For as long as I can remember, Tim Allen has been an American institution. First introduced on the small screen to most of us in the early ’90s via Home Improvement, then cementing his status as a comedy legend with such classics as The SantaClause and Toy Story. And Kat Dennings, blessed with both beauty and wit, has earned her own place inside many households since 2 Broke Girls in the 2010’s. Put the two of them together, and you’ve got a (mostly) winning combination.
The first season of Shifting Gears was enjoyable enough from what I remember – though I actually spent much of it watching from a hospital bed at the time, so my memories are not as clear for obvious reasons. But season two seems to have really hit its stride, focusing on everything from young love, to deeper issues centered around post-loss relationships (Newcomer to the series Jenna Elfman is undeniably likeable here as Allen’s character Matt’s new love interest).
Highlights that stick out from this latest season include a brief Home Improvement reunion of Patricia Richardson, Richard Karn, and Debbe Dunning on the season premiere, and some fairly fun seasonal episodes centering around both Halloween and Christmas. There’s even a humorous episode (simply titled “Danger”) that revolves around a nuisance raccoon that allows the young Maxwell Simkins of the recent Mighty Ducks: Game Changers to shine again as well.
Sure, some laughs may fall flat, while a few others might even feel a bit forced at times. But overall, there’s way more cringe-worthy things to behold on prime time TV these days other than Shifting Gears.
Few shows in recent memory have come along and reached the pop culture phenomenon status the way Stranger Things has (The Walking Dead comes to mind in comparison, although that turned out to be a case of not knowing when to quit while you’re still ahead for sure).
When Stranger Things first dropped on Netflix in 2016, it felt like this nostalgic little secret that the wife and I (and eventually our son) stumbled upon that was of course a fun ride, though none of us could’ve possibly ever predicated then just how huge this show created by The Duffer Brothers would become.
Fast foreword to season five, where audiences have by now seen the beloved group of friends enter the upside down and fight evil in more ways than one by now. I honestly had some doubts at the onset of the season, where many of our heroes are now looking far too old to pass as believable high school students still getting bullied the way Dustin (Gaten Matarazzo) is in the first episode.
But as things progress, the season gets steadily better. This time around, the entire town of Hawkins is under military control after the events of the fourth season, with the entire gang keeping a steady eye on both them, and the upside down while Hopper (David Harbour) prepares Eleven (Millie Bobby Brown) for her ensuing final battle. Meanwhile, there’s another “bad guy” in the form of Dr. Kay (played by an over-the-top Linda Hamilton) trying to to catch El in the middle of it all.
There’s one subplot after another, as the evil Vecna (Jamie Campbell Bower), disguising himself now as “Mr. Whatsit” to a select few of the town’s children, imprisons a group of kids lead by Holly Wheeler (Nell Fisher) – Mike (Finn Wolfhard) and Nancy’s (Natalia Dyer) younger sister – who at one point finds herself in the same world as the still-comatose Max (Sadie Sink), who shows her the way to navigate through this new world.
This all leads to one final, huge confrontation with Vecna (who we also learn some more backstory on along the way), which I’ll stop at here before giving away any potential spoilers. (Though be advised, there are certainly a few tearjerker moments.)
Aside from all those previously mentioned, many other familiar faces return here, including (among others) Lucas (Caleb McLaughlin), Steve (Joe Keery), Jonathan (Charlie Heaton), Robin (Maya Hawke), and of course Winona Ryder returns as Joyce once again, though her character feels a bit pushed to the wayside here. And of course the “coming out” of Will (Noah Schnapp) has been much-talked about, which is fine and all because it feels like a natural progression for the character, but the moment itself just feels a bit forced and awkwardly placed. Newcomer Jake Connelly also adds some much-needed comic relief as Derek.
It’s bittersweet to watch the series come to its inevitable end after all that it’s meant to so many over the years (my aforementioned kid once went as Dustin for Halloween one year at the top of its hype, and I cannot count the number of collectible items that have since been accumulated in our household). Watching the finale on the big screen with the family among a packed theater felt like the only way to say goodbye to this show that has meant so much to so many, truly felt like the only way to do so.
The show that once filled countless minds with so much wonder and had us all united in longing for a bygone era known as the 1980’s, is now a part of the history books itself. And what a ride it has been.
While I did watch the inaugural season of Wednesday with the fam when it first dropped on Netflix back in 2022, to be honest I found it somewhat…forgettable. But the three year gap in between seasons proved to be helpful here, as the writers truly hit the mark this time around.
At the onset of season two we once again find our titular character (portrayed once more by Jenna Oretga) returning to Nevermore, this time with a bit of “celebrity” status behind her, as well as younger brother Pugsley (Isaac Ordonez) now in tow. It’s immediately clear there’s trouble in paradise, as Wednesday has a stalker hell-bent on inflicting some damage.
As if this were not enough, Wednesday must now juggle an evil new headmaster (Steve Buscemi), zombies (Owen Painter), dangerous escapees that also transform into Hydes (Hunter Doohan), and the safety in question of her roomate, Endid (Emma Myers). Other series regulars such as Luis Guzman as Gomez Addams and Catherine Zeta-Jones – who by far wins the gold medal as sexist Morticia Addams thus far – also return.
Aimed mostly at teens/young audiences (think Riverdale meets Harry Potter), the formula works enough to hold the attention of nearly any and all age groups that are willing to give it the time of day. Not perfect, but a fun ride nonetheless.
In the beginning, Ridley Scott’s Alien (1979) redefined the horror/sci-fi sub-genre. The script by Dan O’Bannon and Ronald Shusett borrowed elements from nearly every space alien film before it, while modernizing the genre with visceral, atmospheric horror.
The legendary Xenomorph design by Swiss artist H.R. Giger has become one of the most recognizable movie monsters of all time. Of course, Alien also introduced face-huggers and chest-bursters, creating an interesting dilemma for a deadly species reliant on host bodies to reproduce.
Alien gave us one of science fiction’s greatest characters, Lt. Ellen Ripley (Sigourney Weaver), who only wishes to eradicate the Xenomorphs from existence. Ripley represents humanity in an inhumane world, where an omnipresent, faceless company (Weyland-Yutani Corp) wants the alien species at all costs.
In 1986, writer/director James Cameron delivered one of the greatest sequels ever made with Aliens. The film’s strong focus on action distinguished it from its predecessor, broadening the story’s scope with thrilling and memorable scenes throughout.
Though visually impressive, Alien 3 (1992) began the steady downward trend that continued with Alien Resurrection (1997), Alien: Covenant (2017), and the ridiculous Alien vs. Predator films.
I’m no fan of Prometheus (2012), and I moderately enjoyed the much praised but forgettable Alien: Romulus (2024). Ultimately, my interest in the series barely extends beyond Alien 3. So, color me skeptical when Disney and FX announced a TV series set two years before the events of Ripley’s first encounter, called Alien: Earth.
How does the show measure up? Seven episodes in, I can confidently declare its ranking as one of the best TV events in years.
The concept of Xenomorphs on planet Earth dates to the production of Alien 3. The idea was floated until they ultimately ended up with Ripley crash-landing on a prison planet. All the preceding films were unable to expand on this idea until now.
Alien: Earth is an eight-part series featuring a large cast and a complex, multilayered plot. Its grand scope and high production values result in the cinematic quality of HBO’s Game of Thrones or other big-budget shows. The special effects (from Wētā Workshop), set design, performances, and music are all top-notch. What the show accomplishes most effectively is capturing the primal horror of the original Alien while blending it with the thrilling action of the sequel.
This is thanks in part to series creator Noah Hawley, who clearly understands the style, motifs, and terror of the Alien universe while enriching the source material. Hawley also created the equally impressive FX series Fargo, based on the Coen brothers’ classic film. Alien: Earth has a lot to say, and its dizzying plotlines may overwhelm some viewers. But for those attuned to it, the experience is as gripping as anything in recent memory.
The story is set in 2120, where five companies control the world and lead commercial exhibitions throughout the Solar System. Mankind’s endless search for immortality has led to the creation of Cyborgs (cybernetically enhanced humans), Synthetics (AI beings), and relatively new Hybrids (Synthetics with human consciousness). Hybrids are the secret creation of the Prodigy Corporation, where they essentially implant the mind of a human (in this case, terminally ill children) into an artificial being.
Prodigy also happens to be a competitor of the Weyland-Yutani Corp, which sponsored a 65-year space expedition to obtain otherworldly specimens (most likely for biological warfare). As the USCSS Maginotnears the end of its mission, collecting several extraterrestrial specimens, disaster strikes, and the vessel crash-lands on Earth, directly into Prodigy territory. Prodigy lay claim to the ship and all its cargo, leading to further conflict with Weyland-Yutani.
We’re given glimpses into the disastrous Maginotmission, its slaughtered crew, and a fully-grown Xenomorph wreaking havoc. The show wastes no time in delivering the carnage, but it also slows the pace to introduce multiple characters with differing motivations.
Cast standouts include Wendy (Sydney Chandler), the first hybrid, and Kumi Morrow (Babou Ceesay), the cyborg chief security officer and sole survivor of the Maginot.
There’s also Kirsh (Timothy Olyphant), Prodigy’s synthetic chief scientist, Boy Cavalier (Samuel Blenkin), the childlike Prodigy CEO tech trillionaire, and indentured medic Hermit (Alex Lawther), who also happens to be Wendy’s human brother (before she became a hybrid). Overall, top-rate acting is palpable across the entire cast.
The first four episodes center around the aftermath of the Maginot crash, resulting in a loose Xenomorph amidst caverns of biological horrors throughout the ship. The hybrids are enlisted to contain the cargo as Murrow is singularly focused on delivering the same cargo to its rightful owners.
Episode five, titled “In Space, No One…” is a stand-alone flashback to the events that led to the ill-fated Maginot’s crash. In writing and directing the episode, Hawley said it was to be his own Alien movie, which it aptly feels like. With one episode now left, we can only imagine where things will go.
Naturally, Alien: Earth has received widespread critical attention, earning praise as well as criticism of its writing, characters, and heavy focus on AI.
At its best moments, it’s thrilling and intense. At its weakest, it’s a bit talky. There’s real magic at work here. After what Disney and 20th Century Fox did to the Predator franchise, turning the deadly killer into inept fodder for unlikely plot-armored characters, I’m pleasantly surprised and relieved Alien: Earth hasn’t suffered the same fate.
The show pays tribute to the original and its legacy of fans without spoon-feeding them. It stands out as a testament of science fiction horror, where we Alien fans feel right at home.
The first season of the Disney Plus Goosebumps revival in 2023 brought the franchise into more “grown-up” territory similar to Stranger Things or the other R.L. Stine-related vehicle, Fear Street, though has already become a bit of a distant memory.
This second season, aptly titled The Vanishing, finds its groove with a bit more ease than the ladder, with David Schwimmer taking the lead as a Professor/father who stumbles upon some creepy underground government cover-up that first took his older brother when they were still just teens.
With the story bouncing back and forth between the ’90s and present day, there’s plenty of references to the original series (with episodes like “Stay Out of the Basement” and “Welcome to Camp Nightmare” again taking their titles from the original book series), and just enough nostalgia for us big kids (but without over-doing it). Far from perfect, but watchable enough family entertainment nonetheless.
The tagline for the final season of Roseanne spinoff The Conners makes the claim “A working class act from start to finish,” but I can’t honestly recall a more recent or larger travesty in American television history than what has become of this show.
When Roseanne was first rebooted on ABC in 2018 with the majority of its main original cast intact, it had potential. Then one careless (and admittedly dumb) tweet from Roseanne Barr seemingly put an end to it all. At least it should have ended there, but unfortunately the network decided to kill off its main character and re-tool the series as The Conners (effectively becoming one of the worst possible decisions imaginable).
Since that first season, I only seldomly tuned in here and there out of sheer curiosity, and every time I did I regretted it almost instantly. While the original Roseanne show was an honest portrayal of the American family at that moment in time, what evolved to become The Conners quickly turned into an embarrassment, with the remaining cast (obviously lacking much integrity here in the first place) unable to add much to what was left of the proceedings other than negativity (even Michael Fishman, who played DJ, was apparently written off the show after just the first four seasons).
I was determined to watch all six episodes of this “farewell” season though, which at times ranged from slightly entertaining, to levels of near torture.
John Goodman as Dan Conner was once one of those TV Dad greats most kids looked up to and respected, and Sara Gilbert as the cynical, wise-cracking Darlene was reminiscent of your best friend’s cool older sister you didn’t want to admit having a small crush on (that moment has long since passed too though). Only Lecy Goranson as Becky and Laurie Metcalf as Jackie added any sort of “comic” relief that I could see, the rest seemed content at just wallowing in their own misery for the sake of it.
Most of this final season centered around Roseanne’s passing and the final outcome of the trial surrounding her death, with the final episode accumulating with the family (what was left of it, anyway) gathering at her grave in yet another failed celebration that’s almost touching at times if not for the sheer arrogance of it all. The cast and crew of The Conners might actually believe that they bowed out graciously, but make no mistake – that would have required them doing so a long time ago.
After a lackluster season or two (especially the forgettably generic Season IV), the writers of CobraKai were thankfully able to return the show to form just in time for its sixth and final season.
Unlike previous seasons, this one was broken into three, five-episode parts that actually started as far back as last July, and finally culminated this past February 13. Once again the usual faces – including cast from the original Karate Kid film series Daniel (Ralph Macchio), Johnny (William Zabka), Kreese (Martin Kove), Chozen (Yuji Okumoto), and Silver (Thomas Ian Griffith) – are all back on board for another round.
At the offset we find the next generation of fighters, lead once again by Miguel (Xolo Mariduena), Robby (Tanner Buchanan) and Samantha (Mary Mouser), headed to Barcelona to take part in a premiere international tournament known as the Sekai Taikai. Along the way there’s plenty of subplots involving individual journeys and self-growth, including one that finds Daniel digging deep into the past of his late mentor Mr. Miyagi (originally played by Pat Morita, who makes an appearance by the end of the season via some questionable CGI).
By the time we make it to the final episode, the nostalgia is on point (complete with a full montage featuring Joe Esposito’s “You’re the Best” from the 1984 original), leaving fans primed for the upcoming Karate Kid: Legends film no doubt.
When Netflix originally announced a new Terminator anime series to drop on August 29, I initially did not make the connection that it landed on “Judgement Day” (the day the machines become self-aware within the now four-decade long franchise’s lore). I knew right then and there I needed to speed watch the new series immediately.
Although not much of an anime fan, I have been known to dabble occasionally (most recently with the likes of Aggretsuko), and it’s a safe bet I’ll give just about anything with the Terminator label on it a try (for better or worse as of late). In this case, I’m glad I took the chance on it.
The plot is not too far of a stretch from previous films and television shows already made in the series, although this time instead of focusing on John or Sarah Conner, the primary prey for the time-traveling Terminator (Timothy Olyphant) is a scientist named Malcolm Lee (Andre Holland), whose competitive research to Skynet quickly finds him targeted by the deadly assassin from the future.
Along with Olyphant and Holland, the talented voice cast is also rounded out by Rosario Dawson and Sonoya Mizuno (among others). All in all its worth a watch for just about anyone who grew up quoting Arnold’s famous “I’ll be back” and “Hasta la vista, baby” lines.
Not since Andrew Lincoln departed the original Walking Dead series after its ninth season have I seen a show (and entire franchise) take such a steep downhill dive and overall decline in quality. But after disappointing conclusions and over-saturating the material with far too many spin-offs (all with varying results), the character of Rick Grimes (Lincoln) is resurrected and finally given his just due.
In the fist episode we learn that Rick, presumed dead after a helicopter crash in said original series, is alive and well (?) and part of the CRM, a military operation on the outskirts of Philadelphia focused on rebuilding society at a hefty cost. Rick is anything but free though as several attempts to escape back to his old life have proved unsuccessful.
Meanwhile Michonne (Danai Gurira) has been searching for her long lost love (Rick) and is shocked to find how submissive he has become once finally reunited. Meanwhile Jadis (Pollyanna McIntosh), another leftover “bad guy” from the original show, holds their secret over their heads and threatens harm upon their family.
The initial reunion between the two characters, and – without giving too much of it away – the conclusion of the final episode are both some of the most gratifying moments of the show, albeit a tad on the cliche and predictable side. Nonetheless, the ending here is far closer to what fans of the very first show since 2010 had deserved over what was actually dished out on that series finale.
Like many of us who grew up watching much of the original run of Night Court from 1984-1992, I too was initially excited to hear the beloved classic show based in a New York City court house would be coming back for a reboot in 2023. But like the majority of media that’s resurrected in today’s world, I was also skeptical knowing that often times the original source material is far better left alone (Fuller House is first to come to mind). I only caught sporadic episodes of the first season of said “reboot” here though, but made a conscience effort to make it through the entirety of season two, for better or worse.
Dan Larroquette is the only cast member to return from the original series (it’s a shame the late Richard Moll was unable to appear as Bull Shannon at least once prior to his passing in 2023), and has unfortunately lost much of his “edge” in this tamed-down version of the character. Melissa Rauch is cast in the lead role as Abby, the daughter of the late Judge Harry Stone (Harry Anderson), and at times works when she’s not being too overly “Hey, look at me and the funny thing I just did!”
This particular season tackled everything from granting children’s Christmas wishes to comic cons, each with varying results. One standout episode titled “The Roz Affair” finds former cast member Marsha Warfield returning as Roz Doyle, leading to a fairly welcomed reunion between her and Larroquette (Lacretta does an admirable job as current bailiff Donna “Gurgs” Gurganous in her place). Warfield later returns for the final episode of the season centering around her wedding, yet another highlight.
Another episode titled “Wheelers of Fortune” finds Brent Spiner and Annie O’Donnell returning as the whacky Bob and June Wheeler, and add some humorous moments of their own. But then there’s also episodes like “The Dukes a Hazard,” so forced and unfunny I felt embarrassed for all those involved (even gust star Dave Foley, whose work on The Kids in the Hall and elsewhere I’ve often enjoyed over the years).
I can’t say I would give this latest version of Night Court a high recommendation per se, but there are way worse sitcoms out there these days in comparison. Give it at least a casual try if you were ever a fan of the original show and judge for yourself.
