“Hollywood” thoughts, Season One, Episode One: “Hooray for Hollywood”

Hollywood is not Ryan Murphy‘s first television series about Hollywood. It’s not his first series about fame, or performance, or the desire to remake oneself. From American Crime Story to Nip/Tuck, from Glee to Feud, these topics have been the prolific writer/director/producer’s bread and butter since his own Hollywood career began. But this new Netflix miniseries gives him a chance to flex his dream-factory muscles at the absolute apex of the Hollywood studio system, its true Golden Age, and still involve both his bawdiest and most high-minded storytelling obsessions: sex, identity, performance, what stories get to be told and who gets to tell them. And judging from this pilot episode (“Hooray for Hollywood”), it’s Ryan Murphy done right.

I reviewed every episode of the new Netflix series Hollywood for Decider, starting with my look at the series premiere. This is both the most cornily earnest and gleefully filthy show I’ve seen in a long time. I enjoyed it!

“Westworld” thoughts, Season Three, Episode Seven: “Passed Pawn”

Thandie Newton and Evan Rachel Wood have a sword-and-knife fight. If you take away nothing else from this episode of Westworld (“Passed Pawn”), let it be the sight of these two badass women kicking the living shit out of each other.

It’s the episode’s highlight — even if it’s never quite clear why they don’t work together instead of trying to tear each other apart. (It’s got something to do with Maeve’s alliance with Serac, and Dolores’ control of the key to the robot heaven called the Sublime … but these seem like problems that could be resolved over a cup of coffee rather than a rumble.) Sometimes you just want to see two talented, beautiful actors have a Matrix style knock-down drag-out fight, and on that count, this week’s installment did not disappoint.

I reviewed this week’s episode of Westworld for Rolling Stone.

Ozark Is the Platonic Ideal of a Netflix Drama

Gripping? Yes. Great? Though it’s often talked about in the same breath as the likes of Breaking Bad and The Sopranos, two other shows about family men behaving badly, those comparisons don’t quite fly. Ozark is like those shows, sure. But prestige-TV analogies fail to recognize the difference between this series and the others: This is a Netflix show, designed by creators Bill Dubuque and Mark Williams, showrunner Chris Mundy, and producer-director-star Jason Bateman, with Netflix’s binge model in mind. You’re meant to get onboard quickly and stay onboard for the duration. As such, Ozark’s creative decisions make it the Platonic ideal of a Netflix drama. It is its own unique beast.

I wrote about Ozark and the Netflix drama model for Vulture.

“Better Call Saul” thoughts, Season Five, Episode Ten: “Something Unforgivable”

Weirdness is where art lives.

I wrote about the season finale of Better Call Saul for my Patreon.

Ozark’s Scene-Stealer Tom Pelphrey Didn’t Even Dream of Improvising

That episode begins with this scene of Ben alone in a taxi, talking to the driver a mile a minute, walking up to the edge of lucidity about his predicament but unable to do anything about it. I’ve read that you stuck to the script in that sequence, but your performance, it felt improvised in the best way.

That was written by Miki Johnson, and I’m sure we’ll all be hearing her name for years to come. Having finally seen what they used, I noticed that there were a few times where I was repeating lines; that must’ve been a certain take where I was just looking for a purchase.

But it was, in my opinion, some of the best writing that I had ever read. Even though on one level, objectively, you’re like, This is kind of rambling and doesn’t fully make sense, I thought that the writer did an amazing job of giving it this flawless emotional logic. Once you can find that, then it’s just a matter of, I want to show up word-perfect because I cannot make this writing better. There’s not a version of me improvising that scene that makes it better. The only thing that could happen with me improvising that scene is making it worse. She’s the writer for a reason, and she’s where she is for a reason, and so you just show up as prepared as possible.

So I spent weeks just going over and over and over the lines because that’s my job. When you know the lines that well, you do really give yourself the freedom to relax and play and let the words work through you, and you go for this ride where you’re not exactly sure what’s going to happen. I just can’t overstate this: It’s the kind of freedom and opportunity that is only possible when the writing is that good, and I really think it was that good.

I interviewed actor Tom Pelphrey about his phenomenal work as Ben in Ozark Season Three for Vulture.

Happy 4/20! 10 Stoner Masterpieces to Stream on Netflix Right Now

‘Monty Python and the Holy Grail’

You can’t swing a dead parrot on Netflix without hitting content from comedy’s answer to the Beatles—all four seasons of their Flying Circus series are on there, along with a bunch of documentaries, greatest-hits comps, and the religious satire Life of Brian. But you can’t beat the granddaddy of them all, the midnight-movie masterpiece that put John Cleese, Michael Palin, Terry Gilliam et al in the world of King Arthur and his Knights Who Say “Ni!”—no, wait, his Knights of the Round Table, sorry. The movie’s laconic pace and legendary bits (“Just a flesh wound!”) make for the baked equivalent of comfort food. And don’t forget to stick around until the very end of the closing theme for the best sketch of the bunch!

Celebrate 420 Day with this list of ten perfect stoner movies and shows on Netflix that I wrote for Decider. Comedy, drama, action, horror, musicals, documentaries, you name it!

“Westworld” thoughts, Season Three, Episode Six: “Decoherence”

Add it all up, and what do you get? An episode exciting and jam-packed enough to help us put some of our reservations about the course of the show aside, at least for the time being. Is it still a bit glib with the violence? Yes. Is Serac still a bit too much of a one-note supervillain? Yes. Did a gigantic riot-control robot pulp a bunch of redshirts as part of a war between beautiful murder androids? Yes. Does that last bit trump the rest?

Maybe it does, folks. Maybe it does.

I reviewed tonight’s episode of Westworld for Rolling Stone.

“Better Call Saul” thoughts, Season Five, Episode Nine: “Bad Choice Road”

This episode of Better Call Saul focuses on Jimmy’s trauma after witnessing his first murder, an important and necessary thing for the show to do. But because of the skill of actor Rhea Seehorn, the story of the episode can be told almost entirely by a series of looks on her face.

I wrote about the penultimate episode of Better Call Saul Season Five for my Patreon.

“Westworld” thoughts, Season Three, Episode Five: “Genre”

Look, sociopathic tech gurus are a dime a dozen, and it’s not a stretch to believe that Serac would orchestrate some extremely shady shenanigans in order to preserve their fortunes, further their visions for society etc. But getting their hands dirty directly by murking someone themselves? That’s a bit harder to swallow — the stuff of comic-book supervillains like Lex Luthor, not real-life oligarchs. It’s like watching a version of The Social Network in which Mark Zuckerberg beats the Winklevoss twins to death with his bare hands.

[…]

It’s worth noting here that all of this might have gone down a bit more smoothly had his story been a gradual reveal from episode to episode. This installment is basically a data dump — literally and figuratively — in which his life story, raison d’être, and mad plans for the future are all delivered in big clunky chunks of exposition. Compare that to the mythic sweep and power of the comparable Akecheta spotlight episode from last season, and the Serac arc comes up short. Think about the leisurely pace with which the show got us up close and personal with Dolores, Maeve, Bernard, the Man in Black — a much better approach, no?

I reviewed this week’s episode of Westworld for Rolling Stone. It’s the first of the new batch that has left me wondering if there’s insufficient gas in the tank for the show’s latter-day switch to straightforward pulp.

The Boiled Leather Audio Hour Episode 106!

The Winds of Winter keep blowing as Stefan Sasse and I tackle the Arianne II sample chapter—available here or wherever you find your podcasts!

“Better Call Saul” thoughts, Season Five, Episode Eight: “Bagman”

A traditional bottle episode limits the action to one location, usually closed, and a small number of actors, in order to both create a sense of intimacy/isolation/claustrophobia and save money. “Bagman” manages to be an episode that’s mostly about two guys doing things mostly by themselves, but upends the rest of the logic of a bottle episode, smearing blood and piss across the desert landscape. It has a lot in common with its bottle-episode antecedents in the Breaking Bad/Better Call Saul universe, like the (overly?) acclaimed Rian Johnson–directed “Bug,” but it does what it’s doing by turning the bottle episode inside-out. That shredded jug of water Mike finds in the car of the final sicario he kills makes for a decent stand-in. You might call this an open-bottle episode.

I wrote about this week’s episode of Better Call Saul for my Patreon.

“Better Call Saul” thoughts, Season Five, Episode Seven: “JMM”

“I travel in worlds you can’t even imagine! You can’t conceive of what I’m capable of! I’m so far beyond you! I’m like a god in human clothing! Lightning bolts shoot from my fingertips!”

Jimmy McGill is right about all of this in at least two respects I can think of. For one thing, he’s probably right: Howard Hamlin would not believe what Jimmy McGill is capable of—helping a murdering cartel boss walk free, for example. To borrow a phrase from Lloyd Henreid in The Stand, “small-time shit” is the extent of the trouble Howard can likely imagine Jimmy getting into. Little does he know.

I wrote about last week’s episode of Better Call Saul for my Patreon.

“Westworld” thoughts, Season Three, Episode Four: “The Mother of Exiles”

It’s Doloreses all the way down.

I reviewed this week’s episode of Westworld for Rolling Stone.

“Westworld” thoughts, Season Three, Episode Three: “The Absence of Field”

The Delos corporation has created a monster. Yes, another one.

This particular robotic beast isn’t an eerily accurate android replica of humanity. It’s a towering riot-control robot, one that looks more like Optimus Prime or Robocop‘s ED-209 than Evan Rachel Wood. There are hundreds more just like it, just waiting for a buyer. But the host-pretending-to-be-Delos bigwig Charlotte Hale has other ideas. “I’m sure we can find some use for them,” she deadpans. Consider Chekov’s mantle-placed gun officially locked and loaded, humankind.

I reviewed last week’s episode of Westworld for Rolling Stone.

Music Time: Nine Inch Nails – Ghosts V: Together & Ghosts VI: Locusts

The fifth and sixth volumes of Ghosts (subtitled Together and Locusts respectively) return to the atmospheric terrain now familiar from Reznor and Ross’ soundtrack work: buzzy ambience, simple melodic hooks, an emotional palette that vacillates between peace and dread. But rather than soundtracking an on-screen drama, they arise from the very real COVID-19 pandemic and its society-wide remedy, social distancing. The musicians say that the current crisis was the reason they completed the two records in the first place, “as a means of staying somewhat sane.” As such, Ghosts V-VI—released for free less than two months after the World Health Organization declared a global health emergency—are very likely the first major albums to have been inspired by the coronavirus crisis.

I reviewed the two new, free Nine Inch Nails albums Ghosts V: Together and Ghosts VI: Locusts for Pitchfork.

The Boiled Leather Audio Hour Episode 105!

You’ve got time on your hands—why not spend it by listening to Stefan Sasse and I discuss the “Arianne I” sample chapter from The Winds of Winter in the latest episode of the Boiled Leather Audio Hour—available here and wherever fine podcasts are sold!

“Ozark” thoughts, Season Three, Episode Ten: “All In”

And so passes a season of Ozark that largely, if not quite entirely, did away with the previous season’s writing tics—the timed ultimatums, the ultraviolence during the cold opens—and dug us deep into a brand new character, only to yank him away from us by the end, Sopranos-style. It may not be a canonical drama, no matter what the awards shows say, but it’s an entertaining one, and one that isn’t afraid to aim high now and then. At the end of last season I speculated that the show might be on the verge of greatness, and said I’d be thinking about it for a long time. I don’t think either of those predictions quite played out, but the show kept me engaged and never insulted my intelligence in the process. Sometimes, that’s plenty.

I reviewed the season finale of Ozark Season Three for Decider.

“Ozark” thoughts, Season Three, Episode Nine: “Fire Pink”

There’s a Sopranos episode, maybe you remember it, called “Long Term Parking.” In that episode, [CHARACTER A REDACTED] reveals to [CHARACTER B REDACTED] that they’ve been working with the FBI, in hopes that Character B, too, will want to flip on the mob. The two separate, and then Character A receives a phone call from [CHARACTER C REDACTED] that Character B has attempted suicide, and that [CHARACTER D REDACTED] will come pick Character A up to visit Character B in the hospital. As Characters A and D take that ride together, your brain reels back and forth from relief to dread to relief again, since it seems Character A is in the clear. Only they’re not, not by a long shot. Character D isn’t there to give them a ride—at least not the ride they wanted. Character D is there to drive Character A out into the middle of nowhere and murder them, which Character D does. All these characters who seemed to love Character A are revealed as charlatans, or at the very least as people who put their own safety ahead of every other consideration. If you pose a risk to the family, you will be killed. It’s that simple.

Anyway, the cinematographer for that episode of The Sopranos is Alik Sakharov. Sakharov also directed Ozark Season 3 Episode 9 (“Fire Pink”). Why do I bring that up? Oh, no reason.

I reviewed the penultimate episode of Ozark Season Three for Decider.

“Ozark” thoughts, Season Three, Episode Eight: “BFF”

What we have here is a chickens-come-home-to-roost episode. Ozark Season 3 Episode 8 is titled “BFF” for reasons that I must say elude me at the moment; it’s the antepenultimate installment of Ozark‘s third season which sees a lot of long-delayed reckonings, as characters wake up to truths that should probably have been self-evident. And the truth hurts.

I reviewed episode eight of Ozark Season Three for Decider.