All of this is engrossing and effective, powered by the raw and lively performances of LaKeith Stanfield, Clark Backo, and Samuel T. Herring. (Jane Kaczmarek I’m a little cooler on, though I think that’s more the character than the acting.) Yet I find it difficult even now to give myself over to The Changeling completely. 

Despite what wrestler Bret “Hitman” Hart might refer to as its excellence of execution, it still can’t shake my distaste for modern/urban fairytales, for one thing. It’s an inherently twee genre, its dark magic too cute at its roots, as decade after decade of Neil Gaiman knockoffs have demonstrated. (To say nothing of Gaiman himself. No, I still haven’t forgiven anyone involved for American Gods.) 

I feel similarly about benevolent witches, same as I feel about benevolent vampires, benevolent werewolves, benevolent giant spiders, whatever. You know me, Marge: I like my beer cold, my TV loud, and my Draculas eeevil. 

Most of all, there’s my lingering suspicion that The Changeling will eventually have some big obvious gloopy moral: the power of family, the magic of storytelling, the need to Believe Women, whatever. (Please note that we do in fact need to believe women, but believing people exhibiting every symptom of a psychotic break is a different matter entirely, and the two should be conflated.) Maybe it’s all that amber lighting, but there remains a syrupy warmth to this show I distrust. With few exceptions, I like my horror cold as the grave.

I reviewed last week’s episode of The Changeling for Decider.

Obscenity in art is a powerful thing. Not cussing and fucking, though they’re pretty great too, and thankfully in some abundance during this season of The Wheel of Time. True obscenity — the profaning of the sacred, the desecration of the holy, the soiling of the pure — is a powerful thing when you want to depict what evil really looks like.

Think of the Avatar movies and how gross and vile it feels when the human soldiers destroy that big Hometree or slaughter that poor mother whale. They’re not just committing a crime against some blue aliens but against life itself. They’re making a mockery of what we hold dear. It feels more than wrong — it feels filthy, like we’re seeing something disgusting that should never have happened. An obscenity.

That’s how I felt watching the Seanchan commander, High Lady Suroth, command her new Ogier slave Loial to “sing.” This is no mere command performance for the courtiers; this is profound magic, an obviously sacred and meaningful sonic ritual through which the Ogier can persuade the earth’s plants to grow before our very eyes. To Suroth and her cronies, it’s a party trick, like bringing a toddler out to recite the alphabet or making your dog sit with a Milk-Bone on his nose. It’s one of the most beautiful uses of magic we’ve seen so far, and they laugh at it like it’s a mere amusement. To Loial, it’s clear he couldn’t be more humiliated if they’d forced him to whip his dick out. It’s grotesque, shameful, obscene.

I reviewed this week’s brutal episode of The Wheel of Time for Vulture.

Did you ever see passable CGI space whales undulating through a hyperspace rainbow vortex, man? Did you ever see passable CGI space whales undulating through a hyperspace rainbow vortex…on weed? It’s fuckin’ crazy, man! It’s like you are a long time ago, in a galaxy far, far away!

I reviewed this week’s Ahsoka, which contains the worst moment in the history of Star Wars, for Decider.

Foundation Season 2 ruled. Why? Let me and Stefan Sasse explain it to you in the Boiled Leather Audio Hour’s latest Patreon exclusive Boiled Leather Audio Conversation podcast. Subscribe and listen!

When I say LaKeith Stanfield is the star of The Changeling, I mean it: LaKeith Stanfield is the star of The Changeling. So much of what makes the show work stems directly from his performance, which takes a single note — grief — and turns it into a symphony. 

I reviewed today’s episode of The Changeling for Decider.

Oddly, this is the second week in a row that a dark fantasy show from a major tech-platform streaming service debuted with three episodes because they were clearly saving the best for last; the same thing happened with Prime Video’s The Wheel of Time just a few days ago. Lord only knows why streamers do what they do (beyond screwing writers and actors to save a buck, I mean), but it’s hard to question the wisdom of packaging The Changeling this way. From “promising but a bit treacly” to “okay, now we’re going somewhere” to “Jesus Christ make it stop” in three episodes is the kind of trajectory that shows a horror series is being made with thought, skill, and a willingness to go there. I’m both dreading and excited for where it goes next.

I reviewed the third and final episode of The Changeling‘s three-part premiere last week for Decider.

Which is good, because TWoT is at the point now where, after two very good episodes, a merely decent episode like this one feels like a step in the wrong direction. In part, this is because of the decision of the filmmakers (the episode was written by Rohit Kumar and directed by Maja Vrvilo) to stage half the episode at night, when the show has demonstrated approximately zero capability of making nighttime scenes look anything other than dim and lifeless. Not even the big fight scene between the Children of Light and Perrin and Aviendha, which is too rapidly edited to really convey the physicality of the battle, can overcome this handicap. It’s really wild: I was watching today’s episode of Billions, which at various times turns Manhattan alleyways into portals of danger and mystery, and wondering, “How the hell can a financial drama about Wall Street make the night look brighter and more magical than a megabudget fantasy spectacle?”

I reviewed this week’s episode of The Wheel of Time for Vulture.

It’s not until I lay it all out like that that I realize just how steep a hill the tenth and final episode of Foundation’s superb second season had to climb. To deliver on any one of these promising elements of the show would be an achievement, one that many shows, including ones I really like, would settle for. Just by way of a for instance: Silo, a sister “adaptation of a bestselling sci-fi series about the menacing future airing on Apple TV+” show, is all the better for having a narrow focus and relentlessly aiming its laser at it.

But that was not the path chosen for Foundation. Instead, writers Goyer and Liz Phang, director Alex Graves, and the entire stellar cast set about delivering on every single thing. And deliver they did. Overdelivered, actually. In fact, in terms of sheer scale and scope and daring, the last show I can remember serving up season finales this replete with emotional and visual spectacle is, deep breath, Game of Thrones. And no, I’m not tossing that comparison around lightly. In terms of SFF TV, Foundation is currently as good as it gets.

I reviewed the finale of Foundation Season 2 for Decider. What a show!

“When did I become Lex Luthor?” Mike asks Wendy plaintively. I dunno, Mike, probably when you decided to run for president as a bald billionaire, something the comic-book villain did over two decades ago. He won, too, if you can somehow imagine a United States of America willing to elect a wealthy megalomaniac as president. Try not to strain yourself.

I reviewed this week’s episode of Billions for the New York Times.

Humor aside, the project this episode brings to mind more than any other — and not just because they share a composer, Baltimore musician Dan Deacon — is Unedited Footage of a Bear, the terrifying 2014 Adult Swim Infomercial whose drum I never stop banging. (I’ve probably talked more about this short film than the filmmakers, Alan Resnick and Ben O’Brien, have themselves.) The slow descent from happy parenthood to isolated misery; the emphasis on how mothers in psychological distress often go un- or under-treated; the portrayal of severe mental illness as something so close to the supernatural stuff of horror that it’s a distinction without a difference; the use of both the family and the phone as vectors for fear — it’s all there. I don’t mean to imply this is a rip-off, because it isn’t by any stretch of the imagination. I do mean to imply, however, that this episode is eerie enough to merit comparison to one of the most frightening things I’ve ever seen on television.

As was the case with Unedited Footage, the lead performance is the load-bearing structure here. Like twin actors Kerry and Jacqueline Donelli in that earlier project, Clark Backo transitions so seamlessly from perky, fun mama to glassy-eyed, sallow-faced living zombie. Her paranoia and dread, which either bring on or are brought on by her sleeplessness, have turned her into something less than herself — a being one macabre half-step out of sync with the world around her, like a mirrored reflection that somehow begins moving a brief but unmistakable moment after you do. By episode’s end, you too want to keep this poor person and her poor baby away from each other, for both their sakes.

LaKeith Stanfield’s assignment in this episode is a comparatively easy one: Be normal, be a good dad, be a pretty shitty friend, and be ready willing and able to distance yourself from your obviously sick wife after months of this shit have you at your wits’ end. But in a horror series, playing the character who doesn’t realize something is capital-W Wrong actually is hard work: You have to keep the audience caring what happens to you even as your ignorance or unwillingness to see what’s happening drives us away. Stanfield’s not doing the gangbusters work Backo is in this ep, but what he is doing is impressive in its own right.

I reviewed episode two of The Changeling for Decider.

Our Take: Professional wrestling is a truly fascinating, uniquely American art form and subculture. Long before I became a weekly viewer — fully three decades removed from when I thrilled to the likes of Hulk Hogan, Andre the Giant, and the Ultimate Warrior as a child — I was drawn to its history, its personalities, and its jargon, which remains one of the most valuable lenses through which to see the world I can think of. (The concept of “kayfabe,” the agreed-upon un-reality in which pro wrestling conflicts exist, is worth the price of admission alone.)

Wrestlers depicts this riveting demimonde through the memorable personae of people living in it. Booker (i.e. head writer) Al Snow, co-owner and promoter Matt Jones, and the Julia Garner character-in-waiting HollyHood Haley J are instantly recognizable character archetypes: hero, villain, and antihero. 

Director Greg Whiteley wisely contrasts the emergence of these figures within the non-fictional narrative (at least by reality-show standards) on one hand and the pre-planned presentation of OVW’s faces and heels on the other. Effectively, he’s announcing that the show will work much like a wrestling storyline; like many magicians, he tells you what he’s doing before does it.

I, for one, am impressed — skeptical though I might be of the way he manipulates events with standard reality-show drama. Do I wish this were a real documentary that just so happened to catch a company at a pivotal moment, instead of what it likely is: a reality show, where Jones and Snow and Haley and the rest have been encouraged off-camera to act their parts and play up conflict, especially around the risky tour that just so happens to coincide with the series’ production? Yes I do. Will it stop me from watching? No, it probably won’t.

I took a look at the premiere of Wrestlers, the fun new Netflix docu-reality series about the small but storied regional promotion Ohio Valley Wrestling, for Decider.

Good looking show, right? Sheer image-making used to convey a range of emotions, from joy to PTSD. An overall sense that maybe there’s more to the Star Wars Universe’s magic than cameos of preexisting Star Wars characters. (I know the whales have been around before, apparently, but they’re new to me, and they’re not really “characters” anyway, even if the enormous blue eye of the mother of them all seems very wise.) And everything given ample room to breathe in dialogue-free silence. 

And, finally, there’s the rub. By “ample room” I mean “more than ample room.” I mean “Wembley Stadium” room. I mean “the lone and level sands stretch far away in ‘Ozymandias’” room. I mean “the distance between one point in space and another as described by an unfortunate passenger in Stephen King’s ‘The Jaunt’” room. I mean a writer and director and showrunner who keeps trying to stuff a 22-minute animated-series runtime of shit into a 50-minute live-action series runtime bag and, as you’d expect, coming up empty, over and over.

Take the two most impressive visual sequences in the episode: Ahsoka’s spectral and sad fog-of-war memories, and the flight of the space whales. Both phenomena are repeated, virtually identically from one iteration to the next. Ahsoka doesn’t just return to the Clone Wars, which she helpfully names in case anyone watching Ahsoka is unfamiliar with the Clone Wars (lol) — a needless idiot-proofing decision, echoed by the egregious of having Anakin occasionally flash into his Darth Vader outfit, as if we need the reminder and would be like “oh, right, that’s who he is!” 

No, she also returns to a second battle, one that took place after she and Anakin had parted ways, so they can rehash the same conversations they already had about violence and warfare and the need for soldiers and so on. Whatever magic was in the first sequence has the air let out by the unnecessary second. Moreover, constantly cross cutting from the dream world to the real one — a major plot point, given that we’re required to see General Hera’s Take Your Child to Work Day visitor Jacen use his Force sensitivity to hear the sound of Ahsoka and Anakin’s lightsaber duel so she can…be retrieved while floating unconscious under several feet of water. It’s a dopey idea that’s not worth the sacrifice of the mood and look otherwise maintained by the flashback/dream/vision.

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

Even if the show hasn’t yet gone far in either direction — it’s difficult to make a big point about The Power of Family when your scariest image is of an estranged father kidnapping his son — it does lean awfully hard on another kind of storytelling: meet-cutes, first dates, a library courtship straight out of The Music Man, a magical rooftop wedding, a quirky “we’re having a baby” announcement straight out of an Alexa commercial, a rapturously scored sex scene, a “the baby’s coming now” scene…romance, in other words. Big Hollywood romance. 

I’m not here for this either. It’s not that I don’t like romance as a genre…okay, so it is like that. But I could be convinced, I’m pretty sure, and if anyone could do the convincing it’s likely a pair of actors as charming and photogenic as LaKeith Stanfield and Clark Backo. 

The real problem is that I don’t see how you get from all that mushy stuff to a place capable of actual horror. It’s not just the nature of that narrative that’s an issue here, it’s all the techniques used to depict it, like the overactive score by Dan Deacon. I found myself pining for moments of silence in which I could decide for myself how to feel about the sweet or scary things on screen. As it stands, you can certainly deliver the occasional terrifying jolt — the faceless-father dream sequence is proof of that — but you’re not going to be able to build up the atmosphere of unbearable mounting dread that great horror generates if you’re constantly working at cross-purposes with it by telling everyone about twoo wuv. There’s a time and a place for that, and that time and place isn’t Spooky Season. 

I’m covering The Changeling for Decider, starting with my review of the premiere (the first of three episodes that debuted this past weekend).

But that’s where we’re at with “Long Ago, Not Far Away,” the penultimate episode of Foundation’s second season, and the latest in a series of back-to-back-to-back home runs. Written by Jane Espenson and Eric Carrasco and directed, as was its excellent predecessor, by Roxann Dawson, it’s TV genre entertainment at its grandest, sexiest, saddest, most mysterious, most violent, most spectacular, best.

I reviewed this past weekend’s episode of Foundation for Decider.

Let’s do a little narrative reverse engineering, shall we?

Imagine, if you will, that you are a both a trader and a traitor — a high-powered executive at a major investment fund, looking to fatally undermine your own boss in order to stop him from becoming the president of the United States.

Your Plan A, recruiting your even more dangerous old boss to stop him, has failed. You’re tired of waiting around for your performance-coach colleague, the ringleader of your band of mutineers, to generate a Plan B. It becomes clear that coming up with Plan C is up to you.

So you generate some short-term, medium-term and long-term goals for this plan. In the short term, you need something that will cost your hated boss enough money to rattle his cage. In the medium term, you’d like to generate doubt and dissension among his key employees, as well as elsewhere on the Street. In the long term, you want to increase the power available to a member of your own inner circle to make mischief — enough power, you hope, to engineer the fatal mistake that will take your boss down for good.

I reviewed this weekend’s episode of Billions for the New York Times.

A bird’s eye view of the city of Tar Valon spread out in all its splendor around the great White Tower. A vampiric being of an ancient evil called back from beyond the grave while while dripping Hellraiser quantities of blood from her nude body. Moiraine Damodred futzing around in her childhood room, the ghost of a smile on her face as she remembers who she used to be. The ornate latticework covering every column within the tower of the Aes Sedai, a simple design flourish that communicates their beauty and skill on the one hand, their preoccupation with ritual and their decadent splendor on the other. The attempted murder of a demigoddess.

There are many things, large and small, that I could single out as the highlight of this episode of The Wheel of Time, the second very strong one in a row. You know what I’m going to go with, though? A’Lan Mandragoran, the handsome and tormented Warder, pissing on a tree trunk.

I reviewed The Wheel of Time‘s second terrific episode in a row for Vulture.

“Sabine…can I count on you?” “………You know you can.”

“Is everything alright?” “…………Be careful out there.”

“Best get underway soon.” “…………Is that a note of fear in your voice?” “……Experience.”

“Relax.” “…Don’t worry about me.” “…I’m not.” “…Good.” “……Should I be?” “……What?” “……Worried.” “…………Nope.”

Imperial torture scientists toiling in the bowels of the detention level on the first Death Star for months couldn’t come up with a method of interrogation that would leave the human mind in the kind of state required to deliver the dialogue in Ahsoka. The endless pauses, the soporific delivery, the nature of the dialogue itself — my god, look at that last exchange; I honestly can’t believe Rosario Dawson and Natasha Liu Bordizzo were handed a piece of paper with those words in that order typed out on it — are all so bad that I kept waiting for Joel and the Bots from Mystery Science Theater to start dunking on it during every pause.

I reviewed this week’s episode of Ahsoka, which aside from some lovely imagery and a killer performance by Ray Stevenson is the most embarrassing Star Wars thing I’ve ever seen, for Decider.

Whoa. Where did this show come from?

Far and away the best episode of The Wheel of Time yet, this third and final installment of season two’s initial batch of three bears out the wisdom of that release schedule. After watching this teeming hour-plus of television, bursting with big ideas, memorable dialogue, and committed, witty performances, it’s hard not to want to see where the Wheel turns next.

I reviewed the third episode in The Wheel of Time‘s three-part Season 2 premiere for Vulture.

There’s poetry there, right? Potentially, anyway. A neutralized wizard bids farewell to her warrior protector. A messiah can’t be with the one he loves, so he loves the one he’s with. A young student makes a new friend at the potential expense of the old. These are the kinds of relationship dynamics a show can really dig into — and should, if it knows what’s good for it.

I reviewed the second episode of The Wheel of Time Season 2 for Vulture.

I’ve enjoyed these last couple of weeks of comparatively low-stakes scheming among the “Billions” bunch, but they raise an important point. What “Billions” needs for its final act is a bit of financial-thriller legerdemain on par with the instant-classic Season 2 episode “Golden Frog Time.” You remember: the bit where it looks as if Chuck is crying because his big plan to take Bobby down got his own father and best friend in big trouble, only for the show to reveal he’s actually laughing because that was his big plan? It remains my favorite moment of the series, not to mention a moment I would point to as a reason I love covering television for a living. It’s not the fault of “Billions” that my expectations for its conclusion are that high, but they are. I hope the show rises to the occasion.

I reviewed this weekend’s episode of Billions for the New York Times.