The third season of “Love, Death + Robots” offers more of the eye-dropping visual wonders of the previous seasons, with as many odd, compellingly quick-witted and grim stories as the episodes preceding it.
Netflix recently released “The Dark Crystal: Age of Resistance,” a series that expands the creative world of 1982’s “The Dark Crystal.” That begs the question, how does the new show compare to the original film?Continue reading →
Making television for teens is easy, making television about teens is herculean.
Netflix’s “13 Reasons Why” is about the 13 reasons why a high school girl named Hannah Baker committed suicide. The events of the story are told through recorded tapes that Hannah made before her death and through her friend Clay in the aftermath of her death. It’s surprising to see entertainment aimed at teens actually tackle a subject that’s relevant to them, but it does make it inherently difficult to discuss because of its subject matter. The dodgy execution of the series doesn’t help either. Continue reading →
There’s something off about the buzzed-about episode of “Black Mirror”
At what point does satire become propaganda?
Simply put, satire is caustic criticism, whereas propaganda is the demonization of a target in order to push what the author views as “good.” The two can be hard to separate at times (especially since satire of propaganda is pretty popular), but it’s important to know what’s what.
How do you convey the sensation of liking the initial premise of something, but hating the end result of that premise? That’s my dilemma with “Glitch.”
To elaborate, “Glitch” is an Australian series now on Netflix about six people who are resurrected from the dead. Each of these six people come from different time periods and different walks of life, but share one thing in common: they are obsolete. Simply put, the world moved on after they died and those that cared for them are either dead, senile or not the people they knew while they were alive. Continue reading →
I’ll be the first to admit that I was actually pretty excited when I heard about “Marseille.” Imagine, for a moment, Netflix budget + France + political intrigue. Sounds great, right? Well, it pains me greatly to tell you that “Marseille” is underwhelming. Continue reading →
Marvel’s really been getting around lately. With the stellar success of Age of Ultron, Ant-man and Guardians of the Galaxy, Marvel has been raking in the cash and praise from all cylinders. However, Marvel seems to have adopted an interest in the smaller scale as of November, when they announced a Mini-Avengers of sorts with previous business partner Netflix. Continue reading →
I think Netflix has finally revealed its hand. For a while now, Netflix has been releasing nostalgia pieces, with Fuller House and Pee-wee’s Big Holiday being only the most recent to join the charge. However, what we are dealing with now makes those look modern: Netflix’s Your Childhood, which begins streaming today, is the final boss of nostalgia reboots. Continue reading →
Netflix is really pushing the nostalgic stuff aren’t they? Barely three weeks after Fuller House and we’ve already got other nostalgia trip back to the mid-80s on the plate with Pee-wee’s Big Holiday, and it proves to be a much tastier morsel than expected. Continue reading →