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The Bear: Bolognese (2023)
Another good episode, the gang are all reunited.
Solid episode. Not much to say other than that 'The Bear' is consistently engaging and entertaining to watch. Every episode contains a selection of great moments; never slow, never boring. That's more than a lot of shows can say, right now.
The restaurant is in its final stages prior to opening and this episode surely sets the tone for the final two remaining. We see a little more of our newly reformed Richie, our love-struck Carmine, our perpetually tense Syd, and a heartwarming reunion between Tina and Ebra. Not a lot happens in this episode, but it scraps the abundance of montages that have been present within most in-timeline episodes this season and dials up the conversation. It features great scenes between Richie and Natalie, Carmine and Syd and more, all of which contribute to the character development that has been slowly laid down throughout Season 2.
Not a mind-blowing episode, but a lot of fun to watch. Excited to see where we're heading next.
The Bear: Forks (2023)
An amazing standalone episode that hits close to home.
I've always loved Richie, so to watch an entire episode devoted to him was easy. I've heard a lot of people praise this episode because it made them see the character in a new light, but I feel as though Richie's vulnerabilities have always been one of the strongest aspects of the show in regards to its emotional core. Even if they've never been addressed as explicitly as within this episode.
The episode is great because of the setting, too. The restaurant is so much fun to watch in action; you can't help but share the radical excitement of Richie as he and you realise just how much the service industry can make people's days, if the workers are willing to go that extra mile.
And in many ways, maybe this is something that Richie has never been fully willing to do before. He tries to take on tasks that don't fit him, and he doesn't want to stand around and take the time to learn before he dives right in. His heart is in the right place, he wants to go the extra mile, but he's never truly receptive to the exact course of action it would take for him to get there. It was great to see this episode change that, and I think Ebon Moss-Bachrach could have a career-altering awards season, if the Emmys and Golden Globes know what's right for them.
Fun, hilarious, thought-provoking and a deeply emotional look into one of this show's best characters.
The Bear: Fishes (2023)
One of the greatest episodes of anything ever.
Words really won't do justice how good this episode is, particularly its last 20 or so minutes.
It's strange; I adore 'The Bear' but, based off of Season 1, it has the capacity to produce an episode that is so far beyond its average quality that it's borderline miraculous. The Bear is a brilliant show. But this episode? An absolute hall-of-famer.
The penultimate episode of last season, the 20-minute one-shotter? One of the finest episodes of television ever. That isn't to say that 'The Bear' isn't great outside of these anomalous episodes. But every once in a while, the show decides to suddenly fire on all cylinders and deliver some of the most intensely dramatic sequences ever committed to screen. And when it does this, it's hard to think of many shows that have ever done it better.
I sometimes refer to 'The Bear' as a drama-comedy that is infused with a somewhat uniquely claustrophobic tension. 'Fishes' catapults that description into the stratosphere and pulls off an episode that will almost certainly make you shiver with dread. You cannot watch this without feeling uncomfortable.
The ensemble is great. I always refer to Carmine as the heart of the show but this episode proves that it can transcend him. 'The Bear' isn't carried by a protagonist, if it ever was. It is carried by incredible writing and wondrous filmmaking. I adored this. I really hope we find our way back to another episode with the Berzattos if there is to be a Season 3.
Side Note: It would be unfair to call this episode all-out tension without at least mentioning the hilarity of the Faks and the tug-at-your-heartstrings look into Richie's ex-marriage. And a big shoutout to Bob Odenkirk. Love that guy. This show really can do it all.
The Bear: Pop (2023)
Sweet, funny, real. Everything I like about this show.
Firstly, as much as I appreciated Syd and Marcus' episodes, it was nice to get back to an outing that deals with almost all of the main players.
Carm is still the heartbeat of this show and placing Claire into the mix has worked wonders. Her presence reveals a somewhat juxtaposition between the life that Carmine could have, one in which he overcomes his lonerism, his anxiety, his stresses, and the life he currently has by staying put within the environment that seems to cause all these problems.
The sequence at the end, when the tone shifts from the somewhat calm, fun atmosphere at the party, back into the claustrophobic tension of the restaurant, then back to Carmine's candy-sweet interactions with Claire - it's a brilliant move that illustrates the two sides of his life. Now Carm is hanging directly in the balance and I'm looking forward to seeing how this develops.
In other moments, Tina had a particularly heartwarming sequence, the opening with Uncle J was hilarious, and Richie was brilliant as per usual. That man's comedic timing is wonderful, and you cannot help but like him despite all his shortcomings.
Great episode. Now onto the big ones that everybody is raving about.
The Bear: Honeydew (2023)
Endearing episode that gives Marcus his shine.
Following on from Syd's episode, this outing focuses on Marcus and his experience in Copenhagen, as he is trained by guest Will Poulter in his cameo appearance.
A conversation between the pair at the halfway mark depicts a brief moment of connection; these two men are from vastly different walks of life, tied together by the struggle of modern living, surviving within the culinary world, coping with illness, loss and various family issues. It's a nice moment, one that feels real, thoughtful and endearing. It's also what I've liked the most about 'The Bear' so far in its second season, it's delivering these heartwarming moments frequently throughout each and every episode.
That's a microcosm for the episode as a whole. Marcus is given his time to shine; he is one of the most likeable characters on television currently. The cinematography is gorgeous, and various montages follow on from those prevalent within the previous Syd-focused episode, however, there's further dialogue and a deeper focus on Marcus' personal life, his mother's health, which take this outing up a notch.
I think Season 2 of 'The Bear' is taking what made Season 1 so special, turning it up to 100 and thoroughly outclassing it on a episode-by-episode basis. That's not an easy feat, but if this quality continues then I think the show may just pull it off.
The Bear: Sundae (2023)
Intelligent visual storytelling that maybe goes too overboard.
I love a montage as much as the next person, and this episode jam-packed as many into 25 minutes as possible.
This works on some levels; I particularly loved the montage set to 'Future Perfect' as the different dishes flashed across the screen, alongside images of the developing city across time and its urban sprawl. However, it maybe sacrificed a bit too much of its runtime to achieve this almost music-video-esque aesthetic.
What saves it? The brief but endearing conversation between Carm and his ex-girlfriend (I'm forgetting her name, Claire?). And the facial acting of Ayo Edebiri throughout, who conveys her character's doubts, frustrations and sadnesses effectively to ensure that minimal dialogue is required.
Still, a good episode that was certainly never boring to watch. The cinematography was a particular highlight, and if individual characters are getting individual episodes in this season? That may be something I can get on board with.
The Bear: Pasta (2023)
Another extremely strong episode.
Continuing the great start to S2, 'Pasta' provides a first-half filled with hilarity and a second-half that delves deeper into this show's emotional core.
It stands out because we get more Richie, whose comedic timing and delivery is just wonderful, and his interplay with Fak is great to watch. On the flip-side, we see Carm find himself in a compromising position (due to his self-imposed lonerism) and Syd struggling to attain her father's approval. These moments, particularly Carm's conversation at the end, remind us how 'The Bear' is capable of tugging on the heartstrings. The performances are wonderful, the writing is excellent, the direction and the cinematography are similarly great.
I'm really liking this season, so far. It has a great mix of all the elements within S1, except they're being compiled with ease now into entire episodes, as opposed to less frequent, individual moments. I'm very optimistic and I'm looking forward to see more.
Side Note: Carmine is such a great protagonist. I love Jeremy Allen White's performance, he plays his character with such depth and truth that it's impossible to not like him. Praying for nothing except good things for Carm!
The Bear: Beef (2023)
Short, concise, straight to the point and awesome.
Really great opening episode. The Bear hit its strongest run of form in the final few episodes of S1 (as most debut seasons do) and it was natural to expect a stronger start to S2.
This premiere delivered. It has some staple moments that I missed during the show's hiatus, mostly the interplay between Carm, Richie and any characters those two interact with. Laugh-out-loud.
It also carries the classic 'The Bear' feeling which we all came to know so well. Tense, claustrophobic, nerve-wracking. Whilst S1 ended on a positive note for our characters, there's still a tremendous uphill battle in regards to the future of their restaurant.
Finally, it hits the emotional beats too. There was a scene between Tina and Sydney which was executed really well. For a 30-minute show, 'The Bear' succeeds really well in making us feel for its characters, and I expect (based on the opening sequence with Marcus) that we'll get similar doses of darker, emotional content, much like the ones that S1 hit us with.
Maybe I'm being over-the-top with my rating of a 9, perhaps because I've missed 'The Bear' a lot, but I think this was a very strong premiere that, in comparison to other 30-minute shows, hit all its beats quickly and concisely. Looking forward to the rest of this season!
Better Call Saul: Saul Gone (2022)
"Hi Jimmy."
If there's one constant throughout Better Call Saul, the beating heart of the series, the ever-lit flame, it has always been Kim Wexler and Jimmy McGill. These final few episodes have been tough to watch. To put it simply, it's hard to think of two greater characters that have ever been crafted in the history of this medium. Across cinema, literature and television. And with this series finale, their story is concluded in a manner that is entirely fitting.
I'm struggling to find the words to describe, with complete accuracy, how I currently feel. I'm filled with joy and sadness in equal amounts. Seven years of intricately written, emotionally dense, raw and heartbreaking plotlines reached their inevitable conclusions and, for many, this will be tough to take. Envisioning the future of television without Better Call Saul seems despairing but I hope that it will inspire creators far and wide to craft their own stories, in the hope that it can hold a solitary cigarette light to the stellar brilliance of this show.
This is a series that will be studied for years. I extend every ounce of gratitude within me to the cast and crew responsible for delivering this story with such consistent excellence straight to my television screen. Year in, year out. It is a show that will linger in my mind forever. For those who live and breathe cinema, like myself, I hope you share this feeling.
With that, there's nothing left to say. Even though we've reached our final "showtime, folks!", the flame of Better Call Saul still rages on. With this show, it's one of the only colours left in an often bleak-looking world.
The Boys: The Instant White-Hot Wild (2022)
Decent finale but the overall criticisms I have of the show have never been more apparent.
Pros - Engaging action sequences, satisfactory conclusions to SOME storylines, brilliant closing scene.
Cons - The writing this season, as seen briefly in its predecessors, has been quite lacklustre. Certain plotlines lead nowhere, most of the characters make decisions that made little to no sense when you look back, some even acted straight up out of character in this finale.
One other thing that holds me back from loving The Boys so much; this series has extremely high praise from nearly everyone online, is its lack of an emotional core. The romances, the meaningful relationships on the show between the characters, I find it very tough to care about any of them.
Do I love the violence, the fun and the gore? Yes. But the writing this season was often too weak to overlook, and I'd love to care more deeply about the characters we're meant to root for. Kimiko x Frenchie is the only bond that feels even remotely well-written, and even that pales in comparison to most top-tier onscreen friendships/relationships.
The ending scene definitely set up a great premise for S4, and I will definitely be watching. I still hold out hope that this show can hit its peak in the coming seasons.
Ozark: The Beginning of the End (2022)
Intriguing premiere to a hopefully brilliant season.
I haven't seen Ozark since lockdown of 2020, when S3 had just premiered, and I believe that's when most people found the show. Ozark is the rare type of show that genuinely got better as each season progressed, which should make S4 the best yet.
I'm overdue a refresher on a lot of key events and details seeing as its been over two years since I watched the show, but the premiere to S4 was certainly intriguing nonetheless. I am slightly confused by the opening, however the rest of the episode was fairly easy to dissect. The tension still remains, the problems still continue to mount, it's very much the Ozark we all know and love. But just as S3 changed the direction of the show, Ozark's atmosphere feels as brooding and moody as ever. It is filmed incredibly well, with such a profound emphasis placed on the show's world-building, as we continue to follow the story of the Byrdes in this gloomy town. It's particularly fascinating to be reintroduced to their family dynamic, which operates identically to that of any normal family yet is far more dramatic in nature. It almost operates as a dark comedy at times, regardless of whether or not that is intentional.
Linney and Bateman continue to impress and the stakes continue to rise. I'm intrigued as to where we are heading and I'm excited for the ride.
8/10.
Dexter: New Blood: Sins of the Father (2022)
A polarising, controversial ending that I'm sure will receive a lot of hate, but I personally loved it.
Spoilers ahead -
Wow. A lot to digest here.
I'm rewatching the final scene now, with Dexter and Harrison, and for one of the first times in the show's history I felt like I was viewing something that was incredibly poignant.
The entire ending sequence feels dreamlike, art-housy, as though it's ignored the typical conventions of Dexter in favour of a more metaphorical or symbolic conclusion. The background is blurred out in an almost surrealist manner for a few of the shots focusing on Dexter. Pair this with the quick montage of the innocent lives he's destroyed, and I finally feel like I understand the ending.
I'd like to preface this review by stating that I believe what Dexter did to Logan was fully in line with his character. In my opinion, the show has established that Dexter is willing to claim the lives of innocents or cops that are onto him, e.g. LaGuerta and Doakes, to stay alive and free. Before anybody says he didn't kill either of them, he was planning to give Doakes the death penalty by framing him and certainly would have killed LaGuerta himself without Deb's intervention. He may claim to have been pushed to do this out of love for his family, so Rita and the kids didn't find out, so Deb wouldn't have to see him get the electric chair etc, but the truth is that it's all for his own self-preservation. He's a psychopath and his own freedom is his priority. Rule Number 1: Don't get caught.
Dexter has also been shown to kill people out of self-defence, exploiting a sort of 'loophole' in the code. Miguel's brother, the man who tried to blackmail him for money in Nebraska, he even killed the redneck for doing nothing but insulting Rita and being pissy towards Dexter.
He kills innocent people, people who he had no way of knowing whether or not they fit his code at the time of their deaths, and he is responsible for the deaths of many innocents around him. Including Rita and Deb. He is chaos and violence personified. Death follows him everywhere he goes, and he cannot escape it because he brings these situations upon himself. His own lust for blood and freedom has cost plenty of innocent lives. But suddenly when it's Logan, I expect people to lose their minds as if Dexter has any sort of morality. He doesn't. He lost that a long time ago if he ever had any.
It's also worth nothing that Dexter was suffering with extreme psychosis to a degree never before seen in the show. Whereas Harry's ghost led Dexter to morality in a calm, father-like manner on multiple occasions, Deb's ghost constantly berates and torments him, and this is a clear sign that his psychosis has reached boiling point. He kills Logan directly after an episode of this psychosis.
Finally, Dexter had every right to be frightened about his future, combined with his psychosis this offers plenty of justification for him to want to escape rather than await trial. They not only have limited evidence to tie him to Matt's murder, which he probably would have gotten away with, but they now have MULTITUDES of coincidences to tie him to the BHB case. And with Angel getting involved, it would only be a matter of time before they could construct a case that could prosecute Dexter. He has everything he needs to convince a jury that Dexter was consistently tied to the BHB case or other murders, his boat being docked at the marina where the bodies were dumped, his connection to Liddy's death (Quinn + the cover-up that Quinn is aware of), his composite matching Kyle Butler's + Jonah Mitchell still being out there, his brother being the Ice Truck Killer, the blood slides linking to him being a blood-spatter analyst, LaGuerta's investigation into him followed by her coincidental death. It would only be a matter of time before they could look back on the entire BHB case with Dexter in mind and find something as evidence. Shaky alibis etc. Also, he's faked his death and reappeared in a town where BHB-like killings or attempted killings have taken place. It's too much coincidence for a jury to not believe he's guilty.
And now, the final scene. This is why I believe the ending is far better than I'm sure many will suggest. To clarify, I believe that Dexter is dead and the scene was not a dream or a hallucination or whatever. I believe that it was purposefully staged to look dreamlike to convey that the viewer should look more at the symbolic meaning of Dexter's death, its poetic nature.
The way Dexter tells his son that he did well after shooting him, the way he feels love at its most purest and strongest when Harrison is ready to kill him. His letter that begged Hannah to let him die so his son could live. Powerful.
Dexter was willing to make the sacrifice so Harrison could have a normal life. Dexter, deep down, knows he deserves to die. But he's a sociopath and he cannot feel enough empathy to want to hand himself in. He doesn't understand morality without the Code to guide him, and he only ever breaks the Code through the cleverly constructed loopholes I spoke of before. But he knows he doesn't deserve his freedom. And in his final moments, he knows that he can break the cycle, by letting Harrison go on without him. Because if he were to raise Harrison the way he was raised, he would simply create another monster in his own image in Harrison. And Harrison is similar to Dexter in the sense that he lacks empathy, perhaps not as extreme as in Dexter's case, but he is capable of killing his father. And he is only willing to do so when Dexter encourages him, telling him to take the safety off. Dexter wants to die, to protect Harrison, to free his son from his own malignant presence. Nothing good can come from Dexter raising his son, or venturing out into the world alone to continue wreaking havoc. He has to die.
Yes, I understand the execution of Harrison killing him might not be the finest. I believe that he should have handed himself in and died in the electric chair. But this was the showrunners' way of making Dexter's death poetic, poignant, beautiful, and I feel like it worked. And Deb holding his hand as he went broke my heart. I loved Dexter, I loved his character and I wanted him to survive/gain his freedom. I wanted him to have a good life with his son. But he doesn't deserve one, and he wouldn't have been able to have a good life with Harrison without making his son into a monster, and he wouldn't have been able to have a good life without Harrison in it.
Dexter has broken down, mentally and physically throughout New Blood, and his son was his final hope of gaining happiness or the prospect of a happy life. But acknowledging that he deserved to die for the betterment of Harrison is the most noble thing he could have done, and it almost brought a tear to my eye.
The ending is polarising, controversial, love it or hate it. But some of the best ones often are. It will be studied and analysed for years to come, and I hope people who dislike it so much may come to like it more someday. Farewell to an amazing show, and an amazing character.
Dexter: New Blood: Smoke Signals (2021)
New Blood continues its fine start to the season.
Another stellar episode. Dexter has never pushed the boundaries of filmmaking, or even storytelling, but it has consistently pushed the boundaries of entertaining, engaging TV.
It's important to rate a show accordingly, based on what it is trying to achieve as opposed to what you, personally, want from it. Dexter isn't aiming to be the most masterful, innovative TV show around. It's great entertainment, with a well-written narrative, great leading (and supporting) performances that create a very likeable cast whom the viewer can root for or root against.
I'm really enjoying watching Dexter back on my screen. This episode continues to progress the narrative, as our Dark Passenger flails through the night to cover up some of the cracks he left after the events of the premiere. The villain this season is as intimidating and as intriguing as ever. We don't know who this is yet (although it's almost certainly one specific character!) and his presence reminds me of the villains from S1-4 of Dexter as opposed to some of the less memorable villains in the later years.
The Harrison - Dexter arc is particularly interesting and I now understand why the showrunners felt they had to wait for Harrison to grow up to revive the show. It adds something for Dexter to lose, something that he must evolve and change for, as opposed to his surroundings being nothing more than a form of rehabilitation for him. He is forced to live in the real world, with his real son, and the chemistry between the two actors makes scenes between the pair highly enjoyable to watch.
It wasn't the quickest episode or the most dramatic, but the tension and the stakes are slowly rising. A better episode than last week, and one that ends on a slightly confusing note. I'm as excited as ever to continue watching New Blood, and I have nothing but praise for how the showrunners have handled this revival.
Succession: Retired Janitors of Idaho (2021)
A good episode. Not the absolute best, but very enjoyable.
Well, we have reached the conclusion to a 14 episode-long conflict, and it feels odd to say that nothing truly dramatic or explosive happened.
It feels almost like a slight fake out. It is the only solution that makes sense; any other way would have made the current narrative very difficult to resolve, however this feels like the beginning of a new, unpredictable conflict that will shake the viewer to their core and will, hopefully, happen before the season's end.
With less of Strong and much more of Cox + the siblings, this episode primarily focuses on how the children/Logan's team react without their overbearing Dad to direct them. And whilst it's hilarious to see them stumble over one another, it's also quite sad and revealing to see where each character's priorities lie, and how incompetent some of them truly are without him.
It's a tense but rather comedic resolution, with a few off-putting moments that continue to push Kendall in a surprising direction, one that I did not foresee this season. I still root for him as the show's protagonist, however he is making this rather difficult right now.
It's the episode's ending that really solidified this, for me, as another fine episode of Succession. When the comedy is removed and the tension has dissipated, we are reminded that we are no closer to a conclusion. There is much more to come for this set of characters, and a hell of a lot more conflict. I'm keeping my fingers crossed, but I can sense something truly tragic occurring very soon.
Succession: Lion in the Meadow (2021)
I really liked this episode, oddly enough.
I just enjoy seeing the dynamic between Logan and Kendall, and I feel like these moments will be particularly sparse this season with their ongoing conflict.
Strong and Cox are, currently, two of the best performers on TV; to see them share half the episode with an actor as fine and as talented as Adrien Brody was an unexpected but delightful surprise.
There seem to be a number of side stories, as we have came to expect from Succession, developing throughout this season, and I love seeing the writers weave these so intricately together by its end. Each of the siblings + Tom and Greg can be seen to have their own individual battles/struggles outside of the main narrative (still connected, however) and I enjoy this emphasis on the smaller characters. Nobody is left out, everybody is involved and it makes the stakes feel higher; grander in scale.
Yes. The story is still moving slowly. But it's still enjoyable to watch, deeply so. I wish things would perhaps move slightly quicker, but I have faith in the writers to make these episodes worth it when we reach the latter stages of the season.
Succession: The Disruption (2021)
Succession is at its best when the viewer can emotionally connect to the situation onscreen.
A big step-up in quality compared to the first two episodes of the season.
It's the show's emphasis on Kendall that really drives it forward, in my opinion. And seeing him suffer can evoke a sort of emotional resonance or connection within the viewer, at least in my case. So this episode was a tough but largely rewarding one. I love Jeremy Strong, and I, unfortunately, love Kendall Roy. I've said this before, I accept and acknowledge that he is not a good person. But in a world filled with such a range of horrid, despicable central characters, you find yourself falling in love with the one who genuinely seems to care about the company, his family and people in a much larger and more general sense (or so it seems).
The filmmaking on display in this episode was, to put it simply, marvellous. The long, seemingly endless walk down the studio's corridor made me reflect in the same manner as Kendall, and I felt a sinking feeling within my heart as I saw him break down in the IT room.
It's becoming difficult to write these reviews without spoiling key details from within the narrative, but I'd prefer to do it this way so people can read my genuine thoughts on this show and where it has progressed to, without being spoiled, so they can perhaps decide to give it a go.
I'll keep it at this. The season has certainly picked up from this point. The stakes are becoming progressively higher, and a resolution is certainly on the way. I am invested in the narrative, and whilst the show is far from at its absolute best, it is continuously brilliant and truly one of the best on TV currently. I have a feeling that we may spend the entire season building up to this payoff, but with Season 4 being renewed so quickly, I have no doubt that they have a very explosive, fast-paced season in mind after this almost two season-long conflict continuing to be dragged out.
Succession: Mass in Time of War (2021)
Slightly better than the premiere, but still far too slow.
This show has been a constant build-up of drama/tension since the beginning of its second season, yet we still lack any form of true resolution to Succession's overarching conflicts.
This episode was marginally better due to its stellar writing (one of the only aspects of this show that truly never dips in quality!) particularly in the scenes featuring the Roy children. It is rare that we see them within a room together without the presence of Logan, which was particularly interesting, perhaps even revelatory, to watch.
We gain insight into where their heads are currently at, their drives + motivations, and a LOT of repressed anger towards each other. Succession consistently pushes the boundaries when it comes to the development of its central characters, peeling them back each layer at a time to reveal who they truly are.
Kendall, in particular, showed a side to himself that frighteningly mirrors another character within the show, and it is testament to the show's writing/Strong's performances that the avid viewer should probably have seen this twist coming. It has been embedded within Kendall and the Roy DNA since the dawn of the company, and it may just be the edge that he requires to win this battle against his father.
Another good episode, one that largely focuses on the Roy children, but massively below the mark I expected going into this season.
Succession: Secession (2021)
Good yet slightly underwhelming start to what should be an intense season.
Picking up directly from where we left off, Succession starts with the intensity we'd expect after the bombshell that was dropped at the end of its previous season.
However, after the first 10-20 chaotic minutes, the episode tapers off into what feels like a very introductory and, almost, underwhelming premiere. The drama begins to fade, each character begins to position their pieces in play, and whilst this may be a necessary step to establish the narrative for the rest of the season, I expected far more explosive conflict than I actually received after last season's dramatic conclusion.
I am still very intrigued. And I suppose that a few slow episodes before we reach this particular situation's climax will be ok, perhaps I should have expected them.
Cox is marvellous, as always, and he appears to be slipping further and further down a very twisted rabbit hole. Perhaps one that he cannot get out of this time. I am wholeheartedly rooting for Kendall, and it's times like that I'm reminded how much I truly hate this family. Overall, a slow but satisfactory start to Succession's third season. I will certainly be keen to see how this story progresses, however I hope it moves a little quicker in getting there!
Succession: This Is Not for Tears (2019)
Succession's magnum opus.
An absolutely brilliant episode. Perhaps not my absolute favourite, but it would be impossible to disregard this as anything lower than a 10/10, purely due to the writers' ability to successfully weave an entire season's worth of side stories, boiling tensions, character development into one breathtaking final scene, one that sets up Season 3 to, perhaps, be the best season yet.
I spoke on last season's finale as being cathartic, but I truly did not know the meaning of the word. This is the definition of catharsis. For two seasons I have watched and hoped to see an event of this scale, and it has finally arrived. In a way, I'm even more curious to see where the show goes next. I spent so long wishing for this to happen, now that I've got it I truly do not know what to do.
The entire cast were brilliant, as always. It was refreshing to see certain characters have the humanity within them brought out, and it was also refreshing to see certain characters finally escape the shells they've been hiding in all season. I cannot praise the writing enough. There truly is no 'action' in this show, not in the physical sense of the word. The conflicts, the drama, everything is spoken. To yield such an engaging, complex and dramatic narrative is a testament to the cast and crew of this show.
For me, the best episode of the show so far. A perfect setup to another season of Succession and the perfect way to put an end the events of the last ten episodes.
Succession: DC (2019)
Strong episode leading (hopefully!) into an amazing finale.
A lot of tension boils to the surface in this one, as the gang speak before Congress in DC. There's a lot to unpack and a lot that needed to happen to build up to the season's finale, but 'DC' managed to set this up perfectly.
We begin to see the family fall apart at the hinges (if it was possibly for them to do so any more!) and it really seems to be completely unravelling for Logan now. The acting, as per usual, is strong across the board, and Roman's side story is odd yet engaging. It feels like these side stories are beginning to collide for the finale, a testament to the stellar writing on display to be able to weave these tales together.
If Logan's last line means anything, it's that next episode is going to be bloody.
Succession: Dundee (2019)
A change from the usual 'Succession' formula.
There are quite a few things I enjoyed with this one. For starters, the comedy felt on point, Logan returning to his hometown as a bitter old man gave me shades of Bruce Dern in 'Nebraska', a hilarious yet touching comedy-drama from a few years back.
There are jokes, scheming from the Roy children (which is fairly fun to watch) and even a particularly uncomfortable rap from Kendall during the episode's climax.
But interspersed amongst this are real elements of drama that are continuing to build up. The dynamic between Greg and Ewan, leading into the bathroom speech delivered by Logan. The final words Ewan says during this episode. Shiv's scheme to dispose of her enemy. It is a mixed bag, one that relieves some elements of dramatic tension whilst not completely derailing the entire story.
It, again, feels like a developing episode, but Succession is arguably the best TV show I've seen in a long while for keeping these types of episodes fresh and interesting.
Succession: Return (2019)
Emotional, well-acted, another fine episode.
Now, this wasn't the best episode in Succession history. But it was good in a way that not many episodes before it have managed to emulate. It reminded us that amongst these characters, there are real humans behind each of their eyes. Namely Kendall.
I've said since midway through last season that I see Kendall as the hero, or the protagonist, if you will. And that is how it seems to have remained. Strong is a brilliant actor, and I see why he won the Emmy for this season. He's not a character you should be rooting for, he's immoral, reckless and dangerous like every member of the Roy family, but his redeeming qualities have been consistently displayed and it strikes me that he may actually have good intentions. The man is human.
The same cannot be said for Logan. What he did to his son in this episode may perhaps be the most brutal display of enforcing power over Kendall that I have ever seen. This dynamic is fascinating, and I hope Kendall may see the light of revenge soon enough.
Aside from that, not all too much happened. A bit of side story with Logan, his new mistress and Shiv, but this is clearly all to progress the plot towards the time of dramatic climax we saw at the end of Season 1. But the stakes feel higher than ever and I am very, very excited.
Succession: Argestes (2019)
Another good episode that sets the second half of the season up rather nicely.
There truly hasn't been an 'average' or 'mediocre' episode of Succession since the first half of Season 1. Perhaps I needed more time to adjust to the show itself, to the characters and the narrative, but I truly believe that it has now hit the ground running.
Now, this wasn't the most extraordinary episode ever. There were a number of brilliant moments, found in the last 15-20 minutes of its runtime. Succession seems to be making a point of beginning an episode slowly, then building up to a dramatic conclusion. Whereas this felt like the beginning of the storm or a 'tempest in a teacup' as Logan called it, the storm is certainly coming.
Great performances as usual across the board, and an overall strong, developing episode that has set up the events that will inevitably follow rather nicely.
Succession: Tern Haven (2019)
"Money always wins."
Arguably the best episode of the show to date. I found myself checking the runtime in the hopes of there being more to come, I truly never wanted it to end.
It is the most revealing that the show has ever been, I find the dynamics between the Roy family to be endlessly fascinating and this particular episode took this to an entirely new level. I spoke about Cox in my last review, declaring him as absolutely wondrous. Well, the man has ascended even higher, beyond description. A true craftsman, playing the role of a very layered individual to perfection. Unlike last season, I am beginning to admire Logan's persistence, the sheer force of his power. Even as he slowly alienates each and every member of his family, I, as the viewer, am in awe of his every move. I find myself going back and forth between hating him, then loving him.
Strong was phenomenal yet again. Key development for Kendall, Tom and Shiv, Roman and borderline every member of the family is on display in this episode. I cannot expand without spoiling, but the events of 'Tern Haven' have sent the show in a brand new, and remarkably exciting, direction. I felt and understood each character far more after this episode.
God, I hope this continues. It is a brilliant show, that I hope will continue this brilliant run of material.
Succession: Safe Room (2019)
A very revealing yet hilarious episode.
A very mixed selection of positives can be taken from this episode.
'Safe Room' manages to include some the series' most vulnerable and emotionally-dense material, specifically the sequence at its end, and some of its most hilarious, gut-busting comedy. The chemistry between Tom and Greg is incredible to watch. Both are wonderful comics, who manage to blend some of Succession's most dramatic sequences with the right amount of sheer hilarity.
I really believe that the show is coming into its own. These characters often speak more with their bodies than their mouths, and there is a particular scene featuring Shiv, Kendall and Logan that exemplifies this perfectly. It is storytelling through virtually everything besides the dialogue, yet the writing is still stellar.
Cox is a marvel. A true master who reveals all the viewer needs to know simply with his eyes. Vulnerable, tense, revealing - all can be used as descriptors for this episode. This season is turning out to be quite the ride.