The first three episodes focus on Ventress being resurrected by Mother Talzin, as she chooses to live in the mortal world instead of taking her place as one of the Nightsisters of Dathomir. The conceit itself is interesting, but the actual story it tells isn’t remotely as good as her appearances in The Clone Wars and even The Bad Batch. We essentially have a buddy-type story, where she teams up with a Jedi Padawan still learning the ways of the Force to obtain information on the Path, a place where young Jedi go for their safety.

We do get a bit of development on the softer side for Ventress, which is appreciated, especially when The Clone Wars developed her as one of the show’s most morally complex figures. However, what comes before is incredibly bog-standard in its conventional storytelling and rudimentary action, despite staggering animation that has improved each year. The action itself is pretty exciting, especially the climax of the second episode, though the emotional investment is relatively minimal.

It may be because directors Saul Ruiz, Steward Lee, Nathaniel Villanueva, and writers Dave Filoni and Matt Michnovetz are drawing on material already explored in other, better titles, even beyond Star Wars. That said, I appreciate how it ended and gave the audience a conclusion that will ultimately prove fruitful for Ventress’s future “redemption arc.” Even after she has killed countless Jedi and was on the wrong side of the Force for so long, her acceptance in saying “May the Force be with you” proves that she wants a better life for herself, in the new path she will take. 

Where the show begins to get intriguing is during its last three episodes, as it shifts gears and focuses on Cad Bane, from his dark childhood to an event that has shaped the rest of his tragic life forever. Giving this backstory is crucial for understanding the character, and it hits like a massive punch in the gut. It repurposes the antagonist in ways I never imagined would happen, and practically saves Tales of the Underworld from being a forgettable bore. Giving away the pleasure of discovering this arc would rob you of seeing the character in a whole new light, but let’s just say you’ll never forget it and will likely think about Cad Bane differently than before. 

The first episode of this arc is extremely dark, far darker than anything we’ve seen on this side of the Star Wars animated anthology title before. It imbues Bane’s arc with as much complexity as it can, developing a character as a victim of his own unfortunate decisions. Burton is as strong as ever as the antagonist, even during scenes that track his younger years, but it’s in the final episode where the emotional crux reaches its apex and tracks his development in the further years of The Clone Wars as a more devastating fate than a purely evil one. 

Because of this, Star Wars: Tales of the Underworld makes it worth the hour-and-a-half binge of its six short stories on Disney+. It may not be as psychologically active as Andor, but it certainly is way better than it has any right to be. The animation is frequently jaw-dropping, and the compelling characterization of Cad Bane practically saves the entire show from falling apart. Perhaps it may not be as psychologically active as Andor is, at the moment, but I’ll take each win where I can get them, with a franchise in such a sorry state as Star Wars has been over the past few years. 

SCORE: ★★★

The post TV Review: ‘Star Wars: Tales of the Underworld’ is a Mixed Third Entry in the ‘Tales’ Saga appeared first on Awards Radar.

When Yellowjackets premiered in 2021, it was a dark, tense, haunting marvel—secrets dripping from every frame, mysteries like the Pit Girl’s identity, the Antler Queen’s rise, and cryptic symbols keeping us guessing. Fans, myself included, dissected every feral twist: Who survived? What’s stalking them in the wilderness? Season 1 was a slow-burn triumph. 

Then came Season 2 in 2023—a sophomore slump for many. It had moments of brilliance: like the raw emotion of Shauna’s (Sophie Nélisse) heart-wrenching miscarriage, Walter (Elijah Wood) and Misty’s (Christina Ricci) Citizen Detectives adding some quirky fun to the typically ominous series, young Misty’s involvement in the death of Crystal (Samantha Hanratty) the long-awaited, stomach churning cannibal feasting on Jackie (Ella Purnell). Even with plenty to enjoy, at the same time pacing faltered, underdeveloped threads like adult Lottie’s (Simone Kessell) cult, and Natalie’s (Juliette Lewis) abrupt death felt like a gut punch to nowhere, and left many fans wondering if the show’s untamed spark had fizzled. Hope lingered, but doubt crept in.

After a strike-delayed wait, Season 3 landed in 2025. It opened with a breathless chase through the snowy woods—Natalie (Sophie Thatcher), now Antler Queen, hunting with the desperate teen pack—promising the chaos we desire.  Plus, a power struggle was taking form with Shauna’s rage and paranoia peeking through her facade. Yet, by Episode 5, “Did Tai Do That?,” both timelines felt lost in the forest of trees, unsure where it was headed. 

The teens’ storyline is the stronger of the two but still erratic at times, talking llamas, an attempt to bring more girls to the forefront, and the ep4 tribal trial of Coach Ben (Steven Krueger) exposed both the best and worst of the series all at once. Back in the 2020s timeline, the adult versions drifted without purpose, often treading water as we waited for a spark of the intensity of season one. Van (Lauren Ambrose) and Tai (Tawny Cypress) started the season off with a shocking twist, but the relationship pulse started to fade after, unable to fully capitalize off it. Killing off another fan favorite, Lottie, off-camera and without explanation, only added to the frustration. 

It was stop and go, stop and go. Every time it appeared the season was finding creative momentum, we had to sit through some seemingly unnecessary side conversation or worse a cringy fake tech support call (even the great Melanie Lynskey struggled to make that scene work). Ep 5 turned out to be IMDb’s lowest-rated episode yet – and for good reason, it was messy.

Has our beloved series jumped the shark? Is the magic gone, lost in the clutter of ambitious writing gone unleashed? The concern was rising, even for this day-one supporter of the series. 

That’s when episode 6, “Thanksgiving (Canada),” flipped the script. It starts unassumingly: the Sadeckis—Shauna, Jeff (Warren Cole), and Callie (Sarah Desjardins) —hunkered down in the motel, spooked by a DAT tape of wilderness screams Callie found. Shauna’s paranoia spikes, convinced an unexplained stalker is closing in on her family. Meanwhile, in the 90s timeline, things are getting darker by the minute: Natalie mercy-kills Coach Ben, and his decapitated head ends up like a trophy on the feasting table—proving the girls’ humanity is tattering. Their taste in decor, though? Exquisite.

The girls dance in furs and tattered clothes, lost in a cannibalistic ritual, their voices mingling with the wilderness’s eerie song. Lottie (Courtney Eaton), gleefully gnawing on what appears to be one of Coach Ben’s ribs, suddenly freezes as a figure emerges in the distance. Confusion flickers across her face— she unleashes a blood-curdling ‘No!’ as three figures stumble into their camp.

Silence.

Everyone freezes in their tracks (including me, watching at home). Breathes halt. Eyes widen. Who (or what) the hell was entering the camp? From the darkness, wrapped in the glow of the campfire, a trio of hikers appears, led by a dweeby guy in glasses, who quickly raises his hand as if saying —“We come in peace.”

This is the moment we have been waiting for, the one that changes the series forever…Salvation! Except with one little caveat, just feet away from a way home lies Coach Ben’s head on display like a gruesome Yankee Candle centerpiece. Talk about your poor timing. Maybe the dweeby hiker won’t notice it. Salvation or damnation teeters in the balance for the Yellowjackets.

The hiker slowly turns his head, then jumps back as three words escape his mouth “What the f*ck?” Oh shit – he definitely noticed Ben’s decapitated head! This is the spark that ignited the powder keg. An absolutely killer television moment. And it is just getting started.

Cut to black. Cue the outro music and credits. The Yellowjackets are back!

I leapt off my couch in awe of what I just watched, as my heart raced in anticipation for what’s to come. This wasn’t just a memorable moment; it was Yellowjackets reborn—raw, unhinged, Season 1 energy pulsing through its veins. Like the prodigal son (daughters), they who once appeared lost are now found in one of the most jaw-dropping, heart-racing, mind-blowing ways imaginable. An instant classic TV moment that changes the series forever.

Does this mean full redemption for the series? It alone does not. Thankfully, what follows in episodes 7 – 10 is some of the best Yellowjackets yet, the chef’s kiss of pure chaos. So many shows start to lose their way and either never find it or overcompensate by trying to please the audience to the point that they lose their identity and never regain their magic. That is not the case here. This moment relit a fuse that was looked as if it may go out. It is the catalyst for some of best of television this year.

Sorry – no spoilers here. I will not share details or even hint at them. (Episode 7 “Croak” – a magnificent episode – is out already – go watch it for yourself.) What I will share is that: questions are satisfyingly answered, some long-awaited questions and other more recent ones. At the same time, some lingering questions/theories are more or less dismissed. After years of analyzing each frame and line of dialogue delivered, it is oddly cathartic to finally learn the answers, even when some are simpler than expected up to be. Of course with answers come new questions which will drive the series for its final two seasons.

It’s impressive how re-focused, cohesive Yellowjackets feels as the season wraps up. The character arcs become clearer and more fleshed out as the breadcrumbs to what’s to come are laid out for each – a delicious recipe for mayhem. My faith was restored to the point that I am even excited how/if they tie up some of the lesser loose ends that I had dismissed.

From that ‘WTF?’ moment on, it delivers one of the greatest course corrections I’ve seen in all my years of TV viewing. It is again the most bloody fun series on TV. My love for Yellowjackets, once wavering, is back in full force. Even the first five episodes absolve many of their sins—they make much more sense now.

As the season concludes, the credits roll, and the spot on music selection plays, I was left with chills, head to toe as I look forward to feasting on the next season of Yellowjackets.

Season 3 of Yellowjackets continues with episode 8 “A Normal, Boring Life” streaming on Paramount+ on March 28th and then broadcast on Sunday the 30th.

Season 3 Yellowjackets Review:
***1/2 our of 4 stars

Episodes 6-10 (****)

The post TV Review: ‘Yellowjackets’ Season 3 Finds Salvation In Three Little Words – “WTF?!”  appeared first on Awards Radar.

While season one was an addictive mystery that haunted from start to finish, season two builds on the world of School Spirits by deepening its supernatural elements and exploring the emotional complexities of its characters, all while keeping the tension high and the twists even sharper. The producers (Oliver Goldstick, Megan Trinrud, and Nate Trinrud) have mastered the art of the tease, ending each of the four episodes reviewed with heightened anticipation for the next episode. They do so by either raising stakes or through exciting reveals elevate this season to a satisfying edge-of-your-seat supernatural mystery. In addition the storylines provide more emotion, intrigue, humor and even some ghostmances.

The extended crew of characters take some big leaps forward as we continue their arcs. Simon (Kristian Ventura) starting to doubt his own sanity, is concerned Maddie is in his head. By the end of episode one Xavier (Spencer MacPherson) is seeing the whole situation with a whole new perspective. Wally, Rhonda, and Charley (played by Milo Manheim, Sarah Yarkin, Nick Pugliese) continue to help Maddie on her quest to get her life back hunting down clues about Janet, as Mr. Martin (Josh Zuckerman) quickly becomes the prime suspect in a new mystery.

With some skepticism, Claire (Rainbow Wedell) and Nicole (Kiara Pichardo) add more living people to the mix, as they begin to realize everything is not always as it appears in Split River. This helps as the mystery moves well beyond the present day walls of the high school taking viewers across the town and even back to the 1950s as the pieces of the puzzle are slowly put together, leading to unexpected twists and turns. The expanded world also allows a deeper dive into the past lives of the other ghosts, giving them more dimension, including on-screen pairings that not only further the story, they provide for the deeper exploration of their personalities and relationships.

“I feel like this big thing in this season is how to let people in, and I think every character is dealing with that in their own way, so I think we see ranges of emotions from everyone, because they actually have to let each other in and work together,” shared Yarkin, whose character Rhonda reveals she has been holding back some secrets of her own.

The second season’s mystery picks up right where the previous left off, driving the plot forward in exciting directions, avoiding the dreaded sophomore slump. It steers clear of a simple rehashing, instead opting for a fresh, inventive approach including some expanded rules, that invigorates the storytelling, making season two even more engaging than the first.

Picking up where they dropped off would seem to present more challenges, especially with an extended hiatus. Getting back into character meant doing a little time travel of their own. They had to return their performances to where they left off, back to 2022 when the first season was shot. With that said, the cast was up for the challenge.

“We had to make sure our hair was the same length. We had to match completely,” explained List. “But I think being in the same sets, well, they recreated the same sets, and being in our same exact wardrobe, and everyone looking exactly the same, it was trippy seeing everyone just right back in the moment. I feel like it came back more naturally than I expected it to. 

“But also, I feel like all of us grew a lot, or just changed a lot,” added Manheim. “Change is growth. So we grew in those three years, and you don’t want to fight that against the character, even though it’s supposed to be the exact same time. You have to allow that—you gotta evolve with your character.”

More of my insights from the cast can be found in my two video interviews (below), where we discuss the new season in a pair of spoiler-free conversations. While avoiding key plot points they did cover returning to season two after the long hiatus, fan theories and interactions, and much more, including having the cast provide one word to describe season two (which turned out to be both revealing and a lot of fun). Be sure to also check out Peyton’s as my guest on TV Topics podcast.

Based on the four episodes reviewed, the series is a must watch for established fans and one I can easily recommend to young adults and up, especially those who enjoy some mysteries and the supernatural. (*** out of 4 stars so far, with a lot of spirit and promise.)

Season one and episodes the first 3 episodes of School Spirits can be streamed on Paramount+ with new episodes of the 8-episode season being released on Mondays.

The post Interview: The Cast of ‘School Spirits’ Discusses the Upped Stakes of Season 2 appeared first on Awards Radar.

This season really raises the stakes—literally and figuratively—as we explore the fiery relationships and tumultuous plots that keep us on the edge of our seats. With dragons soaring and tensions brewing, it’s a tale that’s sure to burn bright in our hearts. Will the characters rise to the occasion, or will they be left in the ashes of their own schemes? Join us as we unleash the dragon-sized puns and heat up the conversation, because when it comes to this season, we’re ready to fan the flames of discussion!

The Squad visits Westeros for a lunch time break, some swag and to discuss Season 2 of House of the Dragon. And if you stick around after the credits, to see if we get ourselves in some treble… err, tribble… err, trouble.

If you like what you hear, give us a follow on your podcast platform of choice, as well as on Twitter and Instagram @TheVerseCast where we post news, announcements about the pod, and collect listener questions. 

EPISODE 120

APPLE PODCASTS      SPOTIFY       GOOGLE PODCASTS      STITCHER    AMAZON MUSIC     ANCHOR    BREAKER        POCKET CASTS   
  RADIO PUBLIC   CASTBOX   iHeartRADIO

See you next time in The ‘Verse! 

More episodes of The ‘Verse! can be found below on Apple Podcasts. Jump in!

The post The ‘Verse! 120: ‘House of the Dragon’ Season 2 Review appeared first on Awards Radar.

If that’s not enough for you, we also get into some big news with the revival of Robert Downey Jr’s involvement in the MCU as Doctor Doom, and hold a debate for the ages on the phenom of Cage Rage.

If you like what you hear, give us a follow on your podcast platform of choice, as well as on Twitter and Instagram @TheVerseCast where we post news, announcements about the pod, and collect listener questions. 

If you stick around after the credits, *sigh* why do we even write these dang descriptions? Not like anyone ever reads ‘em…

You can follow us on Twitter, Instagram, and Youtube where we post news, announcements about the pod, videos, and collect listener questions. 

EPISODE 119

Intro – 00:00:00 // The Boys S4 Trailer Discussion – 00:03:25 // Fantastic 4 Cast Discussion – 00:09:30 // Fallout S1 Review – 00:18:30 // Frosty Beverage – 00:57:00 // Post Credit – 01:03:47

APPLE PODCASTS      SPOTIFY       GOOGLE PODCASTS      STITCHER    AMAZON MUSIC     ANCHOR    BREAKER        POCKET CASTS   
  RADIO PUBLIC   CASTBOX   iHeartRADIO

See you next time in The ‘Verse! 

More episodes of The ‘Verse! can be found below on Apple Podcasts. Jump in!

The post The ‘Verse! 119: Our @#%*! ‘Deadpool & Wolverine’ Review appeared first on Awards Radar.

If you like what you hear, give us a follow on your podcast platform of choice, as well as on Twitter and Instagram @TheVerseCast where we post news, announcements about the pod, and collect listener questions. 

If you stick around after the credits, it gets quiet enough to hear a needle drop…

You can follow us on Twitter, Instagram, and Youtube where we post news, announcements about the pod, videos, and collect listener questions. 

EPISODE 118

Intro – 00:00:00 // The Boys S4 Trailer Discussion – 00:03:25 // Fantastic 4 Cast Discussion – 00:09:30 // Fallout S1 Review – 00:18:30 // Frosty Beverage – 00:57:00 // Post Credit – 01:03:47

APPLE PODCASTS      SPOTIFY       GOOGLE PODCASTS      STITCHER    AMAZON MUSIC     ANCHOR    BREAKER        POCKET CASTS   
  RADIO PUBLIC   CASTBOX   iHeartRADIO

See you next time in The ‘Verse! 

More episodes of The ‘Verse! can be found below on Apple Podcasts. Jump in!

The post The ‘Verse! 118: ‘The Boys’ Season 4 Review appeared first on Awards Radar.

If you stick around after the credits, you can share a nice zingy beverage with Emilia. Fans of the games? Loving Walton Goggins as Ghoul? Have a favorite part of the series? Let us know on our socials @TheVerseCast.

You can follow us on Twitter, Instagram, and Youtube where we post news, announcements about the pod, videos, and collect listener questions. 

EPISODE 115

Intro – 00:00:00 // The Boys S4 Trailer Discussion – 00:03:25 // Fantastic 4 Cast Discussion – 00:09:30 // Fallout S1 Review – 00:18:30 // Frosty Beverage – 00:57:00 // Post Credit – 01:03:47

APPLE PODCASTS      SPOTIFY       GOOGLE PODCASTS      STITCHER    AMAZON MUSIC     ANCHOR    BREAKER        POCKET CASTS   
  RADIO PUBLIC   CASTBOX   iHeartRADIO

See you next time in The ‘Verse! 

More episodes of The ‘Verse! can be found below on Apple Podcasts. Jump in!

The post The ‘Verse!: Reviewing Prime Video’s ‘Fallout’ + ‘The Boys’ S4 Trailer & ‘The Fantastic 4’ Cast appeared first on Awards Radar.

After a year they would likely forget, Marvel Studios is back with their first TV-MA television series under the Disney+ umbrella with Echo. Not only that, but it is also the first series to be a part of the Marvel Spotlight banner, meaning that audiences don’t need to have seen previous Marvel Cinematic Universe films and television series before seeing Echo, as the story told is a largely self-contained one. I find it weird that the first series under that banner is a spinoff show to 2021’s Hawkeye and a continuation of Netflix’s Daredevil, but credit where credit is due, the first episode does a good job at contextualizing Maya Lopez’s (Alaqua Cox) story within the prism of the MCU.

A couple of flashbacks from Hawkeye are shown, including William Lopez’s (Zahn McClarnon) death at the hands of Clint Barton (Jeremy Renner), who was sent by Wilson Fisk (Vincent D’Onofrio) to get rid of him during the Blip. Daredevil (Charlie Cox) also shows up during an extended tracking shot fight between Maya and Fisk’s goons but disappears after being unable to defeat her. Beyond that, larger connections to the MCU are sparse, with name-drops of Madripoor and Roxxon Oil that enhance the story for die-hard fans but won’t confuse any viewers who aren’t interested in the franchise’s larger repercussions.

One of the bigger elements that this series would answer going in was acknowledging the canonicity of the Netflix Daredevil series, which Marvel Studios head Kevin Feige did not directly address when both Cox and D’Onofrio returned to the MCU. With Vanessa Fisk being recast from Ayelet Zurer to Sandrine Holt in Daredevil: Born Again, fans were skeptical that the MCU’s Fisk and Daredevil were not the same as the Netflix version. Echo immediately shuts down this nonsense by having Fisk’s arc from Daredevil, in which he killed his father with a hammer as a twelve-year-old boy, carry over to this show. It’s, in fact, one of the most pivotal elements of the series when Lopez is reunited with her Choctaw roots once she travels to Tamaha, Oklahoma, after taking down Fisk in Hawkeye.

Lopez attempts to take down Fisk’s empire by asking help from her Uncle Henry (Chaske Spencer), who has tried to get out of the Kingpin’s pocket but has failed to do so. He wants no part of this until he is dragged into the conflict once Maya blows up one of Fisk’s weapons carts to send a message. It doesn’t take long for a hospital-bedridden Fisk to send his goons (one of them being Tenet’s Andrew Howard, the “Wake up the Americans.” dude) to Oklahoma and kill Maya.

This is where the show flexes its well-earned TV-MA rating, with a brawl between Maya and a swarm of goons at Henry’s roller derby that’s as bloody and as gritty as the trailers advertised. The action pulls no punches directly, showing its unflinching violence, and the choreography is surprisingly precise and tactile. With a smaller budget allotted for this series, it allowed directors Sydney Freeland and Caitriona McKenzie to directly craft practical action that’s effectively gnarly at showing just how powerful Maya is without relying too much on elaborate visual effects. The aforementioned [brief] fight with Daredevil directly harkens back to the Netflix days, with choreography that brings The Man Without Fear back to his glory days of vigilanteism, unlike when She-Hulk: Attorney at Law made him a far more elaborate hero. He is in very good hands.

D’Onofrio is also (and unsurprisingly) magnifying in his true grand return as Fisk. Hawkeye made him a bit sillier than he was initially perceived in the Daredevil show, but Echo quickly course-corrects this and brings him back to the man we knew when we left him in Daredevil‘s third season. His chilling voice and unpredictable presence, with literally everyone in his pocket, is enough to terrify as soon as he appears on screen. However, the show goes the extra mile by attempting to peer through his dark childhood, with one of the franchise’s greatest-ever scenes involving Fisk as Lopez uses her powers to explore his mind, where it directly recalls Daredevil‘s flashback episode as a young Fisk picks up a hammer to kill his dad. For the first time, we have seen how broken Fisk is, no matter how strong he attempts to perceive himself to Maya and the ones he wants to dispose of.

Freeland and McKenzie also give the series a distinct visual look through striking flashbacks of Choctaw heroes who transmit their powers to Maya, from a game of stickball shot with an IMAX-like aspect ratio to a black-and-white, silent film cold open where Killers of the Flower Moon‘s William Belleau portrays the leader of a group of Lighthorsemen who hunts down criminals and saved by an ancestor of Maya, able to wield powers.

Storytelling elements representing Choctaw culture are the main highlight of Echo, with Indigenous storytellers and performers telling this story from their point of view. Each cultural element that is highlighted through the series is handled with extreme care, with careful aesthetic choices that beautifully complement their story. Many of its best scenes are also unspoken but instead performed through American Sign Language, with Cox being a deaf actor in real life. One such scene involves Lopez reuniting with Chula (Tantoo Cardinal), who blames Maya’s father for the tragic death of her mother, while her ex-husband, Skully (Graham Greene), is more forgiving towards her father because it wasn’t his fault.

The Chula reunion scene is another incredible showcase for Cardinal, who was also recently seen in Martin Scorsese‘s Killers of the Flower Moon. In that film, she says very little but speaks through her eyes, evoking a life that is slowly drifting away from her. The same approach feeds Cardinal’s performance in Echo, who exudes incredible emotional vulnerability with Cox as she tells the story of her pregnancy through a Choctaw midwife exclusively through her eyes and sign language. Cox also makes quite the impression as Lopez, whose arc was slightly underwhelming in Hawkeye but now has the full time to shine through her show. Anyone who watches it for Daredevil will be severely (and I truly mean this: he appears in one episode for 90 seconds) disappointed, but it shouldn’t be a deterrent since this is called Echo, not Daredevil Season 3.5.

Scenes where she connects with Chula, Skully, Henry, or her cousin Bonnie (Devery Jacobs, with their second MCU project in a month, after appearing as Kahhori in What If…? – Season 2) are the beating heart and soul of the series, rife with emotional complexity and beautifully performed. But I also wish there would be more of this exploration, as the five-episode structure doesn’t allow for greater character development. The arcs are properly introduced but barely stitched together near its end, as if the second part of the first season is coming later this year that will wrap things up nicely instead of leaving it on such a whimper of an anticlimactic finale.

You can tell the latter half of the series has been hacked to bits, with its multiple editors attempting to figure out how to make sense of all its moving parts instead of satisfyingly telling a story that not only takes its time to establish its multiple characters but the main conflict. Instead, it prefers to rush through everything, at the detriment of many of its supporting characters, to have an incomplete arc by the time the series has said “enough of this,” and abruptly ends with an albeit tantalizing post-credits scene, but with many plot threads still waiting to be resolved.

Maya’s powers are cool enough but don’t have the impact they do because of how little time we spend with her honing them in and learning the value of her ancestry. Had the show explored her past in a much more complete way, it likely would’ve had a bigger impact once Maya, Bonnie, and Chula felt their energy and freed themselves from Fisk’s shackles.

As a result, Echo feels as formless as many of Marvel’s television ventures, with a strong opening few episodes setting the stage for what’s to come, only for its latter half to rush through the storytelling to get to the origin story and the set up for Daredevil: Born Again. However, it also gives a blueprint for the future of the MCU that should inspire promise: lower budget, character-driven storytelling with practical action and striking images instead of CGI-laden slop that’s as shoddy and indistinguishable from the other CGI-driven blockbusters made today. If Marvel wants to succeed and move past the endless “superhero fatigue” discourse, they need to do more of Echo and less of Ant-Man and the Wasp: Quantumania, though at longer episodes in a truly televisual structure instead of its “five-hour-long movie” mandate that is genuinely starting to show its cracks. Here’s hoping their recent course correction will do Daredevil: Born Again justice.

SCORE: ★★1/2

All episodes of Echo are now available to stream on Disney+ and Hulu.

The post TV Review: ‘Echo’ Has Great Performances and Action Opposite An Incomplete Story appeared first on Awards Radar.

Dean (Guy Menaster) is a teenage troublemaker sent off to juvenile detention after his own mother Tamara (Neta Plotnick) turns him in. When he arrives and makes a friend, he finds what could be the next stage of his delinquent lifestyle transformed into a nightmare. His connection with another inmate, Zoro (Havtamo Freda), who no one else wants to engage with because of the nature of the crime that landed him in this facility, opens his eyes to new truths as he finds out all too quickly that witnessing something he shouldn’t have is among the most dangerous things he can do in his newfound situation.

Bad Boy, which comes from a team that includes Ron Leshem, creator of the Israeli version of Euphoria, and Hagar Ben-Asher, meets Dean at two points in his life. He also appears as an adult, portrayed by Daniel Chen, who works as a comedian. The fact that he’s been through everything and comes out ready to tell jokes is a statement just in itself, and there is a mildly comedic nature to the way that this story is told. Yet there isn’t anything inherently funny about the life-and-death stakes of Dean’s stint in detention, something he finds out almost immediately and which will irreversibly affect him.

This series, which screens its first two episodes as part of the TIFF television program, features dynamic characters who all contribute to an invigorating and genuinely involving storyline. After turning Dean in, Tamara later shows up to the prison with a bag for him, only to be coldly told that “this isn’t elementary school” and that he’ll just have to make do. Her maternal instincts kick in in a fierce way that makes it evident that she hadn’t fully processed the consequences of her actions, since she does care for her son, no matter how much trouble he is, and fears for his wellbeing when she isn’t the one looking after him.

Another immensely watchable contradiction comes in the form of Cheli (Liraz Chamami), the warden, who immediately greets a returning guest and expresses displeasure at seeing him again, even though they’ve clearly bonded and enjoy a relatively warm relationship. She takes a liking to Dean yet still subjects him to extremely poor conditions that put his safety in jeopardy, seemingly aware of what might happen to him yet conscious that she can push things just far enough to scare him straight without truly getting him into serious trouble.

Menaster, who has previously appeared in two Israeli tv series, is a true find. There is a twinkle in his eye that makes it clear that he has some sense of what’s really going on, but he follows each deceptively confident look with a subtle reaction that reveals that he’s putting on a front, one that can only get him so far. He also does a tremendous job of balancing fear with curiosity, crafting Dean into a character who is believably prone to extralegal antics but inherently has a good soul, as evidenced by his openness to getting to know Zoro. Freda is just as impressive in his role, one that holds back even more as he only very selectively lets down his guard.

From its first two episodes, Bad Boy demonstrates that prison, in whatever form, remains a deeply compelling setting for storytelling. Barred surroundings alone are not enough on their own to make must-see television, but complex, vivid characters and a structure that allows for them to grow despite their physical limitations makes it very worthwhile. The teases of a future only serve to further intrigue, ensuring that this show’s subsequent episodes should be just as involving.

Bad Boy is screening as part of the Primetime program at the 2023 Toronto International Film Festival.

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As the first season wrapped and just moments after the murderer was apprehended you would expect time the show would give you time to catch your breath. Instead, in the closing minutes Mabel is implicated in a new murder, this time along with her podcast-mates and friends, Charles and Oliver. The trio that just solved one mystery are led out in handcuffs with viewers hooked again, trailing their every step, waiting to see how this mystery would be resolved. 

The trend continues to set up season three as we watch new character Ben Glenroy (played by Paul Rudd) drop dead on stage in Oliver’s comeback Broadway production. Reacting to the shocking death, Mabel says exactly what the viewers may be thinking, “You’ve got to be f*cking kidding me.” As ludicrous as a third murder so closely connected to The Arconia podcast crew may be, no one (including me) seems to mind, it is actually part of its charm. Plus, a new murder in the building means another mystery and another season of one of the most enjoyable escapes on television.

After all, the series has always been rooted in the farcical. Even the premise of two past-their-prime men teaming up with a young artist to solve murders in their building while documenting every step on their true crime podcast could be easy to question if it was not so much damn fun.

Season one was a purely magical mix: a novel murder, clever writing, meta moments, plenty of style, the  charm, injecting humor, creativity and depth into every scene and character. It was followed by a second season that captured the same magic. How long can this streak continue for the John Hoffman/Steve Martin created series? Perhaps the answer is as long as there are murders in the building and colorful characters to suspect, because season three delivers yet another captivating caper even if it continues to fight off its age a little.

The third season can be a make it or break it point for a series, that is if it is lucky enough to survive the sophomore slump. Thankfully for Murders built into it is one of the most clever creative devices to avoid crashing and burning. By setting itself in a large apartment building which allows for an endless array of suspicious characters. Behind every apartment door is a new suspect with their own unique background to explore. 

They have ranged a mob-connected financier (played by Nathan Lane, who is sadly missing in season three) to his deaf son Theo (played by James Caverly showcased in one of the series best episodes to date), to real life rock stars and comedians Sting and Amy Schumer who both play fictionalized versions of themselves, the incredible Tina Fey, and even screen legends like Shirley MacCaline.

Season three expands the pool of potential suspects by including the cast and crew of Oliver’s play which becomes a musical, “Death Rattle.” Someone wanted Ben dead and everyone in the cast is a suspect, even Charles. The most notable additions for season three are the victim, Ben (Rudd) and Meryl Streep as his co-star Loretta – both playfully going against type. Rudd sets aside his loveable everyman image to play a narcissistic and grating actor. Ben is known for his hit franchise “CoBro” (a man who transforms into a giant crime-fighting cobra) something he never lets his cast mates forget. It does not take long to understand why he’s the victim.

Streep, as always, understands the assignment. She is as wonderful as ever doing as Streep does, turning every moment on screen into must watch television. The beloved actress puts everything into playing Loretta, the fumbling but talented actress looking for her first big roles. Just like everyone else she becomes a suspect and also a potential love interest, which we know from past seasons makes things deliciously more complex for all involved. It also means she is not used sparingly.

Even when name dropping and surprise guest starring (and this season has some doozies) it all feels unpretentious and natural fit because of how ridiculous of a starting point we came in at. The revolving door of A-list actors, celebrity guests, new and returning characters are a treat (Ashley Park, Andrea Martin, Jeremy Shamos), but what keeps bringing people back for more are the core three – Martin, Short and Gomez. The addition of big name talent like Streep and Rudd never skips into the trap of the shiny new toy overshadowing the main trio who are as appealing now as they were in the pilot. The showrunners are sure to give viewers plenty of what they came for. 

Martin and Short deliver plenty of their trademark jabs at each other while the droll Selena Gomez drops deadpan commentary while eye rolling her way through it all. Our main trio are never forced to evolve too quickly nor are they in a state of arrested development commonly  found in other shows. There is a progression with each characters’ lives, the podcast, and the mysteries that feels relatively organic.

The latest mystery is full of twists, turns and surprises kicked off with a whopper of an episode one reveal which I won’t spoil here. Season three goes beyond laying out a good whodunnit in The Arconia to avoid getting too formulaic by making the musical at the center of the season much more than a plot device, it becomes a character of its own. 

The silly musical “Death Rattle” which centers around infant Nova Scotians triplets accused of murder (yep, you read that right.) It also serves as both Oliver and Charles’ comeback vehicle while giving Mabel time for a romance, self-reflection and investigating of her own. So the stakes are high as the mystery builds and we watch the musical take shape from the ground up.

Being a sucker for a good musical I found it a joy to watch what starts as a silly gag grow into something much bigger. Auditions, table reads, and rehearsals are just the tip of the iceberg; it goes full blown musical, exceeding all my expectations. To do so they enlisted some surprisingly strong Broadway pedigree to do so. The uber-talented Academy Award winners Benj Pasek and Justin Paul (La La Land and Spirited) are on board delivering the tricky tongue twisting, “Which of the Pickwick Triplets Did It.”

Even though I can barely sing one line of it, the song becomes an earworm as we watch Charles try to conquer the challenging rapid-fire ditty leading him to come down with newfound crippling anxiety issues. Also contributing to the song list are Sara Bareilles and Michael C. Jackson whose song, “Look for the Light” performed by Streep is an absolute showstopper.

You never forget your first Murders. As a series adds onto its number of the seasons it can be challenging to replicate the magic. Some of OMITB’s humor and beats become a little familiar along the way, it never rests on its laurels, finding inventive and bold ways to remain fresh and engaging without losing its original spirit. This season snuck up on me. Like the musical, the mystery unfolds in a slow but deliberate fashion. By the end of episode eight (the last episode I was given screeners for) both snowball into something captivating, hitting both the heightened dramatic and musical high notes. While season three does not recreate the magic of season one, it create magic of its own. 

The first two episodes of season three of Only Murders In the Building are now streaming on Hulu with new episodes of the 10-episode season premiering each Tuesday.

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