Tell Me a Story is an American psychological thriller web television anthology series, based on the Spanish television series Cuéntame un Cuento created by Marcos Osorio Vidal, that premiered on October 31, 2018, on CBS All Access. The series was created by Kevin Williamson and stars James Wolk, Billy Magnussen, Dania Ramirez, Danielle Campbell, Dorian Crossmond Missick, Sam Jaeger, Davi Santos, Michael Raymond-James, Zabryna Guevara, Paul Wesley, and Kim Cattrall. On December 17, 2018, it was announced that the series had been renewed for a second season, which premiered on December 5, 2019.
My Personal Thoughts
With opening credits that show Little Red Riding Hood being raped by the Big Bad Wolf, “Tell Me a Story” is about as fun and understated as you might expect. The new CBS All Access series from Kevin Williamson, master of dark and icky shows like “Stalker” and “The Following,” attempts to twist classic fairy tales into his dark and icky mindset (never mind that these stories are already pretty grim). When viewed through their fairy-tale origins, the tales are laughably contrived. As standalone stories, they’re as ugly as they are trite.
Season 1 focuses on “The Three Little Pigs,” “Hansel and Gretel,” and “Little Red Riding Hood.” Sam (Dorian Missick), Eddie (Paul Wesley), and Mitch (Michael Raymond-James) stand in as the not-so-little pigs, forming a hapless gang of jewelry store robbers whose story bookends the premiere. Presumably, Eddie is going through with the heist to fix his leaky roof in the shoddy shack he calls home — probably made of straw (get it?) — and his brother Mitch is joining him to provide for his family, but the metaphors don’t end there. In case anyone is confused why the formerly innocent swine of the O.G. fairy tale are now corrupt, gun-toting killers, don’t worry about it: They’re wearing pig masks, and there are three of them.
Perhaps you’d argue the pigs are still victims in this dark new world, and they’ve been driven to violence by circumstance. That’s still too far of a reach, but one that’s also required to swallow Williamson’s spin on “Hansel and Gretel.” Hannah (Dania Ramirez) and Gabe (Davi Santos) are siblings, but they’ve grown apart since moving to the woods, aka New York City. Hannah is a cop and a veteran, while her brother is a burlesque dancer and a drug addict. When he gets in trouble (lured to a dangerous house! by drugs!), she comes to his rescue. From there, it’s only a question of what duck will ferry them home safely.
Not that that makes a lick of sense. Where’s home? Is it Gabe’s seedy drug den? Is it their unknown parents’ house? Is that a twist yet to drop in this confusing allegory? Despite the overt attempts at grounding the series in a familiar setting — Trump, of all things, is a regular topic of conversation — little in “Tell Me a Story” follows logic, let alone realism. But the third story is where things start to turn vile.
Kayla (Danielle Campbell) has just moved to NYC, after the death of her mother forced her dad to relocate the family in hopes of a “fresh start.” After all, Kayla made some bad friends and developed some bad habits after the tragedy — a 17-year-old smoked pot, you guys! — so clearly the Big Apple is a better place for her than the west coast. Somehow, Kayla keeps making trouble in the quiet little town of Manhattan. She grabs her fake ID, sneaks out of the house, downs some molly with a swig of vodka, and meets the sweetest man you’ve ever laid eyes on. Of course, he lays eyes on her first, staring her down with ferocious intensity that somehow reads as charming to Kayla. The two hook up, and, well, anything else would be a spoiler, but the twist should range from yucky to sickening.
I will rate this TV series 6/10.
Genre
Psychological thriller
Created by
Kevin Williamson
Based on
Cuéntame un cuento by Marcos Osorio Vidal
Starring
James Wolk Billy Magnussen Dania Ramirez Danielle Campbell Dorian Crossmond Missick Sam Jaeger Davi Santos Michael Raymond-James Zabryna Guevara Paul Wesley Kim Cattrall Odette Annable Matt Lauria Eka Darville Natalie Alyn Lind Ashley Madekwe Phillip Rhys Carrie-Anne Moss
Composer(s)
John Frizzel
Country of origin
United States
Original language(s)
English
No. of seasons
2
No. of episodes
12 (list of episodes)
Production
Executive producer(s)
Gonzalo Cilley Andres Tovar Dana Honor Aaron Kaplan Liz Friedlander Kevin Williamson
Producer(s)
Colin Walsh Hollie Overton
Cinematography
Doug Emmett Charles Grubbs
Editor(s)
Andrew Groves Emily Greene Brock Hammitt Roseanne Tan Zachary Dehm
Camera setup
Single-camera
Running time
42–53 minutes
Production company(s)
Resonant Outerbanks Entertainment Kapital Entertainment
See is an American science fiction drama web television series produced for Apple TV+. It is written by Steven Knight and directed by Francis Lawrence. Executive producers include Knight, Lawrence, Peter Chernin, Jenno Topping, and Kristen Campo. The series premiered on November 1, 2019.
Summary
In the distant future, the human race has lost the sense of sight, and society is left to find new ways to interact, build, hunt, and survive. Meanwhile, the wife of blind warrior and chieftain of Alkenny Village Baba Voss gives birth to a set of twins. To his tribe’s amazement, the twins can see.
As word spreads, it gets the attention of a cynical tribe and its queen who will stop at nothing to get their hands on the twins. In order to protect his children, Voss is forced to rely on his instincts and must rally fellow tribes to take down the queen and her tyrannical cult before they can capture the children.
My Personal Thought
Last year, as Apple was lining up programming for its new streaming service, Apple TV+, reports emerged claiming its content offerings would largely be family-friendly, eschewing blood and gory violence, profanity-laden dialogues, and adult-oriented themes that have powered most of the biggest TV dramas of all time. Essentially, Apple was going to do a Disney. But last month’s unveiling of the initial slate revealed those reports were seemingly unfounded. Set aside those shows aimed at children, the six others at launch or shortly upcoming — post-apocalyptic fantasy See, alt-history sci-fi For All Mankind, news drama The Morning Show, psychological thriller Servant, biographical comedy Dickinson, and true-crime drama Truth Be Told — are all certified “A” in India (TV-MA or TV-14 in the US).
See is possibly the most adult of them all, considering it’s clearly trying to be the new Game of Thrones. (Apple reportedly spent $15 million, about Rs. 106 crores, per episode on See, equivalent to what HBO did for Thrones’ final season, which is laughable for an unproven show with no existing fanbase.) Peaky Blinders creator Steven Knight is at the helm — that explains the graphic throat slits amongst other brutal scenes — of See, which is set centuries after a virus decimated the human population and deprived the survivors of the ability to see. Now, vision exists only as a myth and anyone who talks about it is dubbed a heretic. For the Apple series, that’s simply an excuse to force its world back to the Dark Ages, even before Game of Thrones’ equivalent setting of the Middle Ages.
But the comparisons to the hit HBO series are superficial, as with the inclusion of a possible incestual relationship between a nephew and his aunt. See has nothing to offer beyond its surface-level premise and violence — no gripping plot, no interesting characters, and no relevant messaging. It’s an empty husk of a show. The only ideas that are touched upon in the first three episodes of the total eight — that’s what critics, including us, had access to — are motherhood, family bonds, and tribe mentality, but See doesn’t know how to craft emotional scenes or build them up. (Francis Lawrence, behind three of the four Hunger Games films, is the director.) Moreover, the Apple series is dry, self-serious, and humourless, which makes it more reminiscent of Britannia than Game of Thrones.
See opens with a woman named Maghra (Hera Hilmar) giving birth to twins — a boy and a girl — in a cave, with help from a mysterious midwife called Paris (Alfre Woodard). Maghra’s husband — but not the father of her children — Baba Voss (Jason Momoa), meanwhile, is off on the frontlines with other members of his tribe, the Alkenny. He’s trying to thwart an assault by the Witchfinders led by Tamacti Jun (Christian Camargo), who has been tipped off by an Alkenny snitch called Gether Bax (Mojean Aria) that the babies’ father is Jerlamarel (Joshua Henry), a lone warrior who can see. Jun has been tasked with finding and capturing him at the behest of Queen Kane (Sylvia Hoeks), and his children become prime targets as well after they are born with sight.
With help from Jerlamarel, the Alkenny escape from the Witchfinders’ clutches and settle in a new land, where Baba Voss cuts them off from the rest of the world to protect his children, now named Kofun (Archie Madekwe) and Haniwa (Nesta Cooper). After Maghra, Baba, and Paris learn the kids can see, they decide to hide the truth from the rest of their tribe, since some of them were willing to hand the babies over to save their own skin. And that was before the Alkenny knew the children were “heretics”. For nearly two decades, the kids then grow up in isolation and secret, using their eyesight to help others and themselves. Meanwhile, Gether, who bears ill will towards Baba and Paris for having burnt his mother at the stake, keeps trying to sabotage the whole thing.
Off in lands far away, Queen Kane — leader of the Payan tribe — is battling dissenting subordinate voices and hence intentionally preaches contrasting philosophies to retain power. Publicly, she blames vision for causing the apocalypse in the first place, claiming men did evil deeds because they could see. Empty words considering the pain and destruction caused by the Witchfinders. Privately, Kane reveals she wants to find Jerlamarel so she can use him to bring more babies with sight into the world, which would help make her stronger. Her palace, which is set inside an abandoned dam that generates hydroelectricity, is one of a few remnants of the futuristic past on See, alongside a record player — the only piece of technology on-screen — owned by Kane.
The biggest problem with See is on a script level, as the writing virtually gives us no insight into its characters, who seemingly exist to move the narrative forward. Forget hinting at potential character arcs, we know barely anything about most of the protagonists and antagonists after the first three episodes. Baba Voss, Queen Kane, and Gether Bax are the most developed of the lot — and by most, we mean “very little” — while we are given next to nothing for Paris and Maghra, who can be described as simply the mother. As further proof of how little it has to say, characters repeat the same thing over and over when it comes to their primary motivation or stance on a topic. It’s almost as if See thinks its audience can’t be bothered to focus on what’s happening on screen.
Beyond the lacklustre writing, See also fails to deliver on action sequences, which are usually reliant on the stupidity of villains to allow the heroes to come out as victors. They also betray a lack of scale at times, all the more surprising if Apple has really spent the reported figure of $15 million per episode on See. Game of Thrones shot its initial seasons at half of that average budget, and the HBO show still managed to look more impressive. See’s character roster is much smaller than Thrones as well, where there were so many families that it could repeatedly kill primary characters for much of its runtime without crippling the narrative. That means there are less stakes to its action too, since See can’t afford to kill off any of its core group of characters.
Additionally, See’s central conceit — a virus that killed most and blinded the rest — does turn into a bit of a joke now and then since everyone is a bit of a Daredevil on the Apple series. Relying on the scientific backing of how losing one sense rewires the brain and boosts others, See essentially grants superpowers to its characters. With everyone on the show being blind, that means everyone has more acute hearing, with different applications ranging from detecting lies, estimating the size of an incoming threat, and sensing movement beyond the horizon. (A select few others have more equipped noses that allows them to pick up on abstract things such as fear, which isn’t as helpful, naturally.) But the lack of variety lessens the appeal.
All that comes together to make up a show that has clearly nothing going for it. Strangely, Apple has already renewed See for a second season before it has even released, though a report claims that the series will see “a change at the top”, which means either of Knight or Lawrence — or both — are set to make way for someone else. Whether that will improve See is debatable though, given its current status as a disastrous, utterly forgettable attempt to be the next Game of Thrones. There’s no shortage of contenders in the space too, what with Amazon, Netflix, and HBO itself all trying to fill that void. But for Apple, the quality of its originals is paramount since it’s not going to offer anything else, unlike others. Sure, it has money to throw at TV+, but See is proof that its customers should think twice.
Genre
Action-adventure Drama Science fiction
Created by
Steven Knight
Directed by
Francis Lawrence
Starring
Jason Momoa Alfre Woodard Yadira Guevara-Prip Nesta Cooper Sylvia Hoeks Archie Madekwe Christian Camargo Hera Hilmar Mojean Aria
Composer(s)
Bear McCreary
Country of origin
United States
Original language(s)
English
No. of seasons
1
No. of episodes
8 (list of episodes)
Production
Executive producer(s)
Francis Lawrence Steven Knight Peter Chernin Jenno Topping Kristen Campo
Production location(s)
British Columbia, Canada
Camera setup
Single-camera
Production company(s)
about:blank Quaker Moving Pictures Chernin Entertainment Endeavor Content Nebula Star
The second season of the animated television series Teen Titans, based on the DC comics series of the same time by Bob Haney and Bruno Premiani, originally aired on Cartoon Network in the United States. Developed by television writer David Slack, the series was produced by DC Entertainment and Warner Bros. Animation. The series focuses on a team of crime-fighting teenaged superheroes, consisting of the leader Robin, foreign alien princess Starfire, green shapeshifter Beast Boy, the dark sorceress Raven, and the technological genius Cyborg. The season focuses on a new character, Terra, a hero possessing the ability to move the earth while struggling to accept her boundaries and the Titans as her friends.
The season premiered on January 10, 2004 and ran until August 21, 2004, broadcasting 13 episodes. The season also aired on Kids’ WB on later dates. The season re-aired on Kids’ WB during the 2007–08 U.S. network television season on The CW for the final time, but instead airing episodes out of order.
Warner Bros. Home Video released the second season on DVD in the United States on September 12, 2006 and in Canada on September 26, 2006. Upon release of the season on DVD, the season received critical acclaim with the Terra story arc being singled out for praise.
My Personal Thoughts
t’s refreshing watching a show like Teen Titans – this second season just as much as the first. Fans of American animation have had much to be happy about this past decade, especially in the superhero realm, but just when you think you’ve seen it all, along comes a show like this one. That isn’t to say that it’s unlike anything you’ve ever seen, it just might be unlike anything you’ve ever seen – that is to say, the visuals in this show are delightful. Combining the best of anime (exaggerated faces, enacting metaphors, etc.) with the more static American cartoon style, Teen Titans‘ second season is as fresh as it is fun.
And, really, that’s what keeps you watching. While the visuals may sweeten the confection, it’s ultimately the stories that keep you sticking your hand back into the candy jar. These are small, simple little episodes, but they’re just so gosh darn fun that you don’t care that they’re so basic.
Date With Destiny puts a fun twist on the old formula when a villain – the obviously demented Killer Moth – demands that in addition to fortune and power, in exchange for not destroying the city, Robin must take his teenage daughter to the prom. A jealous Starfire tags along, morphing into all sorts of funny caricatures before night’s end.
Winner Take All is an entertaining action-packed episode that isn’t scared to admit that its sole purpose is to show us a bunch of really cool fights. From Aqualad vs. Speedy to Wildebeest vs. Beast Boy, the spectacle is animated mayhem at its best. There’s also the more serious Transformation in which Starfire begins to go through a thinly-veiled version of Tamaranian puberty. The cool part comes when a creepy intergalactic spider-creature tries to eat her as she becomes a cocoon.
Another excellent plus to this collection, and this show, is the series’ willingness to experiment with visuals. In the first season it was the MC Escher-inspired Mad Mod, and in season two we have the Crayola-covered Fractured. When Robin is introduced to the impish “Nosyarg Kcid” (Dick Grayson, backwards), the Titans are thrown into a topsy-turvy world that looks to have been drawn with a box of crayons. There’s a long chase scene which, combined with the energetic music, makes for a very entertaining episode.
But the best part of the season is the multi-part “Terra arc.” Introducing the famous Titans comic book character, the episodes paint a nice portrait of friendship and betrayal – on the small, kiddie-oriented screen. As long as you keep in mind the target audience, you should enjoy the story. Simple though it may be, you’re still moved by season’s end.
Of course, the show’s main baddie, Slade (the badass mercenary also known as Deathstroke in the comics) is back for more foiled attempts at stopping the Titans. His recruitment of Terra as an apprentice is nice, but it would have been even better to get some more dimension out of the one-note villain. While the show is great to look at and the stories are fun, if only it tried to push the emotional angle, for both its heroes and villains, just a little bit more, it would really be something.
While it’s not perfect, it’s still a heck of a lot better than most animated shows out there. Traditional fans of DCU cartoon shows (Batman: The Animated Series, Justice League, etc.) may balk at the anime-inspiration behind the show, but Teen Titans should not be missed by anyone who enjoys animation. It’s a fun, funny little show, and I already look forward to the next release.
CapitanArsalan
Date With Destiny puts a fun twist on the old formula when a villain – the obviously demented Killer Moth – demands that in addition to fortune and power, in exchange for not destroying the city, Robin must take his teenage daughter to the prom. A jealous Starfire tags along, morphing into all sorts of funny caricatures before night’s end.
Winner Take All is an entertaining action-packed episode that isn’t scared to admit that its sole purpose is to show us a bunch of really cool fights. From Aqualad vs. Speedy to Wildebeest vs. Beast Boy, the spectacle is animated mayhem at its best. There’s also the more serious Transformation in which Starfire begins to go through a thinly-veiled version of Tamaranian puberty. The cool part comes when a creepy intergalactic spider-creature tries to eat her as she becomes a cocoon.
Another excellent plus to this collection, and this show, is the series’ willingness to experiment with visuals. In the first season it was the MC Escher-inspired Mad Mod, and in season two we have the Crayola-covered Fractured. When Robin is introduced to the impish “Nosyarg Kcid” (Dick Grayson, backwards), the Titans are thrown into a topsy-turvy world that looks to have been drawn with a box of crayons. There’s a long chase scene which, combined with the energetic music, makes for a very entertaining episode.
But the best part of the season is the multi-part “Terra arc.” Introducing the famous Titans comic book character, the episodes paint a nice portrait of friendship and betrayal – on the small, kiddie-oriented screen. As long as you keep in mind the target audience, you should enjoy the story. Simple though it may be, you’re still moved by season’s end.
Of course, the show’s main baddie, Slade (the badass mercenary also known as Deathstroke in the comics) is back for more foiled attempts at stopping the Titans. His recruitment of Terra as an apprentice is nice, but it would have been even better to get some more dimension out of the one-note villain. While the show is great to look at and the stories are fun, if only it tried to push the emotional angle, for both its heroes and villains, just a little bit more, it would really be something.
While it’s not perfect, it’s still a heck of a lot better than most animated shows out there. Traditional fans of DCU cartoon shows (Batman: The Animated Series, Justice League, etc.) may balk at the anime-inspiration behind the show, but Teen Titans should not be missed by anyone who enjoys animation. It’s a fun, funny little show, and I already look forward to the next release.
The first season of the American psychological thriller television series You, based on the novel of the same name by Caroline Kepnes, was ordered by Lifetime on April 2017.The 10-episode first season, which premiered on September 9, 2018, was produced by A&E Studios, in association with Alloy Entertainment, Berlanti Productions, and Warner Horizon Television; the showrunners were Greg Berlanti, Sera Gamble and Leslie Morgenstein.
Plot
In her recap of the final episode, Jessica Goldstein asked exactly this question, and comes away with an unequivocal no, it is not good. “It feels like You wants to be edgy and subversive. But a story that gives a violent male character a full, complicated history (or, I should say, attempts to do that) while never revealing more about its female character beyond what said male character can discern and/or chooses to project onto her is not subversive, at all,” Goldstein writes. “Was it necessary — was it even remotely good television — for an entire episode to be devoted to Beck’s being psychologically tortured until she gets killed?”
Goldstein’s further point is that it doesn’t matter that You tried to undermine and satirize all of the romance plots that are culturally coded as sweet, but which are actually abusive, manipulative nonsense. Because in the act of satirizing them, You also straight-up replicates them. It is still giving Joe the voice and making Beck the victim. It is still centering Joe’s perspective, even as it’s trying to turn him into a monster. Badgley’s performance is as a highly charismatic, magnetic murderer, which means that while you’re watching him be a murderer, you’re also watching him be magnetic. It’s a point that’s hard to argue, especially given how much time Penn Badgley, the actor who plays Joe, has spent on Twitter trying to dissuade the show’s fans from falling in love with a psychotic, misogynistic killer.
You is a show about a dude who stalks, tortures, and kills people, in a TV landscape that is already full-up with objectified, tortured, and/or dead women. The existence of any part of the show’s audience who finds Joe attractive is pretty incontrovertible evidence that on some level, the show’s attempt to undermine Joe fails. You is a ripe target for bad fandom, for viewers who misread the show for their own ends and blithely ignore that every character is supposed to be a loathsome monster. (Yes, even Beck.)
And yet. That first question, the question about whether the finale is well-made, whether it follows on what the beginning of the season started, whether the performances are good, whether the twist makes sense, whether it sets up a second season, whether it is an entertaining hour of TV… in spite of everything, the answer to that question might still be yes. Everything that happens in the final episode is the fitting and inevitable conclusion of what You warned us would happen from the first moments of the pilot. If the show’s central engine is to demonstrate the toxicity of masculine behavior when filtered through a rom-com ideology, then Beck’s death — and just as crucially, her relative voicelessness throughout the season — is the whole point. I cannot blame the show for following through on all of the things it told us would happen from the start.
I’m also loathe to cede all of You’s reception to the bad fans. It’s possible to misread everything that happens in the finale and insist that Joe’s still attractive, but it’s also clear that misreading is totally counter to everything the show tells us. It makes sense to see Beck as one more dead girl on TV and Joe as one more monstrous anti-hero, but that means flattening all the deliberate, skin-crawling contradictions the first season establishes, the connection we’re meant to draw between Joe’s loving words and his violence, the fact that all of this is sort of a farce, and that Candace being alive at the end is a good twist! I have no idea how You season two will play out, but a woman who knows Joe’s true nature and returns from the dead so she can confront him seems like a good start.
Even if this particular show’s goal is to satirize and puncture our collective mythologizing of the attention-worthy violent man, it makes sense to feel like TV would be better if it took a break from violent men like Joe for a bit. But that’s a broader question about the whole show, and about its cultural goodness on a scale separate from its storytelling. If the question is just about the end, and whether that ending is well-made, then the conclusion of You’s first season is everything the show had been building toward all along. Joe kills Beck, as we always knew he would. The performances work (Hari Nef forever!), and it’s an appropriate culmination for a show that’s been telling viewers from its very first moments that its protagonist is a dangerous, untrustworthy killer.
Crucially, it’s also not really the end. You’s final word is not that Joe succeeds, toxic masculinity is the route to romantic happiness, and Beck was too dumb to live. Its last gesture is Candace’s return, suggesting that Joe’s comeuppance is yet to come. I have to believe that the worm will turn in season two, and that Joe will finally face some consequences. His fate hovers over him like the Sword of Damocles, and if You lets him escape in its final endgame, it’ll have become a bleaker and less self-aware show than I’d hoped. For right now, though, I’m happy for the season to end with Joe thinking he’s gotten away with it all, blind to what’s to come.
MY Personal Thoughts
You is about a stalker and frankly, this was not a show I expected to like. But I did. I mean, I actually found it to be quite delightful in a very weird and twisted way.
Season 1 is now on Netflix and please don’t be discouraged by the fact that this was originally on Lifetime. There are plenty of very dark (and brutal) scenes in You.
Also, the Stalker himself (Penn Badgley of Gossip Girl) is the narrator. This alone makes for some strange information since we get to hear his thoughts. Most of them are very intelligent and rational. Until they’re just not!
After all, the guy is a full-blown stalker.
Get into the mind of a stalker
Since the star of You, Penn Badgley, is also the narrator, we really do get a different point of view. Penn Badgley stars as Joe Goldberg, who is a bigtime stalker. He uses the Internet for research, but also good old detective work by following his victims.
Or, you know, just wait outside her apartment and stare! Or get access to her apartment while she’s away by pretending to be a concerned neighbor, who believes he smells a gas leak.
With Stalker Joe as the narrator, we get right into the mindset of the “bad guy”. And yes, it feels very weird to call him a bad guy in quotation marks, but somehow it’s also fitting.
To help explain, I should tell you that it feels like You was made in the vein of Dexter. Well, except this time the guy isn’t quite as aware of how sick he is. Dexter Morgan knew he had issues – the main one being a serial killer with a set of rules to follow.
In that sense, You is like a hybrid between The Bates Motel and Dexter.
Now, come on, doesn’t that sound like something you should check out? Yes, it does. And yes, you really should.
The victim of a Stalker
For You to work, the stalker of the story needs to find someone to stalk. And does he ever. When he first sees Guinevere Beck (or just Beck), it is love at first sight for him. To be fair, she does also seem to find him somewhat cute and interesting.
The really creepy part is when you hear Joe’s thoughts. He analyzes every move she makes and word she speaks as if her every action is just for him. It’s the kind of sick explanations you hear from predators of women and children in real life.
This means it’s scary and also feels very realistic. Maybe these aren’t thoughts your average Joe (yeah, pun intended) has, but they are actual excuses given by creeps.
Also, Joe is a creep. He’s just also a very kind and loving person to most people. Well, as long as they don’t get between him and his victim. Oh, I mean, his “one true love”. If they do, then he is every bit as scary and brutal as Dexter Morgan himself.
And how about this girl?
The role of Beck is played by Elizabeth Lail. She was in the Freeform show Dead of Summer from 2016, which was also pretty dark. This time around it’s a different kind of darkness.
For me, the fascinating part of You is getting to know Beck as well. She’s probably a pretty typical girl, but she reacts in ways that are not always what you would expect. She keeps on surprising both Joe and the audience.
Also, I did like that Joe was very laid back about his “one true love” having casual sex with others, even after they start dating rather casually. Instead of going stalker-crazy, he simply seems to treat this as another challenge.
For once, slut-shaming is never on the table. In fact, his only comment when listening to Beck and her friends talking is that they seem to be treating sex a bit too casually. Joe is more of a romantic, but also very aware of how the world works today.
Shay Mitchell in a new kind of role
I do have to mention one of Beck’s friends. Her name is Peach Salinger and yes, of course, she’s related to author J.D. Salinger. Peach is rich, spoiled and both a friend and not really. Also, she’s portrayed by Shay Mitchell from Pretty Little Liars.
It’s pretty obvious that she’s interested in Beck as more than just a friend. Fortunately, Joe doesn’t quite see this during the first three episodes. But I expect he will later on, which could spell the end of Peach.
For now, I love seeing Shay Mitchell get to play a character with awesome bitch-vibes. Oh yeah, Peach knows she’s a bitch. She just doesn’t care that much since it’s rarely a problem for her.
Remember, she’s rich and wants for nothing really. Well, except for Beck, it seems.
Strong team as the creators of You
You was created by Greg Berlanti and Sera Gamble. They both have a lot of experience with writing and producing TV shows.
Most recently, Greg Berlanti was the director the LGBT “coming out”-movie of Love, Simon. Of course, this is hardly a horror or thriller story – except for closeted people, maybe. But Greg Berlanti also writes and produces several DC Comics shows like Legends of Tomorrow and the animated Constantine: City of Demons.
Sera Gamble has been writing for Supernatural where she is also an executive producer. Also, she’s an executive producer on The Magicians, which she created for television.
For both Greg Berlanti and Sera Gamble, You seems to be a much darker and more brutal story than their past productions. But three episodes in, they certainly aren’t shying away from going all-in on the horror elements. Kudos to them!
And soon Season 2 of You will be out on Netflix from December 26, 2019. And after watching it I will be review season 2 and I am so excited about it.
I will rate this TV Series 7/10.
Starring
Penn Badgley Elizabeth Lail Luca Padovan Zach Cherry Shay Mitchell
We Are the Wave (German: Wir sind die Welle) is a German coming-of-agedramaweb television series that is loosely based on the 1981 novel The Wave by Morton Rhue. The series premiered on Netflix on 1 November 2019.
Synopsis
A group of teens, led by the new mysterious classmate Tristan Broch, pursue the dream of a better future. Angry at the social ills that the teenagers no longer want to accept, they decide to do something about it. What begins as an idealistic and playful revolt against the establishment, however, soon gets a threatening momentum. In the end, the question arises: Does the purpose really justify the means?
My Personal thoughts
We Are The Wave is the latest international teen drama to arrive on Netflix, and this one is making, well… waves among fans online.
Otherwise known as Wir sind die Welle in its native Germany, We Are The Wave is very loosely based on a Morton Rhue novel called The Wave, which explored how society can compel people to commit heinous acts against their nature.
Inspired by the book’s controversial themes, We Are The Wave tells a modern-day version which revolves around a group of teenagers who revolt against the establishment. What starts out as idealism soon develops into something far more dangerous as Tristan and his classmates risk turning into the oppressors they’re rebelling against in the first place.
In many ways, We are the Wave Season 1 is indicative of what’s to come. In recent years, our jaded political system has hit ludicrousy. After years of progressive ideas, we forgot about a silent majority that was waiting to fight back against modern liberal ideas. Their answer? Donald Trump and Brexit. We flagrantly pushed them too far, and our target for a better future is now thrown into a frustrating political system that we never aspired to. Hung parliaments, impeachments, fake news, climate change deniers, but most frighteningly, an increase of right-wing extremism in Europe and America.
Ironically, this has caused left-wing extremism.
And with 16-year old Greta Thunberg receiving targeted abuse from full-grown adults and climate change protests banned by the UK government, we are left with detest on both sides. We are the Wave is a story that articulates that underlying extreme movement that is caused by frustrated political landscapes. It follows the story of a group of teens who all hold idealistic views — We are the Wave is a revolt against the establishment, but also details what happens when anger moves away from social and is converted into physical action.
The opening episode of We are the Wave Season 1 mostly focuses on Tristan Broch (Ludwig Simon) and Lea Herst (Luise Befort). Tristan is the new kid on the block, wearing half-styled, half-shabby clothes. Lea is immediately drawn to him. His mysterious behaviour is the opening story as he has a way with words, and confronts enemies head-on. He’s within the parole system and clamours back to his “home” at a certain time every day.
You almost get the sense that Lea holds idealistic views in the opening chapters, but Tristan was the man that confirmed her beliefs. The curiosity takes precedence, and theory becomes reality. We are the Wave Season 1 sees Tristan, Lea and their new acquaintances plan leftist movements against right-wing authority, with some of these groups attached to neo-nazi rhetoric.
e are the Wave Season 1 is directed well. It understands the young mind. The music driving each chapter is cheesy, but the Netflix series understands social media, left-wing ideas and what is at stake in modern times. The formidable acting from the young cast shows that they truly believe in the story, as it distances itself from the generic teen-drama.
It’s a whole new era now for streaming with new platforms introduced, but Netflix have done well to add We are the Wave Season 1 to their roster.
I will rate this TV Series 7/10.
Genre
Drama Mystery
Based on
The Wave by Morton Rhue
Written by
Jan Berger
Ipek Zübert
Kai Hafemeister
Thorsten Wettcke
Christine Heinlein
Directed by
Anca Miruna Lăzărescu
Mark Monheim
Starring
Luise Befort
Ludwig Simon
Michelle Barthel
Daniel Friedl
Mohamed Issa
Composer(s)
Heiko Maile
Country of origin
Germany
Original language(s)
German
No. of seasons
1
No. of episodes
6
Production
Executive producer(s)
Dennis Gansel
Producer(s)
Christian Becker
Cinematography
Jan-Marcello Kahl
Editor(s)
Ann-Carolin Biesenbach
Camera setup
Single-camera
Running time
45–54 minutes
Production company(s)
Rat Pack Filmproduktion Sony Pictures Film und Fernseh Produktion
The End of the F***ing World is a British dark comedy-drama television programme, based on a graphic novel of the same name by Charles Forsman. The eight-part programme premiered its first episode on Channel 4 in the United Kingdom on 24 October 2017, after which all eight episodes were released on All 4. Netflix handled international distribution and released it internationally on 5 January 2018. The programme follows James (Alex Lawther), a 17-year-old who believes himself to be a psychopath, and Alyssa (Jessica Barden), a rebellious classmate who sees in James a chance to escape from her tumultuous home life. Gemma Whelan, Wunmi Mosaku, Steve Oram, Christine Bottomley, Navin Chowdhry, Barry Ward and Naomi Ackie appear in supporting roles.
The series is based on Forsman’s mini-comics The End of the Fucking World, which were collected into a book in 2013. Series creator Jonathan Entwistle contacted him about making a film, and a short was made in 2014. Instead, an eight-part serial was commissioned, with filming beginning in April 2017. It was written by Charlie Covell, and episodes were directed by Entwistle and Lucy Tcherniak. In August 2018, the programme was renewed for a second series, which premiered on Channel 4 on 4 November 2019, after which all eight episodes were released on All 4, and internationally on Netflix the next day. Covell stated before the second series’ release that she does not intend to produce a third series for the programme.
The programme has been praised for its writing, execution and subject matter, as well as for Lawther and Barden’s performances. It was nominated for the 2018 British Academy Television Award for Best Drama Series.
synopsis
James is a 17-year-old who believes he is a psychopath. He kills animals as a hobby, but grows bored of the practice. He decides he wants to try killing a human. He settles on Alyssa, a mouthy, rebellious 17-year-old classmate with issues of her own. She proposes they run away together, hoping for an adventure away from her turbulent home-life, and James agrees with the intention of finding an opportunity to kill her. They embark on a road trip across England, and begin to develop a relationship after a series of mishaps.
Plot
So, the story starts from not the main character it starts from New character known as Bonnie. In Episode 1 we see about Bonnie life and he is some kind of strange behavior and kind of psycho killer but the twist comes when we know he is a girlfriend of that man who tries to rape Alyssa in the first season. So she thinks James and Alyssa killed his boyfriend. Now she is out for revenge.
Now the real story starts where the story got left we see Alyssa moved with her mom to a new place because her mom had a divorce with his husband. And now Alyssa is happy and starting his new life and doing work in the cafe and even he made a new boyfriend. Now Alyssa getting married to his boyfriend suddenly before the wedding day James occurs and give a shock.
And James got hospitalized after taking a bullet and later on he got save but he lost his walking ability and later on finally learns to walk and fully recover and tries to search Alyssa.
So, now the story had a big twist now again Alyssa and James go on run and again do idiotic and psycho stuff and James have doubt that Alyssa loves me or not. Actually they both of them hiding their feelings for each other. After sometime James and Alyssa were traveling they find out a stranger girl for lift. So, James gives a lift and you guess that girl is Bonnie all was well planned by her. So, that Bonnie can kill both of them.
After sometime James car tire got puncture so, they decide that will stay in the car till their car gets ok. After that bonnie plans to kill in the motel. But Bonnie plans to kill them and accidentally kills the motel owner in her room and she hides the body in the wardrobe. And on the next day, they again travel and go to leave Alyssa back to her place and Bonnie to her place. But in between, they left Bonnie on the medical store and James drop back to Alyssa to her home. Scene changes and the story revolves again Bonnie comes to Alyssa and James was hiding in he cafe because he knows that now Bonnie wants to kill us for killing his boyfriend.
In the last Bonnie gets emotional after hearing truth and she tries to kill herself But James and Alyssa and save her.
After Next day Alyssa got sad and runs away thinking about that man and James tries to find her and finally finds out and in last they express feelings for each other and they got kind of a love birds in ending.
My Personal thoughts
We learn that Bonnie ended up feeling a connection with Professor Clive Koch, the man who James killed when he was caught attempting to sexually assault Alyssa. Bonnie believed they were truly in love and longed to be with him, not knowing what his true intentions were.
When the episode began telling Bonnie’s back story, I was afraid this would be a simple “exposition” story and an “easy way out” so to speak. However, I found myself dropping my jaw multiple times as more and more connections were made.
Suddenly, we all really learned about the weight Bonnie was carrying and the gravity of the impact it would have on Alyssa. Somehow, this opening episode of The End of the F***ing World was still The End of the F***ing World without Alyssa or James on-screen.
This second season is quite different from the first. It’s no longer about Alyssa and James’ crimes; it’s about Bonnie’s. In fact, this season probably has one of my most favorite scenes or moments from the series. Bonnie has Alyssa alone at the cafe she works at, and we’re expecting this to be the end for Alyssa. The two sort of “dance” around each other silently and the tension is built up even more as a police officer enters and is cautious, yet unaware of how truly dangerous the situation is.
The whole scene at the cafe is one of the most intense “action” sequences in the whole series and there’s not even one bullet fired (well there is, but in Bonnie’s imagination). I think that’s what makes it so gruesome. Bonnie was going to pull the trigger.
After Alyssa and James talked to Bonnie about what really happened with Clive, she was understandably in denial. She didn’t want to believe that he would do something like that and denied his intentions. When she went and held the gun to herself, Alyssa and James pushed her to the ground and saved her. They saved someone who wanted to kill them, and somehow undid every crime they had done before.
We were all shocked by that haunting promo of Alyssa at a diner with an urn, thinking that it was James inside. As it turns out, it was his dad’s ashes (because neither of these kids can catch a break). But this season isn’t about James. It’s about Alyssa. It’s about her having to relive that day at Clive’s house every day. It’s about her having to live with herself after that day. The end of The End of the F***ing World is the only kind of ending that would work for a pair like Alyssa and James. They do love each other, but Alyssa needs some time, and that’s okay.
One notable thing about the series is its soundtrack. Practically every moment is filled with the sound of an old rock, folk, or pop tune, from “This Would Make Me Happy” to The Kinks’ “I’m Not Like Everybody Else” to “I Lost Something in the Hills.” It gives the series a strong sense of mood, but it also feels like it’s compensating for the lack of feeling in all other aspects. There may be a lot of songs on the season-two soundtrack, but what’s missing from these eight episodes is a sense of music.
In End of the F***ing World, whose episodes are only around 20 minutes or so, there’s both a lot that happens and, at the same time, nothing at all. There’s a ton of exposition packed into each episode to help fill out what went down for Alyssa and others in the year since we saw them last, and plenty happens in Bonnie’s interaction with her alleged nemesis, too. But when the season ends, you’re left with a strong sense of, “Is that all there is?” There’s no new perspective or deeper point made by season two that wasn’t already conveyed more effectively by season one.
I will rate this TV Series 7/10.
Genre
Dark comedy Comedy-drama
Based on
The End of the Fucking World by Charles Forsman
Written by
Charlie Covell
Directed by
Jonathan Entwistle
Lucy Tcherniak
Starring
Alex Lawther Jessica Barden Gemma Whelan Wunmi Mosaku Steve Oram Christine Bottomley Navin Chowdhry Barry Ward Naomi Ackie
Composer(s)
Graham Coxon
Country of origin
United Kingdom
Original language(s)
English
No. of series
2
No. of episodes
16 (list of episodes)
Production
Executive producer(s)
Ed Macdonald
Murray Ferguson
Andy Baker
Petra Fried
Dominic Buchanan
Jonathan Entwistle
Pennyworth is an American crime drama television series, based on characters published by DC Comics and created by Bob Kane and Bill Finger, that premiered on July 28, 2019, on Epix. The series is executive produced by Bruno Heller and Danny Cannon and stars Jack Bannon as the titular character, alongside Ben Aldridge, Emma Paetz, Ryan Fletcher, Hainsley Lloyd Bennett, Paloma Faith, Polly Walker, and JasonFlemyng.
Pennyworth explores the early life of the titular Wayne family butler, Alfred Pennyworth, a former British SAS soldier who is forming his own security company in an alternate London which combines aspects of London in the 1950s and 1960s with invented events and practices (for example, televised public executions). Alfred becomes a target of the Raven Society, a group conspiring to take over the British government, and begins working against them alongside American agents of the No Name League, Thomas Wayne and Martha Kane, the future parents of Bruce Wayne/Batman.
Story revoves around Former British SAS soldier Alfred Pennyworth becomes caught up in the conflict between American agent Thomas Wayne and the shadowy Raven Society. Alfred’s side job as a security consultant brings him to the attention of local crime lord John Ripper.
American No Name League agent Martha Kane hires Alfred to assist her on a dangerous mission. Martha enlists Alfred to help get the name of the new leader of the Raven Society. In the wake of Esme’s murder, Alfred is slowly pulled out of his depression by Ripper, who insists that an enemy of Alfred’s killed her. Ripper sends Alfred to a witch who gives him clues to find Esme’s killer.
Lord Harwood’s memory returns. While Thomas and Martha visit Crowley’s mansion seeking Patricia, Alfred closes in on Esme’s killer, Captain Curzon. As Alfred hunts down Curzon with help from Bet, Lord Harwood plots his return to power. Alfred is offered a way out of prison as the Prime Minister plots against both the Raven Society and the No Name League. While Lord Harwood stages a coup, Alfred, Bazza, and Dave Boy help Thomas and Martha rescue the Queen from the Sykes sisters. Lord Harwood, Francis Gaunt, and the Sykes are arrested. Alfred is pardoned, but finds himself trying to stop his father from assassinating the Queen and Prime Minister.
My Personal Thoughts
It’s nice when two people share the same passion and also happen to be two people who make television shows, though it’s inevitably more important that those two people actually have talent. Luckily, that’s the case with writer Bruno Heller and director Danny Cannon. The duo share a thing about Batman — they paired up for Fox’s Gotham and now offer up the highly entertaining, clever and engaging Pennyworth for Epix, based on the characters created by Bob Kane and Bill Finger for DC.
Pennyworth is the origin story of Alfred Pennyworth (Jack Bannon, The Imitation Game, Ripper Street), who, of course, later becomes Bruce Wayne’s resourceful butler (Gotham was the DC origin story of Jim Gordon and, to a lesser but growing extent, the adolescent, pre-Batman Bruce Wayne).
Heller and Cannon had a real vision for Gotham, shepherding it through five seasons at Fox — though Heller, who also created and penned Rome on HBO, stopped writing Gotham after the second season, while Cannon, who also penned some episodes as well as directed, contributed through all five.
Both men will find Pennyworth less exhausting, since it’s only 10 episodes (Gotham was a network-crazy 22 episodes for four seasons and 12 in the fifth), which should keep them creatively fresh throughout.
Pennyworth also has the advantage of being more grown-up and elegantly stylized, while not losing the sense that it’s a comic book come to life. Gotham also achieved that, but went for it in a more wildly cartoonish fashion, where Pennyworth has more grit and gravitas. The new series also isn’t hamstrung by the grade-school-Batman problem of Gotham, even though that show ultimately was more about Gordon.
Here, Pennyworth gives us Alfred as a young but mature British SAS soldier in his early twenties who leaves the service and starts up his own security company in rough and tumble 1960s London — an infinitely better premise partly because it’s so deeply British at its starting point and navigates through an interesting era in a real (though
Pennyworth Season 1 Episode 101: Pilot
visually exaggerated) city, devoid in the early going of the more cartoonish bad guys that later make Bruce Wayne’s life annoying across the pond.
Stylistically, it’s gripping and an enormous amount of fun (though, to be clear, shockingly violent in parts), with Bannon a real revelation as he swaggers around with his Cockney accent, channeling Michael Caine without coming off as a cheap imitation. He’s accompanied by SAS friends, Bazza (Hainsley Lloyd Bennett, Eastenders) and Dave Boy (Ryan Fletcher, Outlander).
You have to like that Alfred is a total badass here, and it’s interesting to see the kind of horror that his later refinement clearly hid. In a pinch, of course, Alfred was always handy and could hold his own, but in Pennyworth you get the full story — he didn’t need a costume to take control.
Alfred’s father (Ian Puleston-Davies) wants him to be a butler and his mother (Dorothy Atkinson) just wants him to be happy. But there’s a class struggle as he tries to court Esme (Emma Corrin, The Crown). Of course it’s Alfred’s work life that’s most interesting. As a bouncer he runs into Thomas Wayne (Ben Aldridge, Fleabag), an American doing suspicious work in England, while also getting mixed up in at least two competing interests against the British government (one involving a tremendously fun villain named Bet Sykes, played winningly by British singer Paloma Faith).
Juggling more adult fare, Heller manages to make Pennyworth a compelling modern drama but adds in a darker hint of comic book ink, never letting the tone tilt too much toward the outlandish or over-the-top, but also just unhinged enough to stand out. Early on, that’s the grandest achievement of Pennyworth and no small feat, either, since source material rooted in overly familiar comic-book history can struggle.
Cannon, whose cinematic work on Gotham instantly gave it a mood, once again dabbles in the darker hues here while making the alleys and roads of East London and environs seem rooted in something real (as opposed to a fictitious New York fantasy).
There’s something very compelling about Pennyworth as a comic adaptation that’s allowed to be more noirish and cultish than cartoonish, and it adds to Epix’s strong, growing bench.
“Pennyworth” is a lot like “Better Call Saul” — the origin story of a supporting player in a larger story that hasn’t started yet, EPIX’s new series about Batman’s future butler doesn’t feature the Dark Knight or even the promise of getting to his story, eventually. Instead, it starts its own story of Alfred Pennyworth and finds compelling new life within — just like “Better Call Saul!”
OK, maybe not just like Vince Gilligan’s heralded spinoff, but it’s off to a great start through four episodes. The hour-long drama starts Alfred’s story shortly after his service in the war, as the 20-something Pennyworth (played by Jack Bannon) returns home to his mother and father, determined to run a security business and lead a more peaceful life. While that’s getting off the ground, he works as a bouncer and doorman at an underground London club, and it’s here he first runs into a young American by the name of Thomas Wayne (Ben Aldridge).
Pennyworth Season 1 Episode 101: Pilot
It’s here that “Pennyworth” makes its first good impression, built on the back of many smart choices. For one, Wayne isn’t treated like royalty. A lot of billionaires — and his introduction sees him as a bit of an overprotective, inept brother, relying on the good luck of Pennyworth’s talents and discretion to get out of an ugly situation. That the show doesn’t treat the Wayne name with an air of royalty, as if he’s the most important person in a show that’s not really his, is really encouraging, and it only bears out from there.
Alfred himself is a well-rounded central figure, built from the heroic goods of more-than-capable soldier, but not such a smoothed-over goodie goodie to be made boring. He shows off his fighting abilities in the middle of a restaurant, careful not to bother the other patrons too much while tossing a hooligan over a table. There are shades of Future Alfred there, but not too many — he’s still got to become that wizened advisor to Master Wayne, so it’s nice to see he’s also got a few blindspots, too.
Stories that have well-known, predetermined endings are tricky. Stories about peripheral characters before the main draw gets involved are tricky. Origin stories aren’t that tricky, but they become tricky when you’re telling one with the two previous requirements in place. In these ways (and few others), “Pennyworth” is a lot like “Better Call Saul” — the origin story of a supporting player in a larger story that hasn’t started yet, EPIX’s new series about Batman’s future butler doesn’t feature the Dark Knight or even the promise of getting to his story, eventually. Instead, it starts its own story of Alfred Pennyworth and finds compelling new life within — just like “Better Call Saul!”
Pennyworth Season 1 Episode 101: Pilot
OK, maybe not just like Vince Gilligan’s heralded spinoff, but it’s off to a great start through four episodes. The hour-long drama starts Alfred’s story shortly after his service in the war, as the 20-something Pennyworth (played by Jack Bannon) returns home to his mother and father, determined to run a security business and lead a more peaceful life. While that’s getting off the ground, he works as a bouncer and doorman at an underground London club, and it’s here he first runs into a young American by the name of Thomas Wayne (Ben Aldridge).
Pennyworth Season 1 Episode 101: Pilot
It’s here that “Pennyworth” makes its first good impression, built on the back of many smart choices. For one, Wayne isn’t treated like royalty. He’s kind of a smarmy dick — like a lot of billionaires — and his introduction sees him as a bit of an overprotective, inept brother, relying on the good luck of Pennyworth’s talents and discretion to get out of an ugly situation. That the show doesn’t treat the Wayne name with an air of royalty, as if he’s the most important person in a show that’s not really his, is really encouraging, and it only bears out from there.
Alfred himself is a well-rounded central figure, built from the heroic goods of more-than-capable soldier, but not such a smoothed-over goodie goodie to be made boring. He shows off his fighting abilities in the middle of a restaurant, careful not to bother the other patrons too much while tossing a hooligan over a table. There are shades of Future Alfred there, but not too many — he’s still got to become that wizened advisor to Master Wayne, so it’s nice to see he’s also got a few blindspots, too.
Namely, women. One sucker punches him near the end of that early scene, foreshadowing many problems to come with his overconfident self-perception. Alfred doesn’t really know who he is yet, and that’s reflected as it so often is to men: through the (smarter) people they date. To get into much more might enter spoiler territory, but the women of “Pennyworth” are pretty well characterized on their own, outside of Alfred’s, too, even if there is a bit of a James Bond element to his lifestyle, as well as the show’s style. (The opening credits look like they’re ripped straight from Bond 20, while Alfred’s “for Queen and country” attitude compliments his 007-esque abilities.)
Stories that have well-known, predetermined endings are tricky. Stories about peripheral characters before the main draw gets involved are tricky. Origin stories aren’t that tricky, but they become tricky when you’re telling one with the two previous requirements in place. In these ways (and few others), “Pennyworth” is a lot like “Better Call Saul” — the origin story of a supporting player in a larger story that hasn’t started yet, EPIX’s new series about Batman’s future butler doesn’t feature the Dark Knight or even the promise of getting to his story, eventually. Instead, it starts its own story of Alfred Pennyworth and finds compelling new life within — just like “Better Call Saul!”
OK, maybe not just like Vince Gilligan’s heralded spinoff, but it’s off to a great start through four episodes. The hour-long drama starts Alfred’s story shortly after his service in the war, as the 20-something Pennyworth (played by Jack Bannon) returns home to his mother and father, determined to run a security business and lead a more peaceful life. While that’s getting off the ground, he works as a bouncer and doorman at an underground London club, and it’s here he first runs into a young American by the name of Thomas Wayne (Ben Aldridge).
It’s here that “Pennyworth” makes its first good impression, built on the back of many smart choices. For one, Wayne isn’t treated like royalty. A lot of billionaires — and his introduction sees him as a bit of an overprotective, inept brother, relying on the good luck of Pennyworth’s talents and discretion to get out of an ugly situation. That the show doesn’t treat the Wayne name with an air of royalty, as if he’s the most important person in a show that’s not really his, is really encouraging, and it only bears out from there.
Alfred himself is a well-rounded central figure, built from the heroic goods of more-than-capable soldier, but not such a smoothed-over goodie goodie to be made boring. He shows off his fighting abilities in the middle of a restaurant, careful not to bother the other patrons too much while tossing a hooligan over a table. There are shades of Future Alfred there, but not too many — he’s still got to become that wizened advisor to Master Wayne, so it’s nice to see he’s also got a few blindspots, too.
Namely, women. One sucker punches him near the end of that early scene, foreshadowing many problems to come with his overconfident self-perception. Alfred doesn’t really know who he is yet, and that’s reflected as it so often is to men: through the (smarter) people they date. To get into much more might enter spoiler territory, but the women of “Pennyworth” are pretty well characterized on their own, outside of Alfred’s, too, even if there is a bit of a James Bond element to his lifestyle, as well as the show’s style. (The opening credits look like they’re ripped straight from Bond 20, while Alfred’s “for Queen and country” attitude compliments his 007-esque abilities.)
And here’s where we talk about how damn good “Pennyworth” looks. Considering how gorgeous Bruno Heller (executive producer and writer) and Danny Cannon (executive producer and director) made “Gotham” — even with a broadcast budget — it should come as no surprise that London has rarely looked better than it does here. The lighting, both diegetic and non-diegetic, is stunning, making the crisp imagery pop when enemies are fighting and bringing beauty to a smoky side street when a noir-ish vibe is more appropriate. The costumes are pristine, sets expansive, and locations exciting in both their look and disparity. One episode is off to the countryside while another is buried in the bowels of a city. Along with sharp scripts, these touches help each hour stand out, and build on the overall enjoyment of spending time with “Pennyworth.”
Though there are some structural issues (the premiere is nearly feature length, with wobbly beginning and ending notes) and the big-picture strife between warring political parties takes up a bit too much time, “Pennyworth” establishes an admirable long-game and introduces a number of characters you’ll grow attached to quite quickly. Bannon is a talented lead, flashing charm and strength as well as he balances immediate assuredness (for those hard-to-escape scenarios) and long-view obliviousness (toward his own path in life). The show mimics his versatility, coming across as an exciting new chapter in Bruce Wayne’s growing televised saga. “Pennyworth” sounds like a bad idea, but Batman die-hards and casual fans should both soon discover how very good it is.
Pennyworth Season 1 Gallery
I will rate this TV Series 9/10
Genre
Crime Drama
Based on
AlfredPennyworth by Bill FingerJerry Robinson
Starring
Jack Bannon Ben Aldridge Emma Paetz Hainsley Lloyd Bennett RyanFletcher Dorothy Atkinson Ian Puleston-Davies PalomaFaith JasonFlemyng
Composer(s)
David E. Russo
Komeil S. Hosseini
Country of origin
United States
Original language(s)
English
No. of seasons
1
No. of episodes
10 (list of episodes)
Production
Executive producer(s)
Bruno Heller Danny Cannon
Production company(s)
Primrose Hill Productions DC Entertainment Warner Horizon Television
Marianne is a French Netflix Web series created and directed by Samuel Bodin, written by Samuel Bodin and Quoc Dang Tran and starring Victoire Du Bois, Lucie Boujenah and Tiphaine Daviot. The plot revolves around the young novelist Emma who realizes that the characters she writes in her horror novels are also in the real world. The series was released on 13 September 2019 on Netflix.
Emma, a famous and successful French horror writer, is forced to return to her hometown because in her dreams a women haunts again after 15 years when she was child a women name Marianne comes and disturbs her. But later she realize that women which now reappearing is from her past dreams of childhood.
And after sometime she knows that whenever she writes that women comes alive in real world and murder people and her loved one or closed one. The witch that she created and that causes her sleepless nights. Sick of this Emma decides to retire from writing, but from past childhood one friend visit her . Her friend swore she would never return to her hometown. Emma need to find solution to save her friends and family before its gets too late.
Will she able to protect her family and friends and will she return to her hometown? You will find this answer in web series go and watch it now.
My Personal Thoughts
Marianne is a French horror series which will make you chills and give awesome horror experience. It plot might be simple but the action of characters and director direction and writer writing the way of story makes u enjoy this horror series. Their lots of hidden secret of past are hide by Emma past. And later shows how she opens her past to everyone. Their are lots of twist in story even story is not complicated you will understand story easily. And every genre is shown their like love little bit comedy, friendship bonds between their childhood. Work of VFX and make up artist is also done good to make real effect on it. But their are some points in series which make series down still series can be better if this points are cover. Like some points are their is not character development of any other character except Emma(main lead).
And this series makes remember of haunting hill series. Which is also quite similar to it from my side Haunting Hill. A best horror series of Netflix and I think Marianne is not to much good like Haunting Hill series. Haunting Hill series have more fantastic direction and story line.
But still I will give this series out of 10/7. It’s still watchable and not boring series .And one more thing in this their is a song about Marianne which makes interesting. I wont tell you about a song its like a chorus because You will love it when you hear it you will feel creepy and scary.
Each episode of the new Netflix horror series Marianne is 45 minutes and season 1 has 8 episodes. And also available in English dubbed version to watch.
WILL THEIR WILL BE A SECOND SEASON ?
Yes, their will be a second season because in the end lots of mystery didn’t solve. And i hope so this series will be back in next year with more good story twist and jumpscare. According to lead actress Victoire Du Bois, who plays Emma, in interview she said i will love to play next season of Marianne and she enjoyed playing character of Emma. she is more than ready to continue with new season 2 Marianne.
Created by
Samuel Bodin
Written by
Samuel BodinQuoc Dang Tran
Directed by
Samuel Bodin
Starring
Victoire Du BoisLucie BoujenahTiphaine Daviot Mireille Herbstmeyer
My Simple Explanation 
