just makes sense considering Dana AND Mulder’s characters as well. While the show feels more Mulder-centric at times (which makes sense in the beginning due to the way Scully is assigned to Mulder - but still), Dana’s writing is never abandoned. It really really works and the deep respect and admiration the two characters have for each other and the way they balance each other out really carries the show especially when it comes to the show’s main themes of faith/belief vs science. Also, we just don’t talk about Diana Fowley because her character is not good - no comment :(
The theme works and is also why the show gets to get away with a lot of the stupid plot moments in the earlier seasons. The idea of wanting to believe something vs believing something is a big part of the show, and the characters embody that tension and duality between belief and science. It’s really where the show can also be self-reflexive and aware that sometimes some things are just unanswered whilst some things are just belief. The claims Mulder makes are always almost challenged earlier on by Scully and a lot of the times the story is furthered by Scully’s groundedness. Although you would think after Scully SEES something completely unexplained, she would be more flexible, but it is a formula and it does work mostly. However, later on the show, it kind of feels like believing in everything may very well be linked to not believing in anything at all - and this is when the show struggles thematically against itself.
Post Season 6 finale, things start to really take a turn for the worse in every way really (except for some standalone monster of the week episodes that stand out as usual because they are just so inherent to the show’s DNA). The whole retconning the entire alien storyline with one that makes less sense is unreasonable and nonsensical. It is here where the show arguably tonally shifts as well as it becomes very large in scope and makes very large claims increasingly without a Dana-like resistance. It also just feels less fun and it also feels like the two leads just do not have the same energy and spirit anymore (not a surprise considering Duchovny makes a halfway exist in Season 8 then an almost complete exit in Season 9).
Although Dana Scully is seen to have a side of her that is more spiritual, her character (after Mulder’s departure in Season 8) sorely suffers as a result of her lack of questioning of some claims (especially Mulder’s). While it does make sense to be MORE open, her replacing Mulder’s complete outlook to complement Doggett’s felt slightly out of character of her. Still interesting though. While I also think it makes sense to have her character dwell on Mulder and to be worried for her baby, to centre her entire character around that felt slightly reductive - there’ always been more to Scully than that…
Even though I did like Doggett, just having a missing son’s case is not enough to be interesting as a character - especially when you are a new lead. I really think Robert Patrick tries his best and there really were some decent standalone episodes in Season 8, it’s hard to get attached to him when his dynamic with Dana is nice but just not as strong. It also doesn’t help that Mulder is kind of just still there.. lurking in the background of the story.
New title sequence that I hated also marked the worst season in the original run - Season 9. While I don’t hate Monica Reyes at all actually, she was just incredibly difficult to get attached to - there just wasn’t much to her that made her compelling. It’s a shame really because I like Annabeth Gish and think she has a nice charisma. Her dynamic and chemistry with Doggett is not the same as Mulder and Scully but is still pretty decent (Mulder/Scully were lightning in a bottle I must say - nothing compares haha). They really try to develop Monica/Doggett in one season as characters on their own + together and it just comes off rushed and under-developed. This is definitely not helped by the fact that the show is still focussed on Scully and Mulder’s storyline at this point still… one which links to the mythology that I so dearly dislike in the show. Last two episodes of Season 9 had scenes where characters spent a good few minutes verbally explaining the plot development in a courtroom more to the audience than the jury and it just sounded insanely ridiculous and nonsensical to the point of hilarity.
Despite this, the show ends with our core two - and it feels resolute for the most solid part of the show (the characters) but doesn’t feel resolute for the show. I can live with that. The reboot though… urgh… just let things be… The X-Files is so 90’s/00’s just leave it alone.. We will see how that goes…
Still, a groundbreaking show that was so refreshing and filled with personality that it’s hard to say that all the criticism doesn’t come from a place of love. Flawed but beautiful and reflective of its’ time - just how I like my content.
The X-Files (Seasons 1-9)
(Chris Carter, United States, 1993- 2002)
4.1/5
Season 1: 4.5/5
Season 2: 4.5/5
Season 3: 4.7/5
Season 4: 4.2/5
Season 5: 4/5
Season 6: 3.5/5
Season 7: 3/5
Season 8: 3/5
Season 9: 2/5
h, The X-Files… where to start. Well, first of all, I finished Season 9 a while ago and am spacing out and dialling down The X-Files content (for my own good as well). I will also not go into immense details as this took months and my recollection would not be as detailed as it would be with a shorter show or one season. I also write at length about the show across the blog. I chose to keep S10 and S11 separate as they are not the original run.
The X-Files as a whole is great - I think it really is if you were to take a step back and look at the whole thing. However, after Season 6, the show starts an irrevocable decline. The show has always been ambitious, but after that season the ambition just started feeling less like asking fresh questions about real, relevant fears while being self-reflexive to what that actually means and more like shooting itself in the foot because it wanted to prove a point about the randomness of the world or something (bear with me, hopefully I will make sense soon). Let’s tackle this in two parts.
Up until Season 6, it is hard to say the show had flawless writing. Yes, there were plot conveniences and contrivances but it was not impossible to follow the underlying storyline even though it felt far-fetched. The show felt self-aware, campy and unpretentious enough - because of this it could essentially get away with these moments because there was that feeling of limitlessness and moving beyond the realm of imagination. It implored you to think about the possibilities rather than believe in all of them resolutely.
Even though it was horror, it had that 90’s sense of campiness to it that made it just so deliciously fun. You could then really forgive the show for just pretending like things were fine as the characters go on regular cases after the huge plot-defining episodes - because the show allowed itself to really not take itself way too seriously even though at times it WAS asking important questions and addressing potential cultural fears which I talk about at length in a blog post on another page on this website. I mean, yes, stupid writing moments, but it was just fun(ny) rather than frustratingly head scratching.
The characters of Mulder and Scully are probably my favourite on-screen duo in terms of dynamic as well as writing (especially in the first 6 seasons). They are my favourite thing about this show which arguably does not fit so well in today’s conspiracy-ridden landscape (it was a product of when it came out, duh). Their writing ages so well. Their backstories really flesh them out and both of them feel like they’re thoroughly thought out. Dana Scully is written with more care than expected for a 90’s female character (she is actually one of my favourite female characters ever!) and is placed in the more straightforward/realistic role rather than the stereotypically female role of the dramatic and emotional skeptic. You also really see where Mulder comes from too as a character with his sister’s abduction and family background.
The two leads’ relationship and dynamic just makes sense considering Dana AND Mulder’s characters as well. While the show feels more Mulder-centric at times (which makes sense in the beginning due to the way Scully is assigned to Mulder - but still), Dana’s writing is never abandoned. It really really works and the deep respect and admiration the two characters have for each other and the way they balance each other out really carries the show especially when it comes to the show’s main themes of faith/belief vs science. Also, we just don’t talk about Diana Fowley because her character is not good - no comment :(
The theme works and is also why the show gets to get away with a lot of the stupid plot moments in the earlier seasons. The idea of wanting to believe something vs believing something is a big part of the show, and the characters embody that tension and duality between belief and science. It’s really where the show can also be self-reflexive and aware that sometimes some things are just unanswered whilst some things are just belief. The claims Mulder makes are always almost challenged earlier on by Scully and a lot of the times the story is furthered by Scully’s groundedness. Although you would think after Scully SEES something completely unexplained, she would be more flexible, but it is a formula and it does work mostly. However, later on the show, it kind of feels like believing in everything may very well be linked to not believing in anything at all - and this is when the show struggles thematically against itself.
Post Season 6 finale, things start to really take a turn for the worse in every way really (except for some standalone monster of the week episodes that stand out as usual because they are just so inherent to the show’s DNA). The whole retconning the entire alien storyline with one that makes less sense is unreasonable and nonsensical. It is here where the show arguably tonally shifts as well as it becomes very large in scope and makes very large claims increasingly without a Dana-like resistance. It also just feels less fun and it also feels like the two leads just do not have the same energy and spirit anymore (not a surprise considering Duchovny makes a halfway exist in Season 8 then an almost complete exit in Season 9).
Although Dana Scully is seen to have a side of her that is more spiritual, her character (after Mulder’s departure in Season 8) sorely suffers as a result of her lack of questioning of some claims (especially Mulder’s). While it does make sense to be MORE open, her replacing Mulder’s complete outlook to complement Doggett’s felt slightly out of character of her. Still interesting though. While I also think it makes sense to have her character dwell on Mulder and to be worried for her baby, to centre her entire character around that felt slightly reductive - there’ always been more to Scully than that…
Even though I did like Doggett, just having a missing son’s case is not enough to be interesting as a character - especially when you are a new lead. I really think Robert Patrick tries his best and there really were some decent standalone episodes in Season 8, it’s hard to get attached to him when his dynamic with Dana is nice but just not as strong. It also doesn’t help that Mulder is kind of just still there.. lurking in the background of the story.
New title sequence that I hated also marked the worst season in the original run - Season 9. While I don’t hate Monica Reyes at all actually, she was just incredibly difficult to get attached to - there just wasn’t much to her that made her compelling. It’s a shame really because I like Annabeth Gish and think she has a nice charisma. Her dynamic and chemistry with Doggett is not the same as Mulder and Scully but is still pretty decent (Mulder/Scully were lightning in a bottle I must say - nothing compares haha). They really try to develop Monica/Doggett in one season as characters on their own + together and it just comes off rushed and under-developed. This is definitely not helped by the fact that the show is still focussed on Scully and Mulder’s storyline at this point still… one which links to the mythology that I so dearly dislike in the show. Last two episodes of Season 9 had scenes where characters spent a good few minutes verbally explaining the plot development in a courtroom more to the audience than the jury and it just sounded insanely ridiculous and nonsensical to the point of hilarity.
Despite this, the show ends with our core two - and it feels resolute for the most solid part of the show (the characters) but doesn’t feel resolute for the show. I can live with that. The reboot though… urgh… just let things be… The X-Files is so 90’s/00’s just leave it alone.. We will see how that goes…
Still, a groundbreaking show that was so refreshing and filled with personality that it’s hard to say that all the criticism doesn’t come from a place of love. Flawed but beautiful and reflective of its’ time - just how I like my content.
June 18, 2023
Succession (Seasons 1-4)
(Jesse Armstrong, United States, 2018-2023)
4.7/5
Season 1: 4.7/5
Season 2: 4.6/5
Season 3: 4.7/5
Season 4: 4.8/5
Succession is a very well-written TV show from the way it tackles issues and topics of nepotism to the way in which it approaches family issues and familial power plays in a capitalistic context. The main characters are not meant to be good people, and we observe them through their storylines - getting to see moments where they feel like real people (no matter how rare).
Adam Mckay’s style and influence can be seen all over especially in the directing style and the cinematography which feels vacant yet also excessive. Succession’s locations feel separate from the world, we rarely get any interactions with people who are down in the city (and we do, they are often treated with the utmost lack of care and neglect). Reminds me of The Big Short. Sharp with darkly comedic dialogue and characters who feel like more than just stereotypes of horrible people.
At the core, it’s a family drama. The Roys are fundamentally dysfunctional because they come from dysfunctional backgrounds. Their fight to please their father is consistent, and their desire to follow their own path is almost always thwarted by their own bad choices. They have transformed their entire lives to be about the fight for the the throne and their personal lives suffer as a result.
Kendall Roy at some points feels like the most empathetic due to his - at times - implicit recognition of his emptiness, but then again he still makes the bad decisions. Shiv Roy is just cut-throat also partially because of her positionality as a woman in a masculine environment, and would betray anyone to get a chance for the throne. Roman on the other hand while seeming to have some serious romance related issues and straight up bluntness/nonchalance that borderline offensiveness, feels forced to fight for the throne to gain his father’s recognition after receiving the least of it growing up. He is technically one of the best off. Connor on the other hand does have his own endeavours and acknowledges their own fight for their father’s approval but is himself aware of his reliance on old money and his purely transactional existence with those that surround him.
People have said the show is a bit of a Shakespearean tragedy and I agree to an extent. Positive moments feel fleeting with the impending feeling of sabotage, and the finale is just simply perfect for the characters. It makes writing sense and feels deserved for each of the characters’ horrific arcs. This story was never meant to be happy - was just not built that way.
There is something to be said here about old money definitely and how nepotism basically creates an atmosphere of environment and privilege where people can feel that they “earned” their title when in fact they have not - this is the main outcome of the show. It’s empty. You could even say it commentates about capitalism and transactional existence. The world of Succession is a world of market value and stocks - human life and activities are important as far as what they do for stock prices or the market. It’s implied to be a sad existence devoid of love and care - and purely patriarchal.
Just a brilliant show with so many layers that isn’t afraid to incorporate dark comedy as well as create characters that audiences can really understand and empathise with without truly feeling like they are heroes somehow - they are like most of us, victim of their circumstances. While sometimes the show feels like it is about to lose focus, it almost always steers on track. Will be hard to top this one soon.
Succession (Seasons 1-4)
(Jesse Armstrong, United States, 2018-2023)
4.7/5
Season 1: 4.7/5
Season 2: 4.6/5
Season 3: 4.7/5
Season 4: 4.8/5
Succession is a very well-written TV show from the way it tackles issues and topics of nepotism to the way in which it approaches family issues and familial power plays in a capitalistic context. The main characters are not meant to be good people, and we observe them through their storylines - getting to see moments where they feel like real people (no matter how rare).
Adam Mckay’s style and influence can be seen all over especially in the directing style and the cinematography which feels vacant yet also excessive. Succession’s locations feel separate from the world, we rarely get any interactions with people who are down in the city (and we do, they are often treated with the utmost lack of care and neglect). Reminds me of The Big Short. Sharp with darkly comedic dialogue and characters who feel like more than just stereotypes of horrible people.
At the core, it’s a family drama. The Roys are fundamentally dysfunctional because they come from dysfunctional backgrounds. Their fight to please their father is consistent, and their desire to follow their own path is almost always thwarted by their own bad choices. They have transformed their entire lives to be about the fight for the the throne and their personal lives suffer as a result.
Kendall Roy at some points feels like the most empathetic due to his - at times - implicit recognition of his emptiness, but then again he still makes the bad decisions. Shiv Roy is just cut-throat also partially because of her positionality as a woman in a masculine environment, and would betray anyone to get a chance for the throne. Roman on the other hand while seeming to have some serious romance related issues and straight up bluntness/nonchalance that borderline offensiveness, feels forced to fight for the throne to gain his father’s recognition after receiving the least of it growing up. He is technically one of the best off. Connor on the other hand does have his own endeavours and acknowledges their own fight for their father’s approval but is himself aware of his reliance on old money and his purely transactional existence with those that surround him.
People have said the show is a bit of a Shakespearean tragedy and I agree to an extent. Positive moments feel fleeting with the impending feeling of sabotage, and the finale is just simply perfect for the characters. It makes writing sense and feels deserved for each of the characters’ horrific arcs. This story was never meant to be happy - was just not built that way.
There is something to be said here about old money definitely and how nepotism basically creates an atmosphere of environment and privilege where people can feel that they “earned” their title when in fact they have not - this is the main outcome of the show. It’s empty. You could even say it commentates about capitalism and transactional existence. The world of Succession is a world of market value and stocks - human life and activities are important as far as what they do for stock prices or the market. It’s implied to be a sad existence devoid of love and care - and purely patriarchal.
Just a brilliant show with so many layers that isn’t afraid to incorporate dark comedy as well as create characters that audiences can really understand and empathise with without truly feeling like they are heroes somehow - they are like most of us, victim of their circumstances. While sometimes the show feels like it is about to lose focus, it almost always steers on track. Will be hard to top this one soon.
Sometime in June, 2023
The Last of Us (Season 1)
(Neil Druckmann/Craig Mazin, United States/Canada, 2023 -)
3.9/5
The Last of Us as a TV show is quite a good adaptation of the original game. The changes are for the most part interesting and different in a good way whilst some scenes are almost kept true to game almost line by line. I enjoyed watching it overall and as with the game, the standout of the show is Joel and Ellie’s father-daughter relationship which is portrayed absolutely beautifully by Pedro Pascal and Bella Ramsey.
Both Ellie and Joel are more emotional in this game - which makes sense as the viewer needs to connect with them and they cannot connect with them through the standard gameplay in the source material. Ellie reacts more emotionally to the kills which highlights her sense of innocence (which we experience in the gameplay through her mannerisms, her messiness in kills, her vulnerability in combat, her responses to the environment, and her whistling and humming).
Joel’s emotionality however feels more like a starker difference in comparison to the game as it allows him to open up to Ellie more and be more vulnerable about his past. It allows them to bond quicker in a shorter time due to the restricted time limits of a TV show vs in game so I understand its’ inclusion and think it was well done - but it still feels like we should have spent more time with Joel and Ellie to develop. I also think Joel’s character development is strong in the TV show but more awkward than the game as the show emphasises his growing inability to protect while the game makes sure you know that he is still capable to an extent through combat at points in the very end. It's a nice difference, just wish it was more seamlessly developed.
I love Sam’s character in the TV show and feel like you connect to him so much more due to his quietness and his vulnerability due to his circumstances and his age (you feel the need to protect him) and it makes Ellie and his friendship so much more wholesome and the subsequent events way more tragic. Henry and Sam are in general more likeable in this one. Tess - not so much - I find her uninteresting both in game and in TV show and did not understand her last moments being the way they were - was weird.
Unlike the video game, the TV show has separate plot threads which make sense for an adaptation but I still feel like a more barebones road trip TV show would have been richer. I understand its’ inclusion though and I like that there are different perspectives and contextual elements provided like with Kathleen (although I thought the FEDRA/Kathleen storylines were the weakest) as it serves to contextualise Henry’s story and the world. I feel like a lot of these mini stories and flashbacks as well slow down the pace in an unwanted way (especially in Episode 7) - that’s pretty much my qualm with them. However, I found that some extensions of character moments and stories were necessary to provide context (like us spending more time with Sarah is important to create that feeling of loss later on that the game does not have because you actually play as her in the prologue). The relationship between Tommy and Joel is also warmer than the game which I like.
The environment and the set design/character design is absolutely amazing. I especially love that we see Jackson and it provides a feeling of hope that the TV show tries to put across to make the moral dilemma feel much more stronger at the end. The place looks great. The eco-brutalism is recreated for the screen in a great way, and the infected look really good in a zombie/infected way. There are moments like the giraffe scene that are almost mirrored from the game and it really adds to the world of the TV show and fleshes out our characters and their journey.
The tone is true to the game - although more hopeful for better or for worse. The monstrosity of humanity is depicted for sure, but it is not as seedy and terrifying - especially since David feels evil from the very start (even though I like him being set up as some cult leader abusing the concept of faith), but there’s no real fear as there is with David in-game who we first learn to trust. The infected are seen much less but that makes sense considering this story is more grounded and captures the essence of the game.
The pace as I mentioned before is not as smooth as I would have liked it to be and the use of music is iconic (it uses the music from the game) but it isn’t as impact-fully used as it could have been.
All in all, The Last of Us is a good adaptation which shines - the same way the game does - when it focuses on Joel and Ellie. The themes and the moral dilemma are just as rich - especially the almost identical final scene which is iconic. This review makes it sound like I did not like the show but I really did - I just think adaptations are almost inextricably linked to the source material. As an adaptation, it’s probably one of the best video game adaptations, as a TV show, it’s great but certainly not flawless. I’m certainly interested in seeing where they go from here, and if the second season will be just as divisive as the game due to the refocussing on different characters and the revenge story.
The Last of Us (Season 1)
(Neil Druckmann/Craig Mazin, United States/Canada, 2023 -)
3.9/5
The Last of Us as a TV show is quite a good adaptation of the original game. The changes are for the most part interesting and different in a good way whilst some scenes are almost kept true to game almost line by line. I enjoyed watching it overall and as with the game, the standout of the show is Joel and Ellie’s father-daughter relationship which is portrayed absolutely beautifully by Pedro Pascal and Bella Ramsey.
Both Ellie and Joel are more emotional in this game - which makes sense as the viewer needs to connect with them and they cannot connect with them through the standard gameplay in the source material. Ellie reacts more emotionally to the kills which highlights her sense of innocence (which we experience in the gameplay through her mannerisms, her messiness in kills, her vulnerability in combat, her responses to the environment, and her whistling and humming).
Joel’s emotionality however feels more like a starker difference in comparison to the game as it allows him to open up to Ellie more and be more vulnerable about his past. It allows them to bond quicker in a shorter time due to the restricted time limits of a TV show vs in game so I understand its’ inclusion and think it was well done - but it still feels like we should have spent more time with Joel and Ellie to develop. I also think Joel’s character development is strong in the TV show but more awkward than the game as the show emphasises his growing inability to protect while the game makes sure you know that he is still capable to an extent through combat at points in the very end. It's a nice difference, just wish it was more seamlessly developed.
I love Sam’s character in the TV show and feel like you connect to him so much more due to his quietness and his vulnerability due to his circumstances and his age (you feel the need to protect him) and it makes Ellie and his friendship so much more wholesome and the subsequent events way more tragic. Henry and Sam are in general more likeable in this one. Tess - not so much - I find her uninteresting both in game and in TV show and did not understand her last moments being the way they were - was weird.
Unlike the video game, the TV show has separate plot threads which make sense for an adaptation but I still feel like a more barebones road trip TV show would have been richer. I understand its’ inclusion though and I like that there are different perspectives and contextual elements provided like with Kathleen (although I thought the FEDRA/Kathleen storylines were the weakest) as it serves to contextualise Henry’s story and the world. I feel like a lot of these mini stories and flashbacks as well slow down the pace in an unwanted way (especially in Episode 7) - that’s pretty much my qualm with them. However, I found that some extensions of character moments and stories were necessary to provide context (like us spending more time with Sarah is important to create that feeling of loss later on that the game does not have because you actually play as her in the prologue). The relationship between Tommy and Joel is also warmer than the game which I like.
The environment and the set design/character design is absolutely amazing. I especially love that we see Jackson and it provides a feeling of hope that the TV show tries to put across to make the moral dilemma feel much more stronger at the end. The place looks great. The eco-brutalism is recreated for the screen in a great way, and the infected look really good in a zombie/infected way. There are moments like the giraffe scene that are almost mirrored from the game and it really adds to the world of the TV show and fleshes out our characters and their journey.
The tone is true to the game - although more hopeful for better or for worse. The monstrosity of humanity is depicted for sure, but it is not as seedy and terrifying - especially since David feels evil from the very start (even though I like him being set up as some cult leader abusing the concept of faith), but there’s no real fear as there is with David in-game who we first learn to trust. The infected are seen much less but that makes sense considering this story is more grounded and captures the essence of the game.
The pace as I mentioned before is not as smooth as I would have liked it to be and the use of music is iconic (it uses the music from the game) but it isn’t as impact-fully used as it could have been.
All in all, The Last of Us is a good adaptation which shines - the same way the game does - when it focuses on Joel and Ellie. The themes and the moral dilemma are just as rich - especially the almost identical final scene which is iconic. This review makes it sound like I did not like the show but I really did - I just think adaptations are almost inextricably linked to the source material. As an adaptation, it’s probably one of the best video game adaptations, as a TV show, it’s great but certainly not flawless. I’m certainly interested in seeing where they go from here, and if the second season will be just as divisive as the game due to the refocussing on different characters and the revenge story.