TV Superlatives: December, January, and February – 2019/2020

It’s that time again: our winter TV Superlatives!

A quick reminder for how these work: I will bestow whatever TV shows I’ve recently been watching (whether they’re currently airing or not) with awards like Favorite Bromance, Favorite WTF Moment, Best Profanity, etc. As always, any awards with spoilers will be very clearly marked.

As a reference point, here are the shows I’ve been watching for the past few months:

Busted! (Season 2)
His Dark Materials
Nancy Drew
The Mandalorian
DC Universe’s Harley Quinn
Watchmen
The Expanse (Season 4)
A Black Lady Sketch Show
The Witcher
Barry (Season 2)
The Good Place (Season 4)
Star Trek: Picard
Legends of Tomorrow (Season 5)
Brooklyn Nine-Nine (Season 7)

Let’s get to it, shall we?

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“Isn’t This Fun? It’s Like a Sleepover.”

Birds of Prey (and The Fabulous Emancipation of One Harley Quinn) apparently underperformed at the box office last weekend–although, also kind of not, like, maybe we could wait half a second before pronouncing it DOA and throwing its corpse to the wolves, thanks? (ETA: Don’t even get me started on the rebranding. I’m flat out ignoring that nonsense.)

Since I did actually see Birds of Prey last Friday, though, let’s talk about the movie, shall we? Because it’s an awful lot of fun, and I really hope more people go out to see it. If Charlie’s Angels meets Deadpool with a side of, IDK, Smokin’ Aces sounds intriguing to you–or if you liked Margot Robbie and the cotton candy sparkle of Suicide Squad but hated the inconsistent tone, the incoherent storyline, the muddy action scenes, the Joker, and basically everything else about that film–well, this one might be worth checking out.

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Triple Scoop Reviews: Shazam!, Joker, and Little Women

Shazam!

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other: HBO Now
Spoilers: Yup
Grade: Vanilla

Imbalanced, but cute. Tonally, Shazam! is wildly different than its DC live-action brethren, which makes it both a breath of fresh air and also a little, like, huh? Shazam! doesn’t always feel like a superhero movie to me; instead, it’s more of a fantasy-action film about magical kids, a film geared towards young children and their long-suffering parents. I’m having trouble describing exactly why those two sub-genres are different, but they have become different, at least in 2020.

There’s a fair bit in Shazam! that doesn’t work for me. Mark Strong’s villainy game, for example, is usually on point–all hail SEPTIMUS!–but he makes for a pretty boring villain here. Dr. Sivana’s origin story has potential, but it goes nowhere interesting, and the film would be better off if the majority of his scenes were cut. Zachary Levi, meanwhile, is generally funny, but it rarely feels like he’s actually playing Billy; mostly, he comes across as any random kid who’s been magically transported into an adult’s body. It creates a real disconnect for me throughout the film, especially when it comes to the conflict between Billy and Freddy (Jack Dylan Grazer). Which is unfortunate because that relationship is a huge part of the story. This movie falls down hardest, I think, in its second act.

OTOH, I really do love Billy’s foster siblings, especially Freddy and Darla (Faithe Herman), who are charmingly chaotic and adorably sweet, respectively. The script is sometimes (okay, often) very on the nose about the found family stuff, but fuck it, these kids are cute, and their parents are sweet and well-meaning, and I just want them to all be happy, OKAY? And can I tell you just how much I adored these kids becoming superheroes at the end? The cameos are fantastic: I am 100% here for Adam Brody as Superhero Freddy, plus Ross Butler was a nice surprise, and Meagan Good was delightful as Superhero Darla. It’s especially awesome they get to remain superheroes, too, like I just assumed this would be a one-time sidekick deal, not that we’d end the movie sharing a secret lair. (Obviously, other viewers were prepared for this, but the majority of my Shazam knowledge comes from animated movies like Superman/Batman: Public Enemies and TV shows like Young Justice.) I’m kinda so-so on this particular film overall, but I find the ending so charming that I’m genuinely interested in seeing a sequel.

A few quick asides:

A. Poor Djimon Hounsou. He so rarely gets to play anybody interesting, and this movie is no exception to that rule. Hounsou plays the Wizard who gifts Billy with his powers, and the most interesting thing about him–other than his hilariously fake hair–is that he is just such an incredible dick. Like, I just called him Asshole Dumbledore the whole movie. (Yes, Dumbledore himself is also Asshole Dumbledore, but still.) Cause, sure, you can’t hold this guy responsible for everything our villain does, but you can definitely hold him responsible for being needlessly cruel to a small child, traumatizing countless people across the world, and, oh yeah, that whole car accident thing. I’m just saying.  No one’s weeping for you, my dude.

B. It’s a very minor complaint, but when your bad guy unleashes the seven deadly sins as his henchmen, like, I just wish they were a lot more fun and distinct than this.

C. That last scene with Superman? Fucking amazing.

Joker

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other: On Demand, I think? (My friends rented it)
Spoilers: A few, yes
Grade: Strawberry

Well, I watched it. And as suspected, I just wasn’t into Joker. Joaquin Phoenix is undoubtedly creepy with his weird laughter and off-putting grin and seriously disturbing ribs–like, man’s got a freaky AF energy to him, I will absolutely give him that. But his performance also feels pretty static to me, like, once I’d seen roughly 15-20 minutes, I felt like I’d seen the whole thing. Plus, I’m just kinda tired of awarding rich white dudes for being difficult to work with, and continuing to glorify actors who starve themselves for roles? Like, no, this is so unhealthy for everyone involved; please, let’s just stop.

The narrative structure of Joker goes something like this: introduce a mentally ill man and present him with about 80 triggers until he inevitably explodes. Which is . . . fine, but the build feels off to me here. The revolution is weak, primarily off-screen and inspired by murders I never quite bought as a rallying point. The social commentary feels thin, too; like, “eat the rich” is a pretty popular theme these days, but this might be one of the least successful versions of it I’ve seen. There are some ideas I like, if not always their execution: Gotham from the POV of the lower classes, for instance, or reinterpreting Thomas Wayne as a mega Chief Asshat. The eternal, cyclical nightmare that is this city, how Gotham creates villains by failing the people, and how those villains in turn create our heroes, who only ever perpetuate the system . . . but the writing is just such weak sauce, lazy and muddled. If this wins for Best Adapted Screenplay over Little Women, I swear to God . . .

I also can’t say I’m particularly impressed with any of the female roles, either. Zazie Beetz is criminally underused: her character has no real function, except to serve as a Big Twist, one that fails to be meaningful, compelling, or even surprising. It would, at least, take a modicum of effort before one could cut Penny (Frances Conroy) out of the film, but still, the whole backstory about Joker’s mom is just so . . . meh, all of it, meh. Joker is hardly the worst film I’ve ever seen: the acting is generally fine, and I quite like the cinematography. I had a good time hanging out with my friends and eating pizza, at least. But I just didn’t connect to this film at all, and I remain a bit baffled by its multiple Oscar nominations. There are so many better movies than this. My nerdish heart wants more.

Little Women

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other: Actual Goddamn Movie Theater
Spoilers: Yep
Grade: Chocolate

Initially, my interest in Little Women was mild. I’ve never read the book, and I was pretty content with the 1994 adaptation I’d grown up with. I didn’t know I needed another version of this story. But then I became more interested, partially because I’d like to support more female directors, partially because I desperately didn’t want Joker to be the only Best Picture nominee I’d actually seen, and partially because of this video by Be Kind, Rewind, which examines four different film adaptations of Little Women and discusses how each teaches us something about the era it was made in. (Oh, and because I wanted to finally check out the Alamo Drafthouse, and Little Women was the only film playing that I wanted to see. Not gonna lie, folks: if either Parasite or the less cinematically beloved Underwater had been available, you probably would’ve gotten a different review.)

Happily, I thought Little Women was fantastic. I was surprisingly engaged throughout the film, which is partially due to the changes in narrative structure. It’s not that telling a story using flashbacks is some groundbreaking approach never accomplished before; it’s that using flashbacks to tell this story gives these characters so much more dimension (and their respective arcs better shape) that I could’ve possibly imagined. Not to mention, the juxtaposition of certain scenes, like watching Beth’s miraculous recovery right before Beth’s tragic death, is just beautifully heartbreaking. And while I had my doubts, initially (as “ambiguous” and “meta” are not always words I enjoy when applied to endings), I quite like how this movie concludes. I love that Little Women never forgets Jo’s consistent antipathy towards marriage, and the more I learn about Louisa May Alcott, the more this ending really appeals to me.

The acting, too, is all-around spectacular. Amy is a much more interesting character in this version of the story, and I think Florence Pugh does an absolutely fantastic job. Her acting nod feels well-earned, and the same for Saoirse Ronan, who I think makes for a very compelling Jo. I quite like Emma Watson as Meg, too; considering she previously played both Hermione and Belle, Meg is the non-standard choice, and I’m kind of obsessed with it. I also like Eliza Scanlen as Beth, but I’ll admit, she’s probably the character that suffers most by comparison, if only because “Claire Danes,” “90’s,” and “ugly cry” are so inextricably linked in my head. You know who really gets me to ugly cry in this movie, though? Mr. Laurence, as played by a nearly unrecognizable Chris Cooper. Jesus Christ. I was bawling well before Beth even died because of this kindly motherfucker.

TBH, my only real problem with Little Women is that for a film which gives us a much more sympathetic Amy, I’m at least twice as mad about the whole “burning Jo’s book” scene. Partially because I’m slightly more inclined to forgive Kirsten Dunst purely on the basis of age, partially because Pugh’s Amy is much more deliberate, methodical, and smug about what she’s done, partially because Amy’s apology here feels so obviously forced and insincere . . . but mostly, I think, because there’s something about this new version that seems to especially condemn Jo’s fury, and it leaves a bad taste in my mouth. I’ll freely admit to carrying some personal baggage with “be the bigger person” arguments, but there are times when that message works for me: Jo not lashing out at Amy about Europe, for example, is one such occasion. But to expect Jo to forgive Amy in less than 24 hours, to show Jo’s righteous fury wholly and immediately redirected at herself after Amy’s near-death experience . . . you know, maybe it’s not that this version is any more cruel than the others. Maybe it’s just that in such a revisionist adaptation, I wish Greta Gerwig had updated this scene as well. Because the idea that you have to forgive your family, no matter what, simply because they’re your family . . . I think it’s an unhealthy message, and it’s my only real disappointment in what I think is otherwise a thoughtful and fantastic film.

Triple Scoop Reviews: Robin Hood, The Sword and the Stone, and Spider-Man: Far From Home

Robin Hood (1973)

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – Disney Plus
Spoilers: Not really. Besides, come on. It’s Robin Hood.
Grade: Strawberry

I grew up on two Robin Hoods: Prince of Thieves and Men in Tights. Disney’s Robin Hood, though? Not so much. But now that we have Disney Plus, Mek and I decided a viewing was in order, if for no other reason than to investigate the root cause of everyone’s sexual attraction to foxes. (I have to admit, I predictably remain mystified on that front.)

As far as the movie itself goes, it’s . . . there? I can’t really say I enjoyed it, but I was certainly bemused by it. Sir Hiss is my favorite character, or maybe I just felt the most sorry for him. (The name, of course, is amazing; it would work nearly as well for a cat. Clearly, I need more cats: Sir Hiss and Ser Pounce would obviously go well together.) I find Sir Hiss particularly interesting because a) he doesn’t seem to have an equivalent character in any other Robin Hood story I’m familiar with, b) he wears fashionable hats, and c) after explaining how he hypnotized King Richard into leaving for the Crusades, Sir Hiss’s hypnosis powers never come back! Writers, seriously. Did no one teach you about Chekhov’s Hypnotic Powers? (Dedicated MGB readers: yes, I’ve made this joke before and fully intend to make it again. In fact, Chekhov is gonna be a whole damn tag now.)

I was also fond of Lady Kluck because to my very great surprise, she kind of kicks ass. Sadly, once she’s done kicking the shit out of Prince John’s guards, she mostly drops out of the movie. (As does Maid Marian, oddly enough.) Prince John himself is . . . ah . . . well, it’s certainly an interpretation. The constant thumb-sucking weirded me out, and generally, I found him more aggravating than funny, although he does actually have two of the best lines in the whole movie: “release the royal fingers!” and “I sentence you to sudden, instant, and even immediate death.” Alas, the rest of the film? Meh.

The Sword and the Stone (1963)

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other – Disney Plus
Spoilers: I mean, I guess? There isn’t really that much to spoil.
Grade: Vanilla

Continuing the Nostalgia Train–well, Mekaela’s Nostalgia Train, anyway, because she apparently watched a lot of old Disney movies before I was born or while I was doing other important things, like napping–we have The Sword in the Stone. I’m not sure how I would’ve felt about it as a child, but as an adult, well. It’s kind of a hot mess. Like, there are a few genuinely funny moments, sure. Honestly, I think I enjoyed this one more than Robin Hood, despite the fact that Robin Hood at least has something resembling a plot. This movie . . . yeah. There’s no plot to be had: it’s just Arthur turning into various animals and being chased around by other animals. That’s it. That’s the movie.

Of course, these scenes are supposed to be lessons. And that could actually be pretty cool, except a) Arthur never really learns anything (except that knowledge is power, I guess), and b) he never uses what little he does learn during the course of this movie. Like, I thought maybe he’d figure out how to trick Sir Ector and Ser Kay into taking him to London? But nope, Arthur’s just a last minute replacement because Sir Kay’s squire got sick. Then I thought, okay, Arthur must do something semi-crafty to find our titular sword, like, maybe he’s forbidden from trying to lift it? Instead, Arthur just stumbles across said sword when he forgets Sir Kay’s blade and needs a hasty replacement weapon. In short, Arthur proves he deserves to be the King of England by being the worst fucking squire of all time.

It’s also hilarious that three different actors voice Arthur, and at least one of those voices is really bad. OTOH, I generally liked Merlin and Archimedes well enough. Merlin is a delightfully irresponsible and terrible teacher, and I can’t lie: I kinda wanna cosplay Bermuda Merlin now. So, the film isn’t wholly without merit; it just has serious narrative problems, and also, how the fuck could they just leave Girl Squirrel crying like that? This is some bullshit. Justice for Girl Squirrel!

Spider-Man: Far From Home

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Amazon
Spoilers: Not really
Grade: Chocolate

Moving on from Classic Disney to Present Disney (We Own Everything, Including Your Souls), we have the latest Spider-Man film. I didn’t see Far From Home in theater, partly because Mek didn’t want to, partly because I’ve really been feeling the Marvel burnout this year. Still, I did enjoy this one. I continue to really like Tom Holland as Spider-Man, and not just because he hurts so pretty; that kid’s been great since Civil War, and obviously won my heart forever with “Umbrella.” Which, yeah, you’ve already seen 76 times, but I just linked the video, so now you have to watch it for the 77th time. Those are the rules.

This is a decent follow-up to Endgame, a solid balance of humor and action and Feels. I’m happy that the film spent at least a little time addressing the consequences of the Blip, though I can’t in good conscience say that “blip” with a straight face. We’re not . . . we’re not really going to keep calling it that, are we? (We should never, ever stop saying “the Peter Tingle,” though, because that shit’s hilarious.) I’ll admit, what I want more than anything is a character drama and/or missing person detective story that takes place in a post-Endgame world, but obviously, that’s something I’ll never get.

The supporting cast is also great: Jake Gyllenhaal appears to be having a blast in this movie, I absolutely adore Zendaya as MJ, and Martin Starr and J.B. Smoove are pretty great as the class chaperones. Other than that, I’m honestly not sure how much else I have to say. If comparing to other Spider-Man movies . . . I think I liked Homecoming more, and I know I liked Into the Spider-Verse more. But I also didn’t have any major problems with it, either. If comparing to everything else in the MCU . . . fuck that shit, there’s been like 700 of these movies, and I have things to do. In general, I’d say it’s somewhere upper-middle for me? Not one of the more ambitious or groundbreaking of the Marvel films (yes, I would qualify some as such), but also fairly charming, entertaining throughout, and overall pretty solid.

TV SUPERLATIVES: June, July, and August – 2019

Summer is almost over–not that you’d know it in sunny ass California–so it’s about that time for my Occasional TV Superlatives. If you weren’t around for the last time I did this, it’s pretty straight-forward: I just gush and/or rant about whatever TV shows I’ve recently been watching (whether they’re currently airing or not) with awards like Favorite Ship, Favorite Fight Scene, Most Disgusting Moment, and Most Comically Tragic Character. As always, any awards with spoilers will be very clearly marked.

As a reference point, here are the shows I’ve been watching for the past few months:

Agents of SHIELD, Season 6
Into the Badlands, Seasons 2 and 3 (currently still watching)
Good Omens
Dark, Season 2
Stranger Things, Season 3
Kingdom, Season 1
Yuri on Ice
Infinity Train
, Season 1
13 Reasons Why, Season 3
Los Espookys, Season 1
Hotel del Luna (currently still watching)
Young Justice, Season 3B

With that in mind, let’s get started, shall we?

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Triple Scoop Reviews: A Wrinkle in Time, Kong: Skull Island, and Spider-Man: Into the Spider-Verse

A Wrinkle In Time

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Netflix
Spoilers: Yes
Grade: Vanilla

I absolutely fell in love with A Wrinkle in Time when I was eleven, but it’s not a particularly easy story to adapt. Like, it’s a SFF children’s book from the early 1960’s that’s heavy on the Christianity, complicated mathematics, weird aliens, and Love; it’s peculiar, is what I’m getting at, and when it comes to kids movies, I feel like Hollywood is often afraid of any real peculiarity. The 2003 TV film adaptation is particularly generic, just utterly lifeless. Ava DuVernay’s 2018 film is, thankfully, a billion times better than that, but I do think it has some issues. Pacing, for one (Charles Wallace’s possession goes far too fast for my liking), but more importantly, I find the movie both visually and tonally disjointed, almost like two different adaptations being sewn together. Neither is bad, exactly, but together, I don’t think they work nearly as well as they could.

For instance, at several points, A Wrinkle in Time does look and sound like what I’d expect from a more generic fantasy film aimed at kids. Some of the dialogue is very on the nose, particularly in regards to love–although considering the source material, that’s not exactly surprising. (This is very much a Power of Love story.) Some of the CGI isn’t great, particularly when Mrs. Whatsit turns into a giant flying leaf-thing, and that whole filler flying sequence with the kids? I don’t know, it feels very . . . expected? Obligatory? I wasn’t crazy about the scene where Meg and Calvin run from the tornado-earthquake thing, either, although I do love that Meg’s the one who figures out how to survive. Also, Mrs. Which’s makeup and especially eyebrows strike me as comical, but, like, not in a good way? (Admittedly, that could just be personal taste, and happily, I have nothing but positive things to say about Mrs. Who’s hair and costumes. They are delightful.)

The thing is, I was okay with most of that because this is a kids movie, and it’s supposed to appeal to them, not my cranky ass old self–but then there are these gorgeous scenes that feel much more sophisticated, like when Meg uses Mrs. Who’s glasses to find her way to the invisible staircase or when Meg finally successfully tessers home. It’s not that these scenes are inappropriate for a kids movie, far from it. But they definitely feel like they belong in a different one: there are these incredibly compelling moments, both visually and narratively, but they feel extremely disconnected when compared to scenes like Kids Whee Around Whilst Atop Lousy CGI Creature.

I do think many of the modern updates and source material deviations work quite well. Updating Mrs. Who’s Big Book of Quotations to include Hamilton is a particularly inspired choice. (And pretty cool for me, personally, as I’d literally just seen the play for the very first time that night.) I miss Aunt Beast, of course, but I completely understand the exclusion of Sandy and Dennys. It’s also pretty great that the Murrays are a multiracial family, and that Meg–brilliant and angry and caring and insecure–is a very fully realized protagonist whose ethnicity is always a part of her characterization but never the only defining factor. I love watching her progress from someone who doesn’t like herself to someone who can acknowledge her strengths and flaws, who can stand up and say she’s worthy of love. My personal favorite microcosm of this is watching Meg finally accept a compliment about her hair. It’s a wonderfully empowering moment, and if I think that as an adult white woman, I can’t imagine how much it might mean to a young black girl.

Storm Reid is excellent in the role: the scene where she first reunites with Chris Pine–also excellent–is particularly well done. I enjoy Oprah Winfrey, Mindy Kaling, and Reese Witherspoon, too, although 11-Year-Old Carlie is a bit disappointed with how Mrs. Whatsit’s attitude towards Meg has become so disapproving that it borders on adversarial, like, no, she’s nice; she’s a self-sacrificing, exploded star! (This is exactly the sort of thing I mean about Hollywood eliminating weirdness.) Thematically, though, the switch-up definitely works for this particular adaptation, even if it gets a bit repetitive for my tastes.

All in all, I like A Wrinkle in Time and suspect I would’ve loved it as a kid, which is obviously the most important thing. I just can’t shake the feeling that overall, it’s a B movie which easily, easily could have been an A.

Kong: Skull Island

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Amazon
Spoilers: Definitely
Grade: Strawberry

So, this was okay. I might’ve liked it more if I had some nostalgia to pull from, but I didn’t grow up watching any of the King Kong movies. As is, I think this one has a great cast and a strong start but a much weaker second half.

What delighted me about Skull Island is that, initially, it almost felt like a heist movie. You know, it had that whole “let’s get the crew together” segment where we’re introduced to all our main players–and a surprising number of them really felt like characters who could easily serve as protagonists. Like, Corey Hawkins is not just the lead scientist but also our introduction to the main story. Tom Hiddleston is the smooth, ex-military tracker extraordinaire. (And, you know. Tom Hiddleston.) Brie Larson is, well, the Girl (she’s a photojournalist and spunky!), while Toby Kebbel is easily the most well-drawn of the good guy soldiers, the only one who doesn’t feel like a red shirt waiting to happen. It’s fun because it really gives you a sense of “oh shit, who’s gonna make it out of this alive,” which doesn’t always happen with action movies.

And some of the action itself is pretty great. The scene where King Kong just starts killing the shit out of the helicopters left and right is crazy fun. There’s a lot of amusing dialogue, mostly from those soldiers I mentioned, and even the blatant implausibility of this island is kinda delightful. Like, an absolutely ludicrous storm-shield? Sure, why not?

But Skull Island heavily starts falling apart for me as soon as John C. Reilly comes into the picture. Which bums me out because I like Reilly in plenty of things, but the choice here to play this traumatized WWII pilot who’s been stuck on this island for almost 30 years as “hilariously loopy” is, IMO, a pretty poor one. Another poor choice is killing the Japanese pilot offscreen so that only the white dude gets to speak Japanese and wield a katana. Like, come on, dudes. It doesn’t help that the indigenous, non-white people who live on this island don’t talk, like, at all; instead, it’s Reilly’s character who provides all the exposition, which a) not great, and b) is way too lengthy. All the time we spend on this guy is time I’d rather be spending on the other less frustrating characters.

Because that’s my other big problem here: after such a promising start, most of the cast is stuck with almost nothing to do. Killing off Toby Kebbel so early could work–like, shit, I expected him to make it to the third act, at least–but then Corey Hawkins completely fades away into the background, leaving us with only Hiddleston and Larson as our protagonists, and they are Nilla Wafer bland, like, the script just gives them nothing. Meanwhile, Samuel L. Jackson’s turn to the Ahab Dark Side is . . . fine, I guess, but what could’ve been a good-if-expected arc ends up so damn cheesy, particularly considering the many, many slow-mo shots of his Vengeance Eyes.

A few more random notes:

A. Seriously, the slow-mo in this movie is ridiculous. I outright laughed when I definitely wasn’t supposed to.

B. A lot of this music is my jam, but man, this is a soundtrack that really, really wants you to remember this movie is set in the 1970’s. Honestly, I think the only surprise here is that Edwin Starr’s “War” doesn’t pop up.

C. Brie Larson’s character may be a walking Nilla Wafer with a camera, but boy, does she have some of the best reaction faces while King Kong is murdering all the helicopters. Side note: you can always tell if a helicopter will explode upon crashing based on which cast members are sitting inside it.

D. Finally, one positive thing I will say about Skull Island is that a few characters live who I definitely thought were toast. Three of the soldiers (the young guy, the funny guy, and Pillboi from The Good Place) all make it, as well as Corey Hawkins and the Asian biologist/only other woman on the expedition. (It’s a pretty minor win, though, considering how little she actually does in this movie.) Shea Whigham, sadly, does not, because I don’t think he’s ever survived anything I’ve seen him in. (His death is especially sad here, since he goes for a self-sacrifice moment that 100% fails to work.) And Marc Evan Jackson–also from The Good Place–was clearly doomed for death the moment he expressed his shock that famous photojournalist Mason Weaver was, gasp, a woman–but even he managed to surprise me by just how ludicrously dumb his death was, like, rather than go with Tom Hiddleston’s group trying to get off the island, he instead goes with the soldiers who are planning to directly confront King Kong. Like, what? What? WHAT?

Spider-Man: Into the Spider-Verse

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Netflix
Spoilers: Only mild ones
Grade: Chocolate

Yes, I have finally watched Into the Spider-Verse, and loved it, thank God. I did not want to be the asshole writing about what a letdown it was. ItSV is funny and clever and moving without ever being cloying. It was pretty awesome to finally get a Spider-Man movie not starring Peter Parker, and of course, we got several Spider-Man iterations here: Gwen Stacey is fun, and Peter B. Parker and Spider-Man Noir just crack me up. (Spider-Ham is amusing, too, in a cracktastic, “wow, you really went there” sort of way.) But Miles Morales, especially, just makes for a great lead, not to mention it’s pretty cool to hear him speak Spanish while just going about his day. With the exception of Xhosa in Black Panther, I feel like it’s rare to hear superheroes on the big screen speak anything other than English. Fictional alien languages, sure, but the second most commonly spoken language in this country? Not so much.

My only real problem with this movie is the barrage of tubby jokes at Peter B. Parker’s expense. I don’t know that it bothers me as much as Fat Thor in Endgame, but I’m honestly not sure why: the basic joke, after all (a hero gains a bunch of weight after his life goes to shit, and everyone cracks wise about it for the next two hours), is pretty much the same. Is it because this is a cartoon, a medium where I’ve just become numb to the rampant fat phobia? Is it because I didn’t see this in theater with a bunch of strangers chuckling around me while I tried to melt into my chair? Or am I simply giving Into the Spider-Verse a little more leeway because I just like the film more? One way or another, though, I was disappointed with this aspect of the film.

Other than that, I really loved this movie. The animation, of course, is just outstanding, imaginative and innovative and so, so colorful. And there were all these little moments I really enjoyed, like the scene where Miles gets ready to jump off a high-rise, then abruptly runs downstairs and finds a much shorter building to practice from? That shit cracked me up. I thought the scene where Miles’s Dad talks to him through his bedroom door was well-done, too, not to mention all the various “get up” moments. And, of course, the whole soundtrack, up to and very much including “Spidey-Bells (A Hero’s Lament).”

It is my favorite. Chris Pine is kinda my favorite. I have listened to this song, like, A LOT.

TV SUPERLATIVES: April and May, 2019

TV Superlatives are a pain in the ass. I love coming up with them–I kind of love superlatives in general–but it’s hard to keep up when there are, at any given time, 87 different TV shows to watch, and they can start any month and be any episode length, and available all at once or only week-to-week. I tried for a couple of years and eventually gave up.

Now, I’m going to try something new, and we’ll see if it works or not, but here it is: Quarterly TV Superlatives! Or, who knows, maybe Occasional TV Superlatives! Look, it’s a work in progress. But the idea is to discuss whatever TV I’ve been watching recently (whether it’s currently airing or not) and come up with fun awards like Best Musical Number, Worst Death, or Best Reaction to a Supposedly Dead Parent Coming Back to Life.

For today’s post, we’ll be focusing on the television I’ve been watching during, say, the past two months or so. Any spoilers, as always, will be clearly marked in the very hard-to-miss Spoiler Section.

With that all said, let’s get started, shall we?

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“I Love You 3,000.”

For a while now, I’ve been trying to maximize my time and minimize my excessive word counts with my Triple Scoop Reviews; today, however, we’re going back to the old standard because Avengers: Endgame is kinda the end of an era here, and I feel like it deserves its own space.

Or, in other words, I’ve got a few things to say, and while some of it’s really positive, some of it’s really not.

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Triple Scoop Reviews: Captain Marvel, Cast a Deadly Spell, and Bad Times at the El Royale

Captain Marvel

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other (Theater)
Spoilers: Not really
Grade: Chocolate

Well, I finally did it; I left my house and got my ass down to the movie theater for the first time in, like, a bunch of months. I confess, I don’t know exactly where Captain Marvel fits in my Ultimate Marvel Movie Ranking, but I had a pretty good time: Brie Larson is a joy to watch, she has amazing buddy cop chemistry with Samuel L. Jackson, and I really like her friendship with Maria Rambeau (Lashana Lynch). I know some people were really into Carol/Maria, though personally, I can’t say I ship it myself. I didn’t quite see that type of chemistry, and besides, I’m (unsurprisingly) ecstatic that Captain Marvel a) features an important friendship between two women, and b) doesn’t waste time on a needless romantic subplot. That all being said, should Carol end up with, say, Nebula or Valkyrie in later films? I’m saying, I could be here for that.

I do feel like Captain Marvel starts a bit rough. I’m not totally sure why, either, just that I wasn’t super engaged with the first, say, 20 minutes of the movie? The second Carol lands on Earth, though, the whole story comes alive. Brie Larson and Samuel L. Jackson are comedy gold; I particularly enjoy seeing a younger, happier, cat-loving Nick Fury. Obviously, Goose is fantastic, too. And actually, I really like all the supporting players: Ben Mendelsohn steals half the scenes he’s in, Annette Bening’s character, Dr. Lawson, goes in a pretty neat direction, and I always enjoy seeing Agent Coulson pop up. Although. Whatever they did to his eyebrows? No. Just no.

What I really like about this one, I think, is that it’s just a fun movie with a badass female lead. There’s often so much pressure on women-led films to not only be flawless but also Significant; like, if the films themselves aren’t Perfect Feminist Victories, then they’re automatic failures that only prove how this “trend” of gender-flipped and/or women-dominated films are unnecessary, a PC ploy, etc. But that’s crap for a lot of reasons: for one, every damn movie has flaws or things that could be improved; for another, a film can be significant without having to be Significant. And for the most part, Captain Marvel strikes me as a fun, easy-breezy installment in the Marvel machine; it’s another superhero movie that just so happens to have a badass lady at the forefront. I wouldn’t say it’s particularly groundbreaking material; I would say that it’s a lot of fun, and it would’ve meant a lot to me especially if I could’ve seen it as a kid.

A few final notes:

A. Gemma Chan doesn’t have a ton to do here, but I like her and I’m interested in seeing more from her in other films.

B. I’m a 90’s kid, so obviously, I’m all about this soundtrack. Garbage! Hole! No Doubt! TLC! Surely I’d buy it if I didn’t already own a good chunk of the songs.

C. Any superhero who’s dressed in a NIN shirt for half the movie is a superhero I’d like to see more of.

D. I really do like Brie Larson a whole lot in this. I’ve loved her since Envy Adams and Scott Pilgrim vs the World, and I’m eager to see her in Avengers: Endgame . . . even if I’m still not super pumped to see Avengers: Endgame itself.

E. There are lots and lots of great lines in this movie, but without a doubt, the most powerful one for me was “I have nothing to prove to you.” That’s already on a T-shirt, right? I need to buy it immediately.

Cast a Deadly Spell

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Other (HBO)
Spoilers: Yeah
Grade: Strawberry

Look, I was five, mostly, in 1991, so there were a few things I missed out on. For instance, did you know that HBO made a fantasy-noir TV movie about H.P “Philip” Lovecraft, a private eye who refuses to use magic in a world where everyone else does? It’s true! Fred Ward plays our shamus; meanwhile, Clancy Brown plays a gangster, Julianne Moore plays the femme fatale, and David Warner the rich, shady client. And it’s not just witches and warlocks, either; there are unicorns, gremlins, vampires, werewolves, gargoyles, demons, voodoo zombies, and, of course, the Old Ones. This is full-on urban fantasy, set in a noir backdrop, and I can’t believe I had to wait almost 30 years to discover it.

Of course, that doesn’t mean this movie is any good. Oh God, no. There’s a reason film noir is so easy to parody: hardboiled dialogue is tricky to pull off naturally, and I’m not convinced Fred Ward quite manages it. The script has a number of issues, from problematic queer rep to problematic racist shit to forgetting the basic principles of Chekhov’s magical gun. And the special effects are . . . well, let’s just say HBO has come a long way in 30 years.

But Christ, I’d love the opportunity to remake the hell out of this. I mean, I’d change a LOT. Our detective absolutely does not need to be named Lovecraft; seriously, fuck that guy. I’m keeping the Old Ones, sure, but HP goes. I’d also prefer our gumshoe had a better reason for abstaining from magic than condescending moral superiority. Everything about the queer couple (the gay guy is fat, sweaty, and pathetic; the trans woman is attacked both verbally and violently by our hero, both die badly, etc.) must fuck right off. It’d really be for the best if all the zombie slaves weren’t black, and if a virgin is going to save the day by losing her virginity before she can be sacrificed, it would help if a) she had more agency, b) wasn’t underage, and c) was actually allowed to be the hero. Instead, it’s the schmucky, adulterous, very adult cop who’s called a “hero” for having sex with her.

Still, if I could write an adult hardboiled noir urban fantasy series with or without Lovecraftian undertones for HBO today? Oh my God, that is the dream. Until then, I’ll just have to console myself with the fact that Hypolite (a witch, Lovecraft’s landlady, and presumed dead meat character) actually lives. Also? There’s a sequel. Starring DENNIS HOPPER.

I take it back. That’s the fucking dream right there.

Bad Times at the El Royale

First Watch or Rewatch: First Watch
Amazon, Netflix, Hulu, or Other: Amazon
Spoilers: ALL OF THEM
Grade: Vanilla

Man. I wanted to like this so bad.

It starts out great. The movie has a fantastic premise, a talented cast, and atmosphere in spades. I like Cynthia Erivo a lot, as well as Lewis Pullman and Jon Hamm. Hamm’s whole section–where he discovers 80 bazillion bugs in his motel room, as well as all the two-way mirrors–is particularly creepy. Unfortunately, the film also starts falling apart shortly after he dies. Specifically, I think it starts falling apart when Chris Hemsworth arrives on scene, which feels sacrilegious to say, I know. But it’s not an acting problem. The third act just desperately falls short of all the movie’s potential.

One problem, I think, is that cult leader Billy Lee (Hemsworth) doesn’t feel important enough to be this film’s chief antagonist. Creepy shirtless dancing aside, his presence and placement in this story feels a bit too random; he should just be one of the strangers at the motel with a secret agenda, not a Big Bad who strolls in thirty minutes before the end of the movie. He is, honestly, a little too boring to hold the whole third act. This story’s real Big Bad ought to be Management; they’re the villains that tie everyone’s stories together, or should, anyway. But Management is only briefly discussed, a vaguely nefarious non-entity who drops out of the movie entirely, presumably because the writers don’t know who or what the hell Management really is.

Or maybe they do know but don’t care–there’s something of a smug “we don’t have to tell you all the answers” vibe to this movie. Who’s on the film reel, for instance, and hey, I actually agree with that: we don’t need to know which famous dead person was filmed. Still, there’s a limit to how many times a movie can cheekily avoid giving you a straight answer before you wanna smack it right in the face, and Bad Times at the El Royale well surpassed that limit. Not to mention, there are just so many dropped plot threads by the end of the movie that you know it can’t all be intentional.

For instance, who murdered bank robber Nick Offerman? The movie sets it up as a mystery–we never see the killer’s face–but presumably it’s the third partner we barely glimpse in flashback, someone who’s only referred to as “the kid.” And wouldn’t you know it, desk clerk Miles (Pullman) certainly fits the bill: he’s roughly the right age, still working at this dodgy ass motel for some reason, and keeps trying to confess something that isn’t all the pervy spy shit to Father Flynn (Jeff Bridges). Except it turns out that Miles is not that guy, considering he’s literally the only character in this movie who actually thinks Flynn’s a priest–and, well, that’s it. The movie sets up a mystery in the opening act and then promptly forgets about it for the rest of the film. Also! Why the hell set a movie in a place where a literal line divides characters in different states if you’re not going to prominently use said line in an interesting way during some awesome climactic scene? Or, shit, at least figure out a way to tie it into some goddamn themes.

At 2 hours and 20 minutes, Bad Times at the El Royale is easily 20 minutes longer than it needs to be, with too much time spent on lengthy or unnecessary flashbacks. (Case in point, Miles’s incredibly last minute Vietnam War scene.) Despite all this, though, the movie is still totally watchable, especially if you, like me, are a sucker for these kinds of stories. Unfortunately, that only makes it more disappointing when what started out so promising turns out to be such a hot mess by the end.

The Big TV Recap: Umbrella Academy, Russian Doll, Shadowhunters, Killing Eve, and One Day At A Time

Lately, I’ve been ignoring pretty much every movie in my queue (not to mention my TOS recaps) in favor of binge watching non-Star Trek-related TV. That’s not particularly unusual for me, but it has meant I’ve been thinking all these random, pop culture thoughts without anywhere to express them in my characteristically lengthy and over-analytical fashion.

So, I figured I’d take some time to discuss the handful of TV shows I’ve been (sometimes obsessively) watching over the past few months. I did consider stacking them against one another, even adding a couple of flavors to my Triple Scoop Rating System–Mint Chocolate Chip would be the lowest of the low–but then it just seemed like work, so. Meh.

The Umbrella Academy

Netflix GIF by The Umbrella Academy - Find & Share on GIPHY

Amazon, Netflix, Hulu, or Other: Netflix
Seasons: 1
Adapted Material: Yes, a comic book series
Have I Read It: Nope. Always meant too, but nope
Spoilers: YES

Man, this show is all over the place. Some of it I really like. The basic premise (Potential murder mysteries! Child superheroes becoming bitter adults! Stopping the apocalypse together like a family!) really works for me. Also, I am–and forever will be–obsessed with mediums and their dead partners-in-crime, so I pretty much had to like Klaus despite myself. (But seriously, more Ben, please!) I was honestly surprised by how much I cared about Diego’s relationship with Robot Mom, and some of the shows’s overall weirdness worked well. Cha-Cha and Hazel in their masks, for example. Or the dance scene to Tiffany’s “I Think We’re Alone Now,” which I’ve rewatched, like, four times at least.

Still, I definitely struggled with The Umbrella Academy. Vanya was the source of much of my frustration, despite the fact that I like Ellen Page just fine in the role. It just takes so long for her storyline to progress in any interesting way, and even when it does, like, it’s still pretty obvious how it’s going to go. Of course she’s going to develop powers, and of course those powers are going to cause the apocalypse. Her annoying love interest/bad guy only makes things worse for me. He isn’t charming or likable enough to buy into Vanya’s insta love for him; I do not care that he’s supposedly the only person who’s ever paid her attention. (Maybe because I just don’t quite buy that, either? That bit irks me for reasons I’m having trouble articulating.) I was so grateful when she finally killed him, but still, that took how many episodes? Meanwhile, Vanya’s snap to the dark side somehow manages to feel rushed, like Luther locking her up was obviously a bad call, but she had just slit her sister’s throat, so, it didn’t seem entirely unreasonable? More importantly, it felt like she was imprisoned for all of twenty minutes before she suddenly went all Possess-Y Blue Eyes, and I just never bought that transition. It’s not the only storyline where the pacing bothers me (even Cha-Cha and Hazel, who I generally enjoy, seem to fizzle in the back half of the season), but it’s easily the one that bores me the most.

Also, I can’t get past the feeling that The Umbrella Academy is just trying WAY too hard to be, like, So Different, So Weird, So Buzzworthy. Which, it really doesn’t need to do. When your story includes a talking chimpanzee butler, you don’t have to try that hard. And yet so many of the music choices and fight scenes just feel like they’re screaming for attention. Some of them I genuinely enjoyed, but others kept throwing me out of the story.

I don’t regret watching the show at all, but I’m also pretty relieved to have a break from it, too. I’ll probably check out the second season–assuming it gets renewed–but I suspect I won’t be counting the seconds till its return, either.

Russian Doll

Warning Natasha Lyonne GIF by NETFLIX - Find & Share on GIPHY

Amazon, Netflix, Hulu, or Other: Netflix
Seasons: 1
Adapted Material: Nope
Spoilers: Some. Nothing the trailer doesn’t tell you, but I’d still recommend skipping the first paragraph if you haven’t seen the show yet.

I’m a huge sucker for a time loop–particularly in television–so obviously, I had to watch this show where Nadia (Natasha Lyonne) keeps dying over and over on her 36th birthday. For the most part, I really enjoyed Russian Doll. The first couple of episodes didn’t fully grab me, but I quickly got on board once Alan came into the picture. The dynamic between him and Nadia really interested me, and of course, adding a second person to a time loop is just goddamn cool.

The further you get into Russian Doll, the more it starts punching you in the face with emotions, rather than just a string of wacky death sequences. To be clear, I absolutely do not object to wacky death sequences at all. Still, I feel like the show doesn’t fully come together until you really get the Feels in the second half. It wasn’t a big problem for me, though: each episode is about half an hour, I think, and there are, what, eight episodes total? So, not a big time commitment. That’s a glorious goddamn feeling.

Both Natasha Lyonne and Charlie Barnett are fantastic in this, and the ending of the show is perfectly, beautifully bittersweet. I know there’s already been talk about making more seasons (as an anthology show, maybe) but personally, I kind of hope they just keep this as a one-and-done. Even without answering everything, it already feels very complete.

Shadowhunters

Amazon, Netflix, Hulu, or Other: Hulu (by way of Freeform)
Seasons: 3. Well, 2 and 1/2. 3B airs in just a few days.
Adapted Material: Yes, Christ, yes. There are so many books and companion books it’s hard to keep track. Also, a 2013 film I never saw.
Have I Read It: Nope. Some interest in The Magnus Bane Chronicles, though.
Spoilers: Some, yes. Nothing that should ruin the show for you.

My latest obsession and guilty pleasure, even though I’m not wild about that term. Still, I can’t help but feel it applies here because there is SO MUCH I want to fix. I can easily forgive the shitty special effects because, hey, there’s a charm to low budget SFX (though, admittedly, the first season is particularly charming in that regard, even for Freeform), but Clary, the primary lead, mostly annoys me, and the initial love triangle between her, Simon, and Jace is so awful, oh my God. I would like this show 170% better if I hadn’t had to deal with two seasons of that crap.

That all being said, if you like urban fantasy, positive queer representation, and/or attractive people, there’s a fair bit to like here. I enjoy the general concept of the world: the angelic rune magic is pretty cool, if not terribly consistent (often a problem with TV, especially SF/F), I really enjoy the warlock marks (Madzie’s gills are the BEST), and I’m a sucker for a psychic soul bond (though I’d kill to see some lady parabatais on this show). Some good side characters, too: Maia (Alisha Wainwright), a werewolf bartender studying marine biology, is such a badass, and Luke (Isaiah Mustafa) is a hot, werewolf, ex-Shadowhunter, father-figure type and homicide detective, so, yeah, I’m okay with that.

And, of course, Magnus and Alec own my fucking soul. #Malec4Life

Like, I’m not gonna lie, kids: there’s some serious aesthetic appeal going on here. Matthew Daddario has pretty eyes, a great smile, and is stupidly tall, while you don’t get much more my type than Harry Shum Jr. in dark eye makeup and fabulous jackets. But I genuinely love these characters, too, and the chemistry between them: Magnus is a sassy, dangerous warlock with a heart of gold, so, OBVIOUSLY, I love him, and in my own way, I actually relate pretty hard to wary, repressed Alec, especially in the first season as he struggles to accept himself and understand who he is and what he actually wants. And like I said, the queer rep is pretty decent: for main players, Alec is gay, Magnus is bi, and Raphael is asexual (canonically and briefly discussed in scene, though unfortunately, no one uses the actual word). Meanwhile, there are multiple minor LGBTQ+ characters, too, namely, Ollie, Aline, and Underhill.

I know this show isn’t for everyone, but damn, I’m enjoying it right now. Which is why I’m extremely bummed that I only discovered it right before its final season.

Killing Eve

Amazon, Netflix, Hulu, or Other: Hulu (by way of BBC America)
Seasons: 1
Adapted Material: Yes, a series of novels
Have I Read It: Nope. I’m really starting to feel like I’m letting my fellow readers down
Spoilers: Surprisingly, no

Here’s something kind of funny: the first thing I saw Sandra Oh in wasn’t a movie or a TV show but a play. I had the extremely unlikely opportunity to see The House of Bernada Alba in LA when I was a teenager, and Oh played Adela, the youngest daughter. (And holy shit, I had NO IDEA that Tsai Chin was in it until just now. Chita Rivera, I knew, but Tsai Chin? Damn it, why didn’t I REALIZE?) If I’m being honest, I don’t remember much about the play itself, other than the fact that I liked it, but Sandra Oh herself left a big impression on me, so much so that I remembered her name years later when I saw promos for Grey’s Anatomy and thought, Wait, is that . .  holy shit, it IS. Sandra Oh is the primary reason I decided to check out Grey’s Anatomy in the first place, and she’s definitely the main reason I decided to finally check out Killing Eve.

People who have not yet watched this show: start watching this show. It’s macabrely funny and touching and violent and weird, all in a way that a TV show starring two female leads rarely gets the opportunity to be. Honestly, cat and mouse has never actually been one of my favorite dynamics (maybe because it often feels so tired?), but to watch Sandra Oh and Jodie Comer in that particular dynamic is just sort of breathtaking. It all just feels so new.

Clearly, I don’t need to sing the praises of Oh, between that opening paragraph and her winning every award under the sun, but Jodie Comer is equally magnetic as Villanelle, and I’d really like to see her garner some nominations next year, too. And the whole supporting cast is also great: Kirby Howell-Baptiste, who I fell in love with on The Good Place, is fantastic here and hopefully gets more to do in second season. Fiona Shaw is wonderfully, gloriously strange, and I really enjoy Sean Delaney as Kenny, too. Really, if we could just kill off Eve’s husband sooner rather than later, I’d pretty much be all set.

One Day at a Time

Amazon, Netflix, Hulu, or Other: Netflix
Seasons: 3
Adapted Material: No, but it’s a remake
Have I Seen the Original: No. It aired a full decade before I was born.
Spoilers: Some, yes, but only in the fourth paragraph

No one who knows me, I think, would be hugely shocked to discover that I like shows about dysfunctional families and time travel and apocalypses, or obsessed lady serial killers and MI-6 agents. Time loops and angelic magic probably wouldn’t surprise them, either. But One Day at a Time is definitely unusual for me: for one, it’s a sitcom with a live audience, for another, it absolutely delights in making you cry. Neither of these things are my personal TV sweet spot.

However, after several glowing recommendations online, I decided to check out the show last year, and I’m so glad I did because I fucking love One Day at a Time. I won’t lie: it did take me a bit to get used to the laughter (it’s not canned, anyway?), and the first few minutes, I don’t know. The jokes felt forced. But that got better pretty quickly, and by the end of the first season, ODAAT had completely won me over. The show pulls off the rare trick of being genuinely funny while also being topical and heartfelt. Real life issues are regularly brought up without coming across as simplistic or preachy. And seriously, the show consistently kicks your heart in the ass without being manipulative. It’s all pretty impressive.

Everyone in the cast is spectacular, but Justina Machado and Rita Moreno are particularly fantastic. People. They are SO GOOD. I cannot tell you how angry I am that neither have gotten an Emmy nod for this show yet. (And probably won’t, unfortunately. I had a bad feeling about this show’s chances of renewal even before Wednesday’s hashtag. Though, obviously, I would be delighted to be proven wrong.)

ODAAT’s third season aired a few weeks ago, and it’s just as good as the previous two, with some amazing guest stars (Gloria Estefan, Stephanie Beatriz, Melissa Fumero, Alan Ruck, etc.) and some outstanding storylines. Schneider falling off the wagon wasn’t hard to see coming, but I was impressed with how well that whole arc was handled; not to mention, it was really interesting to see Todd Grinnell in a more dramatic role. I desperately love, too, how Elena continues to have issues with her father after his total dick move at her quinceañera, that moving forward isn’t just a snap of the fingers. In particular, I really like the show’s acknowledgment that she shouldn’t have to do all the work in repairing their relationship. That’s big for me. And, of course, I’m happy about the positive queer rep here, too. (Though this isn’t specific to third season.) Elena is a lesbian and Syd (her SO, or Syd-nificant Other) is NB.

Like I said, I wouldn’t be terribly surprised if ODAAT gets cancelled. And, I suppose, the third season at least ends on a solid, positive note–but still, there’s a lot more story to tell here, more laughter and more tears and more dramatic entrances from Lydia. If you haven’t watched this show yet, I’m pretty much begging you to check it out. #SaveODAAT #AllMyLovesGetAxed