“Skeleton Crew” thoughts, Season One, Episode Six: “Zero Friends Again”

Skeleton Crew is good clean fun. That may sound like faint praise, and in the context of, like, Mad Men and I, Claudius (and Andor, for that matter), it is. But in the context of The Acolyte and Ahsoka, the Disney Star Wars Universe’s last two TV outings? This show is an enjoyable, zesty enterprise, with big ugly creatures, cool little droids, frequently inventive action sequences, and Jude Law as a scoundrel who my even turn out to be a real scoundrel this time. It has a pulse and a purpose. It justifies its own existence by being entertaining. 

[…]

But even in Star Wars, you’re asking a lot of your audience’s suspension of disbelief in this sequence, when you probably could have just crafted an escape that didn’t depend on four little children all acting like a cross between R2-D2 repairing Luke’s hyperdrive while flying through space and Captain America keeping that helicopter from flying away with his bare hands. I enjoy space werewolves and space kaiju and space Urkel and space Kelly MacDonald as much as anyone, but they can’t compensate for underbaked writing, which is what keeps Skeleton Crew from making the jump from fun to special.

I reviewed last week’s Skeleton Crew for Decider.

An Orc Walks Into a Bar

a short story by Sean T. Collins, 1/4/25

How it started. Can’t say I remember much of what happened after, but how it started? Yeah, I can tell you that. It was me, Kyle, Bryan, Eustace, Jenny, Eleanor, Tom of course, and it was cold. We were in the Green Dog, which was our regular then, and we were a couple drinks in, all of us. Bryan was smoking his pipe, it was new, he was showing it off like. Eustace had such a thing for Eleanor and all of us knew it but her. Kyle and me, we were talking about that year’s Games. Kenny, he owned the place, he had the fire going strong as he could, but we were still all bundled up. Jenny tied her hair back so she could lean in toward the candle on the table, even. It was cold. 

I think it was Jenny who noticed first because I saw her turn white as a sheet while the rest of us were still having a laugh. There was a lull in the noise and then we heard the sound of footfalls, and they were heavy like, and you could hear the scrape against the wood floor.Then I realize it had gotten so cold because the door had opened — like I said, we’d been drinking, things weren’t coming to me quickly — and I turn to look.

He was man height — peasant, not aristo, I mean, but still taller than all of us. He had on a scratched grey chest plate and dark leather armor, which you could see was ripped and stained black in a bunch of places. Ears like a bat and skin the color of, you know, an old bruise, that purple-yellow flesh tone. Big red eyes the size of a human’s mouth. Teeth the size of human fingers that stuck out even with his mouth shut. He had these big bony feet with hard yellow toenails that scraped against the ground when he walked, just these big grippers slapping the floor. When there’s an orc in your regular, you notice these things. Makes an impression like. 

Tom, he didn’t say much on a night out usually. He stands up and he says, and I mean loud, “What do you want?” 

So that kills whatever conversation was left in the place. 

The orc doesn’t even look in Tom’s direction, just sits down at the bar. Then he goes, and I’m not gonna do the voice so you’re gonna have to imagine it, he goes: “I’m here to test the hospitality of the halflings, renowned in story and song.” 

Everyone starts Tom looks real angry. Jenny’s scared as hell, you can see. Eustace is just staring into his drink. 

The orc sighs like. “I am unarmed and I wear no sigil,” he says, real tired like. “Would you turn a poor traveler away?”

Kenny behind the bar, his bald head is gleaming with sweat now, and it’s cold like I said. He looks over to Tom who I can see give him this little head-nod back. 

It took him like three tries but finally Kenny gets out “What’ll it be.” 

“Ale,” the orc says. “Keep it coming. Cut me off after a few if it makes you feel safer, I don’t care.” And Kenny pours him an ale just like that. The orc takes this big long sip and lets out this ahhhh sound only it’s more of a hiss when he does it. Like I said, I can’t do the voice.

I’m watching this so close that I don’t even notice Tom get up. Next thing I know he’s sitting down next to the orc at the bar. Now normally if he does this people know what’s coming, but this orc, he’s new, what does he know.

“Hey friend,” he goes. Tom’s tall, four feet, and he’s all muscle. He’s not scared of this guy. “Hey friend. You a veteran?”

“Aye,” says the orc and takes another drink. 

“I’m a veteran too,” Tom says. Kenny starts to say something and Tom just shoots him a look and he shuts up again. “What campaign, brother?” 

“Azh Khabad was my last one,” the orc says. He’s just staring into his drink, like Jenny.

“Yeah, that was a lot of people’s last one,” Tom goes. “Especially on your side.” The orc just grunts and drinks again. “Where’s your sword and sigil at, brother?”

“Lost ’em,” he says. “In the last campaign.”

“Gotcha,” Tom goes. Then he kind of tilts his head and looks right at the orc and says in this weird loud voice, “Threw them down in the retreat, this one did.”

The orc lets out another one of those hiss-sigh sounds again, puts down his beer. “Yes, I threw them down,” he says. “They would avail me no more.” Finally he turns and looks at Tom, those red eyes, you know. And he says “Why do you stare? Have you never seen a soldier weary from war?”

“I’ve seen plenty, brother.”

We’re all exchanging nervous looks now, and Eustace is whispering something in Eleanor’s ear. Eleanor reaches out and grabs Jenny’s wrist and Jenny jumps and her beer falls over but Tom and the orc don’t notice.

“You’ve killed people,” Tom says. Eleanor squeezes Jenny’s wrist tighter and tilts her head towards the door. I look around and see a lot of folks looking in that direction.

“Probably I have,” the orc says. He’s turned back to his beer already. “But what soldier hasn’t?”

Tom’s drinking an ale of his own now, I didn’t even see him order it or Kenny give it to him. It’s like it materialized in his hand. “Totally fair,” he says, “totally fair. I know I have.” 

He pauses and takes a drink. Eleanor is dragging Jenny toward the door, fast, that’s the last I saw of them that night.

Tom puts his mug down. “But you served an evil cause, brother,” he says, staring right at the orc.

“Probably I did,” the guy says. He takes his own drink, then he moves his head real slow to look back at Tom. “But what soldier hasn’t?”

So Tom, man, he does not like that. He slams the mug down and yells “Those who follow the One True King!” After that you don’t hear a sound in that room except people heading for the exit.

The orc doesn’t miss a beat. “My Lord said he was the One True King. And where I come from, when he speaks, you don’t argue.”

Tom’s just getting madder now, you can see the flush creeping into his face. His fists are all balled up like. “So you were forced into war, is that it?” he asks the guy. “You were forced to fight? You were forced to kill?” All that kind of shit. 

The orc says “No. No, I wanted war. I wanted to fight. I wanted to kill. And when the time came I enjoyed it. But that time is over now. I’m tired.” He starts looking around the room as he talks now. “And I will harm no one so long as I am within these walls, as long as no one tries to harm me first.”

Now Tom, he only gets madder now for some reason. “Oh I’ve tried to harm you already, brother,” he says. “Your armor — you’re a Wolfrunner, yeah?”

And he goes, “Yeah.”

“So you were there,” Tom says. “You were there on the Plain of Sellema when the Paladins of Frodost brought the Early Dawn.” Me and Kyle and Bryan and Eustace had heard this one before and we all kind of looked at each other like. 

The orc goes “I remember the Plain of Sellema, yes.”

Tom’s, well, he’s not the smiling type the way he used to be but you can hear it in his tone of voice now and then and you could hear it now. “So, the vampire knights burning in their thousands, the trolls turned to stone that we used to build a monument to our glorious dead. You remember that, brother?”

The orc’s getting quiet. “Yes.”

“You remember the Werewolf Legion? One second they were rampaging through our front lines and the next they’re just a bunch of naked men on a battlefield. You remember how that ended? Remember them falling to the Silver Axes of Nar-Gurru?”

He doesn’t wait for a response this time. “You know who was in the Paladins of Frodost? Can you guess, brother? I’ll bet you can guess. Go ahead, take your time.”

Another hiss-sigh. He turns and looks Tom right in the eyes again. “You?”

“That’s right!” Tom is crowing now like. Me and the boys are up on our feet, real quiet. “I was one of the halfling paladins who slaughtered your Dark Armies, brother. It wasn’t personal, it was just that all those vampires and werewolves and trolls needed to go.” He gets up in the orc’s face. “Sometimes people just need to go, would you agree, brother?”

“Like the people of Sellema?” he says back. “That was not our doing.”

Tom’s says, “They made their choice. You don’t get to volunteer to be one of the Black Sword’s slaves. That’s just not an option for people to take, unfortunately.” 

Bryan whispers to me “He’s drunk” and I’m realizing suddenly he’s right. 

The orc finishes his drink and goes “What’s done is done, I suppose.”

“Almost,” says Tom.

He must have gone for his gem at that point, it was hard to see from my angle, but the next thing I know his arm is on the floor. His whole arm! The orc just bit it right off at the shoulder. Tom, he passes out, and his face lands right in the palm of his own hand, I swear on the Great Tomb of Atar.

There’s blood everywhere now, and I mean everywhere. A candle on the wall sputters and goes out from the spray, that level of blood. Kenny drops behind the bar and that’s the last I see of him. Most everyone in the bar is making a run for it. But me and Eustace and Kyle and Bryan, well, we just kind of collectively decide we’ve gotta do something about this. We’re pissed about Tom and we’re all drunk. 

And it’s the weirdest thing. The orc, he looks at us coming, Tom’s blood is all drooling and dripping from his mouth. And he goes “Hello, friends. Is any among you a veteran?”

We’re embarrassed like. Only the Wielders could serve in the High King’s army, and only Tom was a Wielder. On the other hand look where it had gotten him. 

So when no one says anything, the orc just says “That’s good. Very good indeed.” 

What were we supposed to do? 

I go first and I bring my mug down hard on his bruise-colored head. The black blood stings on your skin, I didn’t anticipate that even though I knew it was the case, you learn this stuff. Kyle goes in swinging, Bryan too. Eustace I think is backing out but then I see he’s reaching behind the bar for the club Kenny was afraid to use. He grabs it and swings hard, right into the orc’s face, which just explodes. Like I didn’t know you could do that to a living thing’s face and have it still be alive afterwards.  

It took a long time. Like I said, I don’t really remember much.

Anyway they erected a statue to Tom at the Old Bridge, and the orc they fed to Kenny’s pigs, on account of it was his place that got busted up and this was his getback. But all Kenny did was serve the orc a drink so I don’t feel bad his pigs got sick and died after that. Serves him right like. 

The deputies cleared us of course, since orcs aren’t people and you can only murder people, something like that. Bryan has been fine since except for his marriage. I haven’t talked to Kyle in a bit. Eustace did something that Eleanor isn’t speaking to him anymore, don’t know what that’s about. Jenny’s fine, and me and her have been going together since harvest, and we have a new regular. Anyway it’s funny you asked about this, because I just had the craziest dream where the orc says — well, that’s not important. I don’t think about it that much anymore is the main thing. That war ended a long time ago now.

“Silo” thoughts, Season Two, Episode Eight: “The Book of Quinn”

The Pact is what has kept things in line all these decades. It may well stop a catastrophe even now. But it led to this catastrophe too, with its lies and deceptions and bias toward the Up-Toppers. Does such a document deserve to govern a people who have outgrown it? Do its handmaidens in power deserve to rule us? I mean, them? 

I reviewed this week’s Silo for Decider.

“Silo” thoughts, Season Two, Episode 7: “The Dive”

Everyone’s off on a side quest in this episode of Silo. That’s not a bad thing! Ask any gamer worth their salt and they’ll tell you that the wooly, rambling parts of an open-world game are the best part. True video game happiness is when you could probably advance toward the final boss if you wanted but you’re having too much fun solving puzzles and braving dangers and helping farmers locate their lost chickens and what have you to stop playing anytime soon. 

I don’t know if that was the remit for this week’s script, by writer Katherine DiSavino, but as a metaphor it works pretty neatly. Virtually across the board, all of our main and secondary characters are engaged in side quests this week. It might feel like treading water — literally so, in Juliette’s case — but it’s where a show can stretch its legs a bit.

I reviewed last week’s Silo for Decider.

“Skeleton Crew” thoughts, Season One, Episode Five: “You Have a Lot to Learn About Pirates”

One last thing: Wim. Sure, it’s funny to see him mean-mug Jod with a lightsaber in hand as if this is his moment of destiny, then promptly switch it on upside-down and drive it into the ground, knocking himself ass over teakettle. But “I wanted to have an adventure, and now I regret it because adventures are scary” is a movie motivation, not a real-person motivation. Luke Skywalker was a bored teenager wanted to see the universe, not have adventures in it. Indiana Jones wanted fortune, glory, and presumably tenure. The Goonies wanted to save their parents’ homes from foreclosure, for crying out loud. None of them was like “Oh boy, I hope I get into all kinds of danger so I can show how kickass I am!” It’s both unrealistic as a motivator and unlikeable as a personality trait. 

I reviewed this week’s Skeleton Crew for Decider.

“Squid Game” thoughts, Season Two, Episode Seven: “Friend or Foe?”

In the end, it’s both beautiful and brutal. All-out mass murder in a blue-and-red darkness. Muzzle flashes erupting from dozens of crevices in a vast pastel cavern. Desperate men and women fighting to the last bullet. Lovable characters cracking under pressure. A final betrayal in the royal purple corridors of power. The season finale of Squid Game is everything you’d want from a season finale of Squid Game…except for the “finale” bit. There’s nothing final about this episode at all. 

I reviewed the season finale of Squid Game for Decider.

“Squid Game” thoughts, Season Two, Episode Six: “O X”

By the time you finish this season of Squid Game, you will have witnessed hundreds of murders. Hundreds! It’s baked right into the premise. Other than shows that involve actual war, this kind of body count is just unprecedented. It’s certainly unique in that in virtually every case the murder victims are unarmed and helpless, and are getting killed because they messed up while playing a children’s game. 

The question I ask myself when I watch things like this is simply, Why? Why am I watching something in which human lives are discarded like garbage, in graphic on-screen deaths so numerous you need the show to keep track of them for you? Is this some high-octane action-movie thing that’s using murder the way roller-coasters use downward slopes — to shock your system and give you a thrill? Does the violence have weight, does it cause emotional pain, does it speak to something broader than “look out for armed men in pink jumpsuits”? In short, what does the violence communicate, and is it a message worth hearing?

I’m wrestling with this question, I’ll admit. That’s because I think it’s very obvious Squid Game does, indeed, have something to say. The cartoonish bluntness with which its premise is stated — poor and indebted people are pitted against one another in sadistic games for a chance to win enough money to become solvent again, in a sham quasi-democracy overseen by the world’s richest men — tricks the mind into thinking it’s simplistic. 

But read that premise again, and tell me how it differs from conditions on the ground right here and now. Friends, the real world is simplistic at this point. Just as the lethal games are designed to evoke fun childhood pastimes, Squid Game just renders the real world’s cruel absurdity in caricature form. 

There is, however, such a thing as diminishing returns. With only one episode remaining in this short season, and a longer one behind us already, it’s fair to wonder what this heap of several hundred green-tracksuited corpses tells us that we didn’t learn from the previous pile. 

I reviewed the penultimate episode of Squid Game Season 2 for Decider.

“Squid Game” thoughts, Season Two, Episode Five: “One More Game”

Recapping this episode of Squid Game is a daunting prospect. Not because it’s complicated — on the contrary, it’s a simple as these things get. The players play a game, the survivors take a vote and then a break, they bond with each other, they start a new game, there are brief detours for the No-eul and Jun-ho side plots, the end. 

No, the problem stems from how much of the energy of Squid Game is lost if you summarize it. I mean, the show really is as simple as it sounds above. The characters sound equally sketched out when you break them down in text form: the kindly old woman, the genial jarhead, the arrogant celebrity, the gentle trans woman, the surprisingly human villain, and so on. I found all their interactions compelling, but if I were to sum up their conversations without the benefit of the performances conveying them, they’d seem gossamer thin.

I reviewed the fifth episode of Squid Game‘s second season for Decider.

“Squid Game” thoughts, Season Two, Episode Four: “Six Legs”

The clock is ticking on Squid Game, and I don’t just mean for the contestants. In a short season of just seven episodes, we’ve just completed Episode 4 and haven’t even finished our second game out of six. Will the remaining games get rushed through via montage or some other means? Will the competition get cut short, perhaps by Gi-hun and Jun-ho’s mercenary team? Will the season finale end with a big TO BE CONTINUED? No matter the outcome, the result is going to be paced quite differently from the previous season. In other words, we’re guaranteed something novel.

I reviewed episode 4 of Squid Game Season 2 for Decider.

“Squid Game” thoughts, Season Two, Episode Three: “001”

So much of what makes this episode good is also what makes it familiar: the giant doll, the X and O voting, the “Greta Gerwig’s Barbie remixed by M.C. Escher” staircase set by production designer by Chae Kyoung-sun, But what sells the drama of it all, what makes it feel like more than just a rehash, is what has changed: Gi-hun. When we see flashes of the initial season, he looks like a different person, floppy-haired and fresh-faced. Actor Lee Jung-jae’s transformation is subtle, but it’s like an optical illusion or a Magic Eye poster: Once you train yourself to see it, it’s kind of mind-blowing.

I reviewed Squid Game Season 2’s third episode for Decider.

“Squid Game” thoughts, Season Two, Episode Two: “Halloween Party”

For a director whose signature achievement is capturing claustrophobically cheery sets, Squid Games‘ Hwang Dong-hyuk has a hell of an eye for exterior shots. An amusement park, a hospital, a bridge underpass, even Gi-hun’s run-down Pink Motel: They’re all given a real sense of scale, color, drama by Hwang’s camera. Even given how gorgeously creepy all the interiors are once we get to the island and its game complex, I’ll still miss the view.

I reviewed the second episode of Squid Game Season 2 for Decider.

“Squid Game” thoughts, Season Two, Episode One: “Bread and Lottery”

Maybe it goes without saying, but like most episodes of Squid Game, this is a nasty bit of work. The episode stays fairly light until the end, characterized by joking banter between the loan sharks on one hand and Jun-ho and the fisherman (Oh Dal-su) who plucked him out of the sea after the Season 1 finale and now helps him search for the island. Then, all of a sudden, you have a protracted scene of queasy brutality and emotional torture straight out of The Deer Hunter, set to opera. This is followed almost immediately by a very similar scene in which the sociopathic Recruiter positively beams with joy over being a sociopath before shooting himself to death on camera. It’s a lot, but it’s supposed to be. If individual viewers find it’s too much to justify what is at root not all that different from Arnold Schwarzenegger’s The Running Man in conceptual terms, I get it.

But it sure looks good. We haven’t yet immersed ourselves in the pink pastel hellscape of the Game’s HQ yet, but the red and green lighting that falls on Gi-hun and the Recruiter during their face off, along with a sudden cut that jumps the 180-degree line so we suddenly see the bright red window against which they’re seated, had me thinking favorably of Drive director Nicholas Winding Refn’s own beautifully colored foreign-language Netflix thriller, Copenhagen Cowboy. (Go watch it, it rules.)

The most important contrast in this scene isn’t one of color, however, but of character, or more accurately of performance. Gong Yoo is positively demonic as the Recruiter here — eyes gleaming with the joy of cruelty, voice not skipping a beat when he reveals he killed his own father, mouth agape and grinning as he almost lewdly inserts the barrel of his gun into it before pulling the trigger. Lee Jung-jae, meanwhile, retains the sad-sack lovability that endeared him to audiences in the original, but it’s now tempered by trauma, grief, guilt, and the horror of knowledge. You still want this dear man to win, or at least to survive. Under the rules they make us play by, that’s usually the closest to winning you can get.

I’m covering the second season of Squid Game for Decider, starting with my review of the premiere.

“Dune: Prophecy” thoughts, Season One, Episode Six: “The High-Handed Enemy”

Many of these missteps could be forgiven if the character work were particularly compelling. Unfortunately its core cast — Watson, Olivia Williams, Travis Fimmel and, until this episode at least, Mark Strong — swamp the rest of the show with their relative intensity. It is simply very hard to care about, say, Sister Lila walking around with glowing blue eyes and issuing commands in Dortea’s voice when we’ve seen how much more interesting this sort of behavior is when the twitchy, shuffling, humorous, kind of cracked Desmond Hart does it. Same with Empress Natalya, who lacks the in-over-his-head melancholy granted to Javicco by Strong, or the mettle brought to Valya and Tula by Watson and Williams. Simply put, the show is lopsided.

But there’s every possibility it will right the ship. Sophomore surprises, in which flawed but promising first seasons are succeeded by second runs that exceed them in every way are fairly common in Sci-fi-fantasy TV. “Foundation,” “The Wheel of Time” and “The Lord of the Rings: The Rings of Power” all took off during Season 2 in a way I wouldn’t have thought possible having watched their first seasons. “Dune: Prophecy” is most notable right now for where it goes wrong. But you have to believe that when things fall apart, they can be put back together.

I reviewed the season finale of Dune: Prophecy for the New York Times. (gift link!)

“Silo” thoughts, Season Two, Episode Six: “Barricades”

The fascinating thing about all this is that we’re spending the season rooting for the Mechanicals to win, even though we know everyone will die if they do. That’s the whole point of the Juliette plot, after all: She’s in a race against time to get back to the original Silo and warn everyone not to come out after her, because the surface world really is poisonous. It goes to show you how much the structure of genre narrative can trigger our sympathies, even when intellectually we understand our sympathies are dumb as hell.

I reviewed this week’s Silo for Decider.

“Before” thoughts, Episode Ten: “Before”

 Jet Wilkinson is a director who tends to do whatever he’s doing as well as it can be done, and in this case he takes the challenge of filming a gloomy horror climax about grief and sets it against a background of hard gray wintry afternoon light. There are shots of Eli alone on the shore stronger and eerier than any of the show’s more explicit horror moments.

Which, I suppose, speaks to Before’s bigger problem: It’s a horror show that was never particularly scary. Surprising, intriguing, occasionally disgusting? Yes. An odd but effective vehicle for Billy Crystal to stretch his legs by playing, basically, a maniac who should never be let near a child again? Definitely. Something that made me afraid, the way Twin Peaks or Channel Zero or Them or the first season of The Terror made me afraid? No. That may matter to you, it may not, but as a Horror Person I feel it bears mentioning. 

I reviewed the series finale of Before for Decider.

“Skeleton Crew” thoughts, Season One, Episode Four: “Can’t Say I Remember No At Attin”

I guess some points about the kids’ comfortable lifestyle’s pros and cons are made in the back-and-forth between Hayna and Neel over the course of the episode, for what it’s worth. It makes you soft, but that softness is your strength, or something. They tried. I dunno, it’s little tough to take a lesson in heroism from a company selling out trans kids as we speak.

To me, the pleasures of this episode are a lot simpler to appreciate. SM-33’s creepy heel turn, Ryan Kiera Armstrong’s fine performance as Fern, Neel and Hayna’s charming friendship, some pleasantly Star Warsian armor and weapons designs, and a sense of forward motion almost entirely lacking from several of the franchise’s other small-screen efforts — that’s time I don’t regret spending long, long ago.

I reviewed this week’s Skeleton Crew for Decider.

The Best TV Shows of 2024

2023-2024 Bonus Entries

(Excellent shows that started last year and ended up on a lot of 2023 lists but which didn’t air their final episodes till January 2024)

Monarch: Legacy of Monsters

Created by Chris Black and Matt Fraction; based on the work of Ishirō Honda and others (Apple TV+)

The best compliment I can pay this spinoff series from the Legendary Godzilla/Kong movie series, which in quality ranges from dumb fun to just plain dumb, is this: I remember the romance better than the monsters. Actors Wyatt Russell, Mari Yamamoto, and Anders Holm capture the spark and the ache of a love triangle as well as I’ve seen it done, pretty much, with Anna Sawai providing an echo as their younger counterpart. The season finale reunion between Russell’s aged character (played as an older man by his father Kurt) and Yamamoto’s time-marooned one, scored by the Ross Brothers, is movie magic plain and simple.

Fargo

Created by Noah Hawley; based on the work of Ethan and Joel Coen (FX/Hulu)

A strong contender for the strongest overall season of Noah Hawley’s still-controversial Coen Brothers homage, this most recent entry shares many of its predecessors’ concern with the rapacious forces on the move in America today, personified by Jon Hamm’s monstrous enforcer of the patriarchy, Sheriff Roy Tillman. Its bold contention, embodied by Juno Temple’s brave battered wife Dot Lyon, is that we don’t have to swallow what they feed us.

The Curse

Created by Nathan Fielder and Benny Safdie (Paramount+)

Like Too Old to Die Young, the first season of Them, and the Adult Swim Infomericials This House Has People in It and Unedited Footage of a Bear, this cringe-horror masterpiece feels less like a television program and more like an acute, crescendoing mental health crisis. I hated, hated, hated the pilot, which I thought was smug and self-congratulatory about the dark side of liberal do-gooding; by the end of the nightmarish and somehow prophetic finale I thought I was watching one of the best shows I’d ever seen. I was right the second time.

The Top 15 Shows of 2024

15. The Lord of the Rings: The Rings of Power

Created by J.D. Payne and Patrick McKay; based on the work of J.R.R. Tolkien (Prime Video)

Jeff Bezos is an evil man, and he prefers to keep the company of evil men these days, so I wish I could say that this show was as much an embarrassing folly this season as it was during its initial installment. Alas! Like The Wheel of Time and Foundation before it, it got gud, son. The credit is largely due to the emotionally and physically abusive relationship between Charles Edwards’s Da Vinci–like Elf genius Celebrimbor and Charlie Vickers’s gaslighting Dark Lord in sheep’s clothing, Sauron. This season made me understand why these particular guys wanted to make this particular show. I felt the purpose.

14. Presumed Innocent

Created by David E. Kelley; based on the book by Scott Turow (Apple TV+)

Clive Barker once explained that he made his monsters sexually compelling because that’s the only convincing way to write characters stupid enough to open the door that has the reader shouting “Don’t go in there!” Kelley’s adaptation of Turow’s legal thriller rightfully focuses on the explosive sexual connection between Jake Gyllenhaal’s leading man and his other woman, played in flashback by Renate Reinsve. If they make you believe in that, they can make you believe anything else. Bonus points for the insufferable antagonists muttered into life by Peter Sarsgaard and O.T. Fagbenle.

13. Tokyo Vice

Created by J. T. Rogers; based on the book by Jake Adelstein (Max)

How often do you get to say “this stylish, sumptuous crime thriller” and really mean it? But Tokyo Vice‘s second season was all that and more — an almost Dickensian (apologies to David Simon) look at the underbelly of a lost time and place. It delivered on everything the first season only promised.

12. The Old Man

Created by Jonathan E. Steinberg and Robert Levine; based on the book by Thomas Perry (FX/Hulu)

Another sophomore outing that bettered its already pretty good first season by a substantial margin. This season’s setting in the rugged wilds of Afghanistan gave it mythic last-gunslinger gravitas. It’s a fine showcase for the formidable talents of Jeff Bridges and John Lithgow, but this was really young gun Alia Shawkat’s time to shine.

11. The Regime

Created by Will Tracy (HBO/Max)

In this sharp and subtle satire that actually looks as interesting as its dialogue reads, a mentally ill autocrat and her also mentally ill macho object of obsession plunge their country into a whirlpool of quack medicine, economic ruin, diplomatic isolation, and civil war. I dunno, it all seems funnier when Kate Winslet does it.

10. Fallout

Created by Graham Wagner and Geneva Robertson-Dworet; based on the games by Tim Cain, Leonard Boyarsky, and others (Prime Video)

Though it’s one of the more egregious offenders in this year’s woeful trend of truly over-the-top teal-and-orange color grading, Fallout can be forgiven: The blue-and-yellow jumpsuits were taken right from the game, and there’s only so much you can do when you’re filming a desert wasteland against an azure sky of deepest summer. That aside, this is an unexpectedly nasty and batshit anti-capitalist/anti-American post-apocalyptic sci-fi satire from your friends at Amazon. The lead performances of Walton Goggins as a strangely sexy revenant and Ella Purnell as a pretty straightforwardly sexy fish out of water sell the whole thing.

9. Disclaimer

Created by Alfonso Cuarón; based on the book by Renée Knight (Apple TV+)

Disclaimer features arguably the year’s hottest scene and its most harrowing. It’s a sinister little dance between Cate Blanchett in glamorous Tár mode and Kevin Kline as the kind of English schoolteacher you might hear Roger Waters sing about. It’s directed with a unique eye for light and color by Alfonso Cuarón, whose work filming in the ocean feels like yet another technological feat of filmmaking in a career characterized by them. It’s not perfect, but that’s plenty for me.

8. Them

Created by Little Marvin (Prime Video)

While less brain-breakingly brutal and disturbing than its debut season, which is honestly fine with me, the second installment of Little Marvin’s horror anthology series cements returning star Deborah Ayorinde’s place in the pantheon of great horror actors. There’s a fun scary-movie feel to some of the proceedings, which makes the really bitter parts that much harder to swallow.

7. Shōgun

Created by Rachel Kondo and Justin Marks; based on the book by James Clavell (FX/Hulu)

Or: How I Found Out The New York Times Won’t Let You Call An Assisted Suicide Erotic. Featuring at least four of the year’s most memorable performances (Anna Sawai, Cosmo Jarvis, Hiroyuki Sanada, Tadanobu Asano), this tragedy of manners was every bit as epic in feel as its sci-fi and fantasy counterparts. But its emphasis on restraint gave it a ruminative, romantic, melancholy tone all its own.

6. Supersex

Created by Francesca Manieri (Netflix)

A desire for sex so insatiable and profound that it takes over your whole life until there’s not much else left: This is traditionally the stuff of European art films. To my great surprise, and ultimately my benefit, it’s also the stuff of this season-length biopic of the notoriously intense Italian porn star Rocco Siffredi, played by Suburra star Alessandro Borghi. Rocco’s background of poverty and savage bullying, his emotionally incestuous relationships with his mother and brother, his treatment of lust and pleasure as matters of paramount importance no matter the cost — this is livewire stuff, handled with skill, care, and artistry.

5. Sexy Beast

Created by Michael Caleo; based on the screenplay by Louis Mellis and David Scinto (Paramount+)

I know what you’re thinking, because I thought it too: A prequel to the first in director Jonathan Glazer’s run of back-to-back-to-back-to-back movie masterpieces? Best of luck to you! But intrigue got the better of me, and boy am I glad it did. This is — realize I understand the weight of this statement — a worthy companion piece to the original film. As the young thief Gal Dove, James McArdle has incandescent romantic chemistry with Sarah Greene as his true love Deedee, and makes a believable big-brother figure to the strange and belligerent Don Logan (Emun Elliott.) But the romance is messy and complicated and unpleasant, as these things often are. Behind it all lurks Stephen Moyer as up-and-coming gangster Teddy Bass, somehow as terrifying in his way as Ian McShane was in his.

4. Monsters: The Lyle and Erik Menendez Story

Created by Ryan Murphy and Ian Brennan (Netflix)

Ryan Murphy’s empire is what it is, but you do, under these circumstances, gotta hand it to him: Between The People v. O.J. Simpson, The Assassination of Gianni Versace, Dahmer, and Monsters, he’s given us probably all four of the best true-crime miniseries ever made. The story of the Menendez brothers is handled with immense respect for the gravity of the subject matter and backbreakingly frank dialogue as to its horrifying nature. Directed by Michael Uppendahl, the fifth episode, a single shot of two actors, made me sick, as well it should.

3. Interview with the Vampire

Created by Rolin Jones; based on the books by Anne Rice (AMC/AMC+)

Like the first season of The Terror did with Dan Simmon’s sprawling, detailed work of historical horror, the first season of Interview with the Vampire took everything good about its source material, jettisoned everything bad, and improved on the results in every conceivable way. For its second season, IWTV improved on its first season in every conceivable way, ending with its absolute best episode to date. That’s a fucking feat, man. This is the most drama-club goth show ever made, with all the beauty and the bloodshed that implies. With the aid of wrenchingly physical performances by all its leads, it uses the supernatural to supercharge the ecstasy of love and the agony of loss.

2. House of the Dragon

Created by George R.R. Martin and Ryan Condal; based on the books by George R.R. Martin (HBO/Max)

I believe in Westeros. Westeros has made my fortune, such as it is. And I write my reviews in the Westerosi fashion. When a show uses size, scale, spectacle, and the supernatural to convey ideas and emotions, to me it’s like a whole new kind of thing, as much an opera as a drama. These nude incestuous psychopaths flying around on their giant war-crime reptiles are, quite simply, playing my song.

1. Industry

Created by Mickey Down and Konrad Kay (HBO/Max)

I can’t believe I was late to this show. I can’t believe no one told me about this show. I can’t believe no one grabbed me by the shoulders and said Sean, Sean, Sean, this is a show for you. What if Billions, Mad Men, Mr. Robot, and Girls were all the same TV series, and every episode featured sex scenes as frank and explicit as…well, I can’t think of any points of comparison, really. This show treats sex seriously, even as it depicts its rapacious young (and envious middle-aged) hypercapitalists as beautiful sociopaths, their bodies colliding against one another in the water they make their living boiling. As a bonus, you get to watch episode four, “White Mischief,” in which director Zoé Wittock takes Uncut Gems to After Hours school. It’s the year’s most invigorating hour of television, and it feels like this show slapped it down like a casually spent hundred, pulled from a bottomless pocket.

“Dune: Prophecy” thoughts, Season One, Episode Five: “In Blood, Truth”

Until now, this show has been focused on plot, layering mystery upon mystery and expertly building a world. But it has done so at the expense of building characters, who have mostly been along for the ride. By keeping the focus on character, and on the truths they uncover, this episode reversed the show’s polarity in a welcome way. With any luck, the change will stick.

I reviewed this week’s Dune: Prophecy for the New York Times. (Gift link!)

The Boiled Leather Audio Hour EPISODE 200!

The Boiled Leather Audio Hour is back! For our 200th episode (!!!), Stefan and I tackle the big one: The Red Wedding. The longest-running A Song of Ice and Fire podcast on the internet, baby! Listen here or wherever you get your podcasts!

“Silo” thoughts, Season Two, Episode Five: “Descent”

The smile on my face when I saw this week’s episode of Silo was called “Descent” could have powered every level above 125. After all, Silo excels when it digs deep into some simple, specific challenge — get from Point A to Point B despite Obstacle C; use Thing 1 to acquire Thing 2 by powering up Thing 3 — and it’s set in, y’know, a pair of massive underground Silos. I figured, well, someone’s gotta get from the top to the bottom of one of these suckers, and when it comes to that kind of action, this is a show you can trust.

I reviewed this week’s episode of Silo for Decider.