Turns out there are more horrifying things to see than a decomposing corpse. A lonely middle-aged man, fabricating some kind of emotional connection with his much younger employee entirely in his head, then firing her hours after she rejects his clumsy romantic/sexual advances. That same young woman, too stunned by the prospect of a life without her awful father that she fails to stop the boat rapidly speeding away from his floundering form in the Mediterranean, guaranteeing his death. That young woman’s best friend, reacting to the news that criminally negligent homicide has been committed and needs to be covered up the way you might respond to getting tickets to the Oscars. That same friend turning on the young woman in the end, unable to face the fact that every terrible thing she’s saying about her is true. This week’s episode of Industry is an emotional abattoir, one that reminds me of the tagline for the original Texas Chain Saw Massacre: Who will survive this season, and what will be left of them?

I reviewed this week’s awesome Industry for Decider.

What will it remind me of?

“Shogun” is very much a product of the post-“Game of Thrones” television landscape: It is a high-budget medieval-esque action-adventure period piece with a high melodrama quotient. While many shows indebted to “Thrones” are fantastical — “The Wheel of Time,” “The Rings of Power,” “House of the Dragon” — “Shogun” is straight historical fiction. Its visual grandeur, however, makes it look like an epic fantasy minus the dragons.

There are other clear influences, including the samurai films of Akira Kurosawa — as Frederick E.O. Toye acknowledged in his acceptance speech for best drama directing on Sunday night. This applies not only to the show’s setting and swordplay but also to the psychological drama, scheming and tragedy.

The show’s emphasis on the roiling interior lives of its women characters, who are hemmed in by cultural and religious constraints, echoes the work of Ingmar Bergman. Lady Mariko’s desperate life, in particular, feels like “Cries and Whispers” with samurai swords.

I wrote a primer for the Shōgun-curious after last night’s Emmy Awards romp for the New York Times.

The Tulsa King formula is a simple one. Stallone swaggers around, knocking out men decades his junior with one punch, wooing beautiful women, and building the confidence of his ragtag bunch in between drafting them to participate in gun battles with biker gangs and whatnot. “Benevolent mafia boss” is right up there with “cop who cares a lot and works hard” in terms of television fiction that whitewash lousy institutions. Still, I don’t think anyone’s in danger of believing this is how the mob actually works. The question is simply how much you enjoy watching Sylvester Stallone doing Goodfellas cosplay. If you want Stallone in a serious role in a serious story about crime, corruption, and redemption, Cop Land is streaming elsewhere on Paramount+ as we speak. Tulsa King is here for a good time, whether you’re having one watching it or not.

I reviewed the season premiere of Tulsa King for Vulture, where I’ll be covering the show all season long.

In this subscriber-exclusive Boiled Leather episode, Stefan and I welcome Elio from Westeros.org to discuss the whole second season of House of the Dragon, from soup to nuts. This is much more book-centric than our reviews usually are, and the results are really interesting I think. Subscribe and listen!

The Elf-lord in question is Celebrimbor, who’s powered here by a sad and anxiety-inducing performance by Charles Edwards. Edwards had been an odd choice for Celebrimbor for me until now; he simply seems too approachable to play one of the most towering figures in Tolkien’s entire legendarium. 

But now I see the vision. Edwards’s job this is to take his genial approach to the character and draw the notes of self-doubt his placid disposition normally papers over. When you watch Celebrimbor look at his own shaking hands, wondering where the creation of the Seven Rings for the Dwarf-lords went wrong — he’s received word from Prince Durin that his father Durin III has undergone a complete personality change since receiving his very powerful piece of jewelry — you see the grandson of the godlike Elf craftsman Fëanor. Can he ever live up to his grandsire? And given the death and misery that resulted from Grandpa’s creations, would he even want to?

I reviewed this week’s episode of The Rings of Power for Decider.

“This is the one situation where I get to control my helplessness.” I didn’t expect Sir Henry Muck, of all people, to crack the code for the way Industry uses sex to explore its characters interior lives, but there you have it. Henry says this in the context of finally asking Yasmin to urinate on him — please note that he’s “no pervert”; instead of some elaborate production where he gets down on his knees and she stands over his face or whatever, he just has her pee on his leg, then acts as if he’s caught in the video for “Here Comes the Rain Again.” But he could be speaking for almost anyone on the show. Sex is where you can choose to dominate or be dominated, for your own pleasure, instead of having these roles forced on you by external circumstance by a world driven not by pleasure but money, money at all costs. No wonder they all fuck and fetishize like rabbits with Fetlife accounts. 

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

Ents. Orcs. Elves. Barrow-wights. Wizards, good and evil. Two different kinds of proto-hobbit. A Galadriel battle sequence. A Watcher in the Water. Tom freaking Bombadil. “Pulling out all the stops” is a perfectly valid, even noble, approach for any series belonging to a genre that shows us the spectacular — fantasy, horror, and science fiction foremost among them. About the only problem I have with the cornucopia of Tolkienian pleasures that is this week’s Rings of Power episode is that co-creators and co-writers J.D. Payne and Patrick McKay didn’t try this approach sooner.

I reviewed this week’s episode of The Lord of the Rings: The Rings of Power for Decider.

When was the last time you watched an episode of television that made you clap your hands and cheer at the end? It’s been a minute for me, I must say, and I watch a lot of television. A lot of really good television, even! But there’s something special about “White Mischief,” the fourth episode of Industry’s Industry-standard terrific third season. Written by series creators Mickey Down and Konrad Kay and directed with breathless panache by Zoé Whittock, it is both a showcase for the prodigious talent of Sagar Radia and for everything this show does well, which is, at this point, pretty much everything.

I reviewed this week’s episode of Industry, one of the best hours of television I’ve ever watched, for Decider.

Call this one “The Episode Starring All the Characters Whose Names You Forgot.” With no Elrond or (especially) Galadriel to anchor it, no Stranger/Harfoot antics to provide comforting Hobbit-y vibes, and a pair of very shaky storylines in their place, the third and final of the three episodes of The Lord of the Rings: The Rings of Power Season 2 released as a giant-sized premiere faces by far the heaviest lift. If it doesn’t get as far as its two predecessors, it manages quite a bit more than I both expected and feared.

I reviewed the third and final episode of last week’s three-ep season 2 premiere of The Rings of Power for Decider.

Is this really happening? Is The Lord of the Rings: The Rings of Power…good, now? Without possession of an Elven ring myself, I cannot see things that have not yet come to pass. Who knows, maybe the show falls right back off a cliff in the third and final of the three episodes Amazon released for its giant-sized Season 2 premiere. But so far, so good. Quite good, even.

I reviewed the fine second episode of The Rings of Power‘s second season for Decider.

Well. Well, well, well. Now that’s more like it!

The last thing I wrote about The Lord of the Rings: The Rings of Power was this: “a crushing disappointment.” I stand by that. But I also speculated that the inexperience of creators and showrunners Patrick McKay and J.D. Payne, coupled with the sheer amount of money poured into the misfire, meant there was little chance the show would improve. 

Boy, am I happy to be wrong. It’s early yet, obviously, and the show could revert to the mean. But the first episode of Rings’ second season, is, quite frankly, crackerjack live-action fantasy television. No one’s going to mistake it for the first-in-class Game of Thrones/House of the Dragon franchise anytime soon — for one thing, my 13 year old cracks wise about the special effects looking goofy when they watch this one — but can it stand with Amazon’s similarly improved sophomore season of The Wheel of Time? If it keeps it up, I don’t see why not.

I liked the season premiere of The Lord of the Rings: The Rings of Power, believe it or not, and I reviewed it for Decider.

This is is as good a time as any to say the obvious: Myha’la and Marisa Abela are absolutely fucking outstanding as Harper and Yasmin, and they have been from the start. In part this is down to smart casting. Putting “a diminutive woman,” as both Otto and myself have called her, into the role of your leading sociopath is a deft bit of sleight-of-hand, while Abela has the kind of beauty that’s both striking and somehow approachable, both of which are key components of her job as it’s been constructed.

But it’s raw talent, too. That wolfish grin on Myha’la’s face as she brings Eric to heel, then lightens the mood by observing the glitter all over his face! The way Abela can change Yasmin from a woman who hates herself for missing her abusive father to a woman who can make powerful men beg for her favor using just the cast of her eyes! Coupled with the ferocity of the show’s stance against the personal and political hypocrisy and abusiveness of everyone involved, and the two actors are like samurai wielding their swords so efficiently you don’t even notice you’ve been sliced in two. 

I reviewed this week’s Industry for Decider.

Can such a gap in experience and circumstance ever be bridged? The show seems to take a glass-half-empty approach to that question. It’s true that Black Baltimoreans bust up a Nazi rally, since the Jews’ enemies are their enemies too. But the last images of such unrest are the riots and brutal crackdowns that erupted following Martin Luther King Jr.’s assassination; Cleo, meanwhile, wearily scoffs at the idea that she and Maddie could be friends. The severing of Maddie’s ties to Ferdie and to her adopted neighborhood are other datapoints to consider when assessing the show’s take on cross-racial solidarity against robber barons and fascist mobs. In Lady in the Lake’s world, at least, the outlook is grim.

I did a little explainer for the end of Lady in the Lake for Decider. These are servicey, but I try to have some fun and say something interesting with them.

But the nice thing about racism is that it has no basis in fact. It’s entirely made-up nonsense. It’s bullshit, it’s bupkis, it’s a fabrication, it’s a myth. This is why all the groups rattled off by that awful Officer Bosko in the previous episode — the Irish, the Italians, the Jews, presumably Polish people like himself — have been able to “overcome” racism and “become” white. Race is sociopolitical Calvinball: The people in charge get to decide who counts, and it has nothing to do with any qualities that are innate to anyone. They make up the rules as they go along!

In other words, people are treated differently, and their different experiences make them different in many ways, but people are the same. The family you see on the news, crying for their slain child in a pile of rubble half a world away, feel the same grief and pain as the family you see on the news, crying for their slain child at a school shooting in an American suburb, who feel the same grief and pain as the family you see on the news, crying for their murdered daughter/sister/mother killed by cops for committing no crime at all. Lionel, Cleo’s son with sickle cell anemia, and Anne Frank, seen in a photo hanging from the wall near Maddie’s desk, are united by far, far more than what separates them. But you don’t have to take my word for it: Ask the Nazis in this very episode.

I reviewed the series finale of Lady in the Lake for Decider.

All you need is one hour. 

Less than an hour, actually. 51 minutes: That’s how long it will take you to watch the first episode of Industry, HBO/Max’s buzzy series about sex, drugs, friendship, money, life, and death among the young sharks of London’s financial industry. And that’s all you’ll need to decide whether Industry, one of the smartest and sexiest on television right now, is for you. 

I know, I know, the show is currently in the middle of its third season, and that kind of time commitment can be intimidating. But this isn’t one of those “it starts getting good in Season 2” kind of shows, where you have to sink in several full work days to make it worth watching. Far from it. Everything that makes the show great is present right there in the pilot, and the show only gets better from there. 

So it’s simple. If you like the pilot, you’ll like Industry; if you don’t, you won’t. It’s the lowest bar to entry of any prestige TV drama currently on the air — and as far as prestige TV dramas go, Industry is as good as it gets. And don’t worry: We won’t spoil any major twists or surprises as we explain why.

I gave Industry, one of the best shows on the air and a real sleeper until this season, the hard sell for Decider.

Industry is not an easy show to cover. Oh, it’s an absolute pleasure to watch — gorgeous to look at, a cast bristling with talent, gripping financial-thriller storylines, and the proverbial Strong Sexual Content we all know love. And it’s equally pleasurable to think about, to discuss, to pull apart and piece back together. You could unpack Eric’s feelings about Harper, or Yasmin’s sexual personae, or the show’s whole bitter commentary on capitalism with someone over drinks for an hour. (I don’t even wanna think about how long you could go with cocaine.)

But it isn’t easy to write about, for the simple reason that, well, it’s too good. There’s so much stuff going on, and so much of that stuff is so rich and attention-demanding, that it’s hard to know where to begin. Often I’ll hit this point with shows I really like fairly deep into a season or a run, reaching a point where all I can do is rattle off a list of superlatives. I’m now on my second review of Industry ever, and I feel as though I’ve hit that point already. Where do we go from here? I swear I’m going to limit this kind of meta self-referential nonsense in future reviews of Industry as much as I can, but after this episode? Come on. 

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

Filmmakers love putting Natalie Portman’s face in the mirror. It’s easy to understand — if I were a director who had access to a face like Natalie Portman’s, I’d put it everywhere I could. But like Perseus defeating Medusa by her reflection in his shield, there are some faces simply too powerful to gaze at directly for too long. Studying such a striking person from that reflective remove can be more revealing than looking at them directly. 

It certainly is in Episode 3 of Lady in the Lake. Adapted from the novel by Laura Lipmman, Alma Har’el’s Apple TV+ series stages this sex scene involving Portman’s character, fed-up ex-housewife turned cub reporter Maddie Morgenstern Schwartz, and her lover, Baltimore police officer Ferdie Platt (Y’lan Noel), in front of a mirror. And there’s a lot to see. 

A few weeks ago, Lady in the Lake had a scene where Natalie Portman has sex in front of a mirror. This got me to thinking about Natalie Portman, sex, mirrors, and the relationship between all three across her career. I wrote about it for Decider.

The Sopranos, but more bitingly cynical. Euphoria, but with more and better sex and drugs. Mr. Robot, but there’s no hackers. Mad Men, but you flash forward six decades to discover basically nothing has changed. Succession, but with characters who sound like humans instead of lab rats in some kind of inventive-swearing experiment. Industry, Mickey Down and Konrad Kay’s remarkable workplace drama set in the atavistic world of London finance, feels like many shows at once; somehow, the whole is more than the sum of its parts. 

I am so thrilled to be covering Industry for Decider this season, starting with my review of the season premiere. It’s a show I slept on for way too long. It’s not too late!

Stefan and I take on the eighth and final episode of House of the Dragon Season 2 in our eighth and final weekly HotD BLAH! Listen here or wherever podcasts are sold!

When Maddie talks to Shell Gordon and Reggie Robinson…okay, I’m gonna break format here and just say when this happened I practically cheered. Here we have Academy Award winner Natalie Portman sitting across from Wood Harris, The Wire’s Avon Barksdale, commanding the screen just as effortlessly. That show’s deep bench of talent is just extraordinary.

Anyway, when Maddie talks to Shell, he chooses and delivers his words with the kind of skill and care an unpracticed speaker and interviewer like Maddie can’t match. When she tries to be coy about his racket, he makes her come out and say it. He’s the person who finally makes the racial subtext of their conversation text, praising Jewish people like her for surviving a genocide and overcoming racism, but ultimately letting her know that for all intents and purposes, she’s as white as anyone else to a Black person like himself. It’s like watching a serious version of Zorro making a few quick swordstrokes and his opponent (or lady friend)’s clothes all falling off at once, effortlessly torn to shreds. 

Shell isn’t the only other person in the room, though. There’s also Reggie, who for all his gravelly soft-spokenness may as well be an open book. He lets slip that he’s a boxer — you know, the kind of hobby that leaves you with a black eye — and reveals that he and Shell collect tropical fish — you know, the kind that a Black guy with a black eye might have been seen buying at certain store the day a certain girl goes missing. The cherry on top is that, seemingly just for the fun of it, Shell reveals that Reggie was an item with Dora Carter, Cleo’s best friend. (Even now, when it’s in his best interest to do so, Reggie can’t hide his feelings: When Maddie asks if they were in love, he replies with a surprisinagly humble and tender “I’d like to think so.”)

I had a grand time reviewing this week’s excellent episode of Lady in the Lake for Vulture.