This science-fiction series on Apple-TV is something that I find refreshing and a new take for shows that are post-apocalyptic. The overall theme of what would humanity be like after a world-ending or world-changing event is something that I think has been done probably too many times so the fact that they were able to come up with something really original has left me mostly impressed.

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Spoilers Ahead!!!

one of the first things that drew me to this show was that it has the same creator as Breaking Bad which is a show I consider to be top-5 of all time. Also, the lead actress Rhea Seehorn did an absolutely outstanding job in Better Call Saul so I felt as though she wouldn't disappoint, and she doesn't.

There is potential for mild spoilers in this write-up so if you want to go in fresh, just know that I heartily recommend this show to anyone, not just sci-fi fans. It is one of the better series that I have seen in recent years and if they carry on making it like they have been so far, that "recent years" will change to "all time."

Once again, Spoilers Ahead!!

Things start out a big vague in episode one as we are shown a bunch of different sets of people that are all working in different fields such as research and stargazing in a SETI (search for intelligent life) sense. They are all going nuts because they have discovered a signal that is coming from 600 light years away that appears to be intelligent. Unfortunately for these people doing the discovery, the signal isn't as innocent as they had hoped.

In a research lab that is replicating the signal in the form of an injection RNA sequence to rats, one of the scientists ends up getting infected and starts to convulse. A bit later she comes back to consciousness and then kisses the person who was with her when she started to convulse and then he goes through the same process of first convulsing, then coming back in a sort of robotic sense. No words are spoken, nobody is injured, but these zombie-like people are just spreading their infestation to everyone by saliva.

It's strange, weird, and kind of confusing, but it all starts to make sense later when we are introduced to exactly what this infestation is. It isn't an alien invasion per se, but it also kind of is. The zombie-like people only remain that way for a short while, but during their conversion they can sometimes fall and hurt themselves or others and in the case of people operating vehicles such as airplanes, the results can be quite disastrous. We only see snippets of this.

Basically the entirety of the world is taken over in a very short amount of time by this infestation and the new inhabitants of the bodies are not really the individual that they were before, but it doesn't really matter because out of the entire planet only 13 people were not infected. Our main character, Carol Sturka (played by Seehorn) is one of them.

At first we are not made aware if the infested are dangerous or not but we soon realize that they are reaching out to Carol and trying to help her, as they say they will "move heaven and earth to make her happy." All of the infested share a hive-mind and everyone knows everything that the other know including their most intimate thoughts and secrets. The infested claim to be happy and are working around the clock to figure out why it is that Carol isn't one of them and they want to change that.

Carol, being one of the only people on the earth that is not one of them, has a different perspective on this though and doesn't see their "glee" as a good thing and doesnt' want to be converted even though every single infested that she encounters doesn't appear to be a prisoner against their will at all.

Not only do they not appear to be unhappy or enslaved, they are completely incapable of processing anger so when Carol has a freak-out session (which she does frequently) they go into "blue screen" mode and when this happens to one of them, it happens to all of them. This might seem like a great way for Carol to get what she wants but the thing is, and you will discover this very early on, the infested only want to do whatever it takes to make Carol happy - or any of the other 12 people on the planet who were immune to the takeover.

Carol can have literally anything that she wants that they can possibly bring to her, even if the things they bring her are to her own detriment which you will see in episode 3, can be very dangerous.

Should I watch it?

As I mentioned near the start of this write-up, this is one of the most imaginative series I have seen in many years and I am thoroughly enjoying it. one of the only things I don't like is how Carol regularly freaks out even though it is determined very early on that this is an extremely dangerous thing for her to do. This isn't Rhea Seehorn's fault, she is just doing the lines and script that was handed to her... I just think they return her to an enraged state much more frequently than they should seeing as how Carol doesn't really have to remember very many things and I think that this one thing would be something that she would definitely remember.

You'll see what I am talking about when you watch it as it is a bit frustrating to see this happen over and over again.

Even with that going on though, there is so much about this show that is extremely entertaining and original and that is something that we just don't see very often in movies or series these days.

The only thing I am disappointed about now is that I was unaware that this series is being released one-episode-a-week and if I had known that I would have waited until more of them are out before I started on it. The remaining episodes of season 1 will be released once per week until the end of 2025. At the moment, only 3 episodes are available and only on Apple TV+

Highly recommended for everyone

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Nostalgists lament many things no longer found in cinemas today, yet few will admit that exploitation films are among them. Cheap low-budget productions that once dominated global cinema repertoires often compensated for their creators’ lack of budget, inspiration, or enthusiasm by readily catering to the basest public appetites—typically through explicit depictions of sex and violence, including content of an undeniably sadistic nature. Today, such films can only sneak into cinemas if they disguise themselves as the antithesis of exploitation films, most commonly as pseudo-politically engaged art dramas. A prime example of such successful camouflage is Brimstone, a Western by Dutch filmmaker Martin Koolhoven, which premiered at the 2016 Venice Film Festival.

The word in the title is commonly used as part of the phrase 'fire and brimstone,' describing hellfire or serving as a metaphor for Hell. For the film’s protagonist, a young woman named Liz (Dakota Fanning), the entire narrative largely amounts to little more than enduring Hell itself. At first, things seem relatively promising, as we meet her as the wife of a significantly older but well-meaning and relatively prosperous farmer in a mountainous settlement in the Wild West. Despite being practically mute, Liz has won the locals’ affection as a skilled midwife. However, matters change when she attends church with her family one day and encounters a new preacher (Guy Pearce), whom she clearly recognises and who fills her with terror. It becomes clear that things will go awry when the preacher strokes a pregnant woman, triggering a premature birth with unimaginably horrific consequences—not only for the woman but also for Liz’s mental health and standing within the community. Yet this is merely the beginning of Liz’s unimaginably gruelling trials, as she and her family become the preacher’s obsession—a man whose malevolent intentions and ability to enact them Liz had long tried to forget from a past she spent years suppressing.

Brimstone is occasionally cited as one of Dutch cinema’s most successful recent achievements, though this accolade is rather dubious, as its festival premiere immediately polarised critics into two extreme camps—those hailing it as an undisputed masterpiece and those branding it one of the worst pieces of celluloid manure. As with many such cases, both sides have valid arguments. Supporters can point to Koolhoven’s directorial skill and outstanding performances, particularly Pearce’s, who clearly relishes portraying arguably the most unsettling character of his career. Meanwhile, the proverbially talented Dakota Fanning excels in a complex role requiring her to remain almost entirely silent throughout. Cinephiles will appreciate the numerous nods to spaghetti western classics such as Leone’s Once Upon a Time in the West and Corbucci’s The Great Silence. Koolhoven has also won over snob-oriented critics primarily through its non-linear structure—comprising four chapters, the first three of which unfold in reverse, akin to Nolan’s Memento—allowing viewers to gradually uncover increasingly harrowing and unpleasant details of Liz’s past. Perhaps most crucial for Koolhoven, however, is that the film is marketed as feminist—portraying women as near-exclusive victims of unspeakable degradation, torture, murder, and sexual humiliation, while men are depicted either as abusive scum or ineffectual bumbling fools, forcing Liz to resolve her own predicaments single-handedly.

Those who disliked the film often cite its deeply disturbing content, featuring scenes that would turn even the stomachs of hardened viewers, alongside a disturbing inventiveness in depicting methods of killing, torturing, and maiming. From start to finish, Brimstone, with the exception of a few brothel scenes, maintains an exceptionally dark and serious tone. However, Brimstone’s chief flaw is not that Koolhoven has lost restraint, but that he has lost rhythm and inspiration, rendering certain segments overly protracted. A case in point is the subplot featuring Kit Harington as a young outlaw, laced with black humour that momentarily lightens the mood. Despite his prominent placement on the official poster, the actor appears far more briefly than Game of Thrones fans of Jon Snow might expect. The greatest disappointment, however, lies in the finale, which shifts from a dark yet somewhat plausible narrative into an almost self-parodic 'slasher film,' transforming Liz into a caricatural embodiment of the 'Final Girl' trope characteristic of such endings.

The epilogue, foreshadowed in the prologue, adds further disappointment, including a final enigmatic shot hinting at a sequel in the vein of Friday the 13th. Such a follow-up seems unlikely, though most viewers who endure this film will likely be grateful for its absence.

RATING: 4/10 (++)

(Note: The text in the original Croatian version is available here.)

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Dawg Days (S01E04)

Airdate: April 2nd 2002

Written by: Kevin Arkadie Directed by: Stephen Gyllenhaal

Running Time: 45 minutes

The visceral intensity of The Shield was never conjured from pure fiction; its DNA was forged in the sordid reality of the LAPD's Rampart scandal. This infamous episode, where members of the elite CRASH unit moonlighted as security for prominent Los Angeles rap figures, inherently entangled them with the Bloods gang and the increasingly lethal violence permeating the city's music scene. Shawn Ryan, the series' creator, drew direct inspiration from this toxic intersection of law enforcement, celebrity, and gang culture. Dawg Days, the fourth episode of the inaugural season, plunges headfirst into this very milieu, utilising the Rampart blueprint to craft a narrative where the Strike Team's blurred lines of duty and criminality collide catastrophically with the rap world's brutal power struggles.

The episode explodes into action at a raucous album release party for Kern Little (a compellingly authentic turn by real-life rapper Sticky Fingaz), an aspiring star and close associate of Vic Mackey's criminal partner, Rondell Robinson. Officers Danny Sofer and Lemansky, moonlighting as security, find themselves amidst escalating tensions. Kern's rival, the volatile drug dealer and would-be rapper T-Bonz (Dex Elliot Sanders), crashes the event, nursing grievances over money and Kern's girlfriend, Tyesha (Chene Lawson). Verbal sparring rapidly degenerates into gunfire, leaving two dead and multiple injured. Crucially, Rondell Robinson is present during the chaos, witnessed by Danny. While Vic, ever the manipulator, guarantees Rondell he can make the weapons charges (and potentially worse) disappear, Rondell fatally misjudges the boundaries of their arrangement by sending thugs to threaten Danny. Vic’s ensuing fury is palpable and absolute; in his worldview, cops are untouchable sovereigns, and Rondell’s transgression demands immediate, brutal retribution. The Strike Team’s response – the systematic vandalism of Rondell’s home – is a chilling demonstration of their self-appointed authority and the swift, extrajudicial punishment meted out to those who dare challenge their perceived immunity.

Yet, the nightclub massacre proves merely the spark for a far more devastating conflagration. The Kern-T-Bonz feud spills onto the streets, escalating into a bloody drug war with innocent bystanders caught in the crossfire. The killing of a young boy, someone connected to the mayor’s circle, delivers a stark wake-up call: not only is Vic personally unsettled by the collateral damage, but Assistant Chief Gilroy explicitly warns that higher-ups can no longer shield the Strike Team from scrutiny. Faced with this pressure and a genuine, if self-serving, desire to quell the violence threatening his own position, Vic attempts mediation, forcing Kern and T-Bonz into a fragile truce. However, T-Bonz’s vicious act of poisoning Tyesha’s cat shatters the peace. Kern, now consumed by vengeance, demands Vic eliminate T-Bonz – but with the chilling stipulation that he must witness the execution. Vic, operating within his own warped moral calculus, delivers a solution far more brutal than mere assassination. He confines both men to a shipping container overnight, decreeing they must either broker peace or kill each other. Come morning, only Kern emerges, the implication of his survival – and Vic’s tacit approval of the outcome – a stark testament to the episode’s central thesis: in this world, "justice" is often indistinguishable from savage, self-determined retribution.

Concurrently, Captain Aceveda navigates the treacherous waters of political ambition. Attending a function hosted by Jorge Machado (Efrain Figueroa), a powerful figure in the city's Hispanic community, Aceveda is solicited for a favour concerning Machado’s nanny, Ellie Ruiz (Linda Medina), whose husband Manuel has vanished. Dutch and Claudette’s investigation leads them to Eduardo Salcido (Christopher Perez), Manuel’s undocumented friend who crossed the border with him. They uncover that Manuel died accidentally at a construction site, but Jamison (Marc McLure), the site foreman, concealed the death to avoid immigration complications, burying the body and convincing Eduardo it was murder. While Jamison faces obstruction charges and Ellie learns of potential civil damages, Machado subtly dangles future political support for Aceveda – support contingent on the Captain making his name by exposing LAPD corruption. This subplot masterfully layers Aceveda’s motivations, revealing his crusade against Vic is not purely principled but intricately tied to his own political ascent, adding significant complexity to his character and critiquing the pervasive intertwining of law enforcement and political opportunism within the city’s changing demographic landscape.

Supporting narratives further enrich the episode’s tapestry. Julien’s compassionate handling of elderly Dottie Cummings (Marlene Warfield), whose son’s body was stolen from a grave for ransom, provides a rare moment of procedural decency while adding some black humour. Simultaneously, Vic confronts the unsettling reality of his mentally unstable son, Matthew, posing a potential threat to his younger sister, a deeply personal crisis that momentarily punctures his usual bravado. Notably, Dawg Days is one of only three episodes in the entire series devoid of Shane Vendrell, a consequence of Walton Goggins’ delayed contract finalisation, subtly altering the Strike Team’s dynamic without diminishing the episode’s impact.

Directed by Stephen Gyllenhaal (father of actors Jake and Maggie), the episode was affected by significant behind-the-scenes tension. Gyllenhaal reportedly favoured a less sympathetic portrayal of Vic, a vision firmly overruled by Michael Chiklis. Chiklis’ perspective ultimately prevailed, shaping the scene’s uncompromising tone. Despite this creative friction, Gyllenhaal’s direction is taut and effective, particularly in the visceral nightclub shootout and the oppressive claustrophobia of the container. The final shot – Kern and Vic silently watching the sunrise, bound by the unspeakable act they have just facilitated – stands as one of Season One’s most haunting and memorable images, radiating a chilling, wordless understanding born of shared violence.

Kevin Arkadie’s script is largely exceptional, driving the narrative with relentless momentum. While the escalation of the drug war occasionally veers towards the operatically spectacular, flirting with gangsta rap clichés, it is counterbalanced by sharp socio-economic observations. The Aceveda/Machado subplot offers nuanced commentary on the precarious position of undocumented immigrants and the evolving political influence of Los Angeles’s Hispanic community. Crucially, it deepens Aceveda, transforming him from a simple antagonist into a figure whose motives are admirably complex yet morally compromised by ambition. Dawg Days works not merely as a gripping crime drama, but as a potent, unflinching dissection of the corrupting symbiosis between power, street violence, and political aspiration, proving that in Vic Mackey’s world, the line between cop and criminal isn’t just blurred – it’s often deliberately erased with brutal, finality.

RATING: 7/10 (+++)

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Avengers: Infinity War

The Avengers and their superhero allies must be ready to risk everything to stop the almighty Thanos before his wave of destruction brings an end to the entire universe.

Released in 2018, it served as the first of the two-part storyline centered on Thanos, the most menacing villain in the MCU.

Countless characters try to claim their moment and shine, and the Russo brothers at the helm deliver strong directing work.

Infinity War revolves around the possibility of contemplating the unthinkable: annihilation, extinction, the end of the immortal Avengers.

It features plenty of large-scale action scenes, packed with effects, enjoyable character interactions with some genuinely funny moments. The Scarlet Witch–Vision romance lacked the emotional weight it needed, the nonstop cinephile references from Spider-Man are a delight, the Thanos battle against the Guardians, Dr Strange, Spider-Man and the rest is visually striking, as is Thor’s entrance in the final fight and the film’s opening sequence.

Josh Brolin as Thanos is outstanding, giving real depth to the CGI character he brings to life through motion capture, along with the threatening presence required for this type of story.

The entire runtime follows a single narrative that stretches across different locations and emotional beats. Still, for the most part, the film doesn’t stray far from the usual Marvel formula. Impressive battles and effects, some humor, and a degree of creative restraint.

The finale, shocking at first with its outcome, is of course left unresolved since the story continued the following year with Endgame.

Avengers: Endgame

After their defeat by Thanos and the disappearance of half the living beings in the universe, the Avengers pick up the pieces and try to plan their retaliation. The mother of all comic-book battles begins with a narrative surprise, continues with time-travel, and reaches its peak with a series of emotional farewells.

Released in 2019, it marked the end of a major era for the MCU with a three-hour spectacle that, in my view, left very few people unmoved. Its box office performance, which climbed close to 3 billion, speaks for itself.

It is an entertaining, grand film where every hero returns, everyone gets their moment and shines, some less and some more. Whatever flaws it has are easy to overlook because the spectacle satisfies and the experience is fun, even though there are some coherence issues.

In the final battle I would have preferred a longer sequence rather than spending so much time on how the team arrives at that point. The deaths are portrayed with genuine emotion and the ending offers a gentle epilogue. Despite its long runtime, it never bored me. It carries the fan service that many viewers hoped for, the finale is predictable but it does not hurt the film, and there are some narrative conveniences that simply help move the story along.

Australia owes much of the vitality of its cinema to its specific geographical and climatic conditions, which have made its exotic landscapes ideal backdrops for Westerns and post-apocalyptic films. Part of this exotic appeal was also embodied by its Indigenous people, the Aboriginal Australians, whose fate following the arrival of white settlers was in many ways similar—and could even be said to be far worse—than that of American Indians. Unlike Hollywood, which has featured Native Americans in its Westerns from the very beginning, Australian cinema has largely ignored them. Even rarer were films that seriously sought to address the economic and other challenges faced by Aboriginal people, marginalised within Australian society and forced to live in ghettos ruled by poverty, alcohol, drugs, and crime. One of the few productions attempting to address this is Mystery Road, a crime film that portrays Aboriginal people from an exceptionally authentic perspective, given that its writer, director, and creator, Ivan Sen, is himself of partial Aboriginal heritage.

The lead actor, Aaron Pedersen, who is also of Aboriginal descent, portrays the character Jay Swan, a police detective returning to his hometown in rural Australia after a long absence. The plot begins with the discovery of an Aboriginal teenager’s body, and Swan, who knew the victim personally, takes charge of the investigation. It quickly becomes apparent that his task will be far from easy, partly because he himself faces racist prejudices from the white population, while his own community greets him with distrust, viewing him as a traitor. A far more serious issue is that his superiors and colleagues display a clear lack of enthusiasm for the investigation, preferring instead to cover it up—especially as the evidence begins to point towards connections with the case of a murdered police officer, as well as a drug trade in which officer Johnno (Hugo Weaving) may even be implicated. What weighs most heavily on Swan, however, is that the murdered girl was a close friend of his own daughter Crystal, with whom, along with his ex-wife and her mother Mary (Tasma Walton), he has long been estranged.

Sen has crafted his film in a style that, at first glance, seems more suited to an art-house drama than a conventional thriller. The narrative unfolds at an exceptionally slow pace, but Sen attempts to compensate by employing striking landscapes of the Australian Outback, which, largely thanks to Sen’s own cinematography, create a palpable atmosphere and serve as a kind of alternative character within the film. Sen skilfully plays with Western iconography, including the protagonist, who wears a white cowboy hat and carries a revolver at his belt for almost the entire film. Pedersen delivers an exceptional performance, making the character convincing both in scenes where, like a classic Western protagonist, he confronts local racist thugs, and in those depicting his vulnerability, such as during encounters with his estranged family. Pedersen’s performance is significantly supported by his fellow cast members, particularly Weaving in the role of his colleague, about whom it remains unclear until the very end whether Jay intends to eliminate him or, out of genuine friendship, advise him not to interfere with the local drug dealers. The film’s strongest section comes at the very end, where Sen and his team reward the audience’s patience with an exceptionally realistic yet thrilling final confrontation worthy of Western genre classics. Although Sen prioritises atmosphere and character over plot in his film, allowing certain details to remain unexplained or overly ambiguous for a single viewing, Mystery Road remains an exceptionally high-quality genre production, notably superior to the stylistically and thematically similar American film Wind River. Perhaps unsurprisingly, this Australian film, unlike Wind River, has been followed by a sequel in the form of the film Goldstone and a television mini-series of the same name.

RATING: 8/10 (+++)

(Note: The text in the original Croatian version is available here.)

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• IMDB: https://www.imdb.com/title/tt6763664/
• Platform: NETFLIX

Source Steven Crain is this paranormal investigator and writer but hes also a huge skeptic witch is funny because he grew up in a haunted house although he doesnt believe or choose not to believe in any of what people experience because thats how he be coping with what has been chasing them all this hears. Shirley is the funeral home owner and she is basically the mom of the family specially after they abandon Hill House and left their mom behind, she is constantly taking care of everyone else problems and worrying about Luke and Nell too the point where its destroying her own life and marriage. Theo is the middle child and shes got this ability where she can feel emotions from people and objects when she touches them so she wear gloves all the time to avoid feeling others people, she helps kids but she cant help herself because shes so disconnected from everyone. Luke is the drug addict twin whos been in and out of rehab like a million times and nobody believes him anymore, truth is that nobody believe him as a kid and was a very very dark story and probably top two but now that I think about it the twins story were the worst thats Nell and Luke, as a kid mom and dad never believe him not about the ghosts he sees or the tall man with the floating hat or his friend that came out during the day who in fact was an actual girl, and Nell is his twin sister whos depressed and seeing this bent neck lady ghost that scared the shit out of her as a kid and is still following her around as an adult but never saw her face. Timothy Hutton plays the dad Hugh as an adult and Henry Thomas plays young Hugh in the flashbacks, both of them are so good you can see how much he cares about his kids while also being overwhelmed by what is happening in that house and not knowing what too do about it. The mom Olivia is played by Carla Gugino and shes amazing, you watch her slowly lose her mind over the episodes and its heartbreaking because shes trying so hard too protect her kids but the house is getting too her and messing with her head. The kid actors are surprisingly good too witch is rare because usually kid actors in horror stuff are annoying as hell, but these ones actually made me care about what was happening too them specially the young Nell and young Luke.

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Source The structure of the show is really smart where each episode focuses on one of the five kids and shows you there perspective on what happened at Hill House and what there dealing with now as adults. Episode five is Nells episode and its called The Bent Neck Lady, and holy shit that reveal at the end completely destroyed me emotionally I wont spoil it but its one of the best twists I have seen in any show period like it made me sit there staring at the screen for like five minutes just processing what I just watched, what a way to TERRORIZE a human as a kid and all the way up through adulthood, thats some sick shit in the head. Episode six is when all the siblings come together at Shirleys house for Nells funeral and its called Two Storms, its this one long take that goes back and forth between the present and the past during a storm, the technical stuff is insane and the acting is incredible because everyones just yelling at each other and all the family drama comes pouring out to the point that not even dead Nell can take it and her casket falls to the side. The ghosts in this show are actually scary not like cheap jumpscare scary but like disturbing scary in a way that sticks. Theres this tall floating man with a bowler hat that follows Luke around and hes creepy as hell, not that much at the house but you can feel Luke been paranoic about it, theres the bent neck lady that haunts Nell, theres hidden ghosts in the background of scenes that you dont even notice until someone points them out too and then you go back and watch it again and your like holy shit how did I miss that, but the scariest thing about the show isnt the ghosts its the family stuff and how real it feels, like if you have ever had someone die suddenly in your family this show is gonna hit you hard because it captures that weird fog you walk around in for weeks after where nothing feels real, this happen TWICE in the show. The way the siblings all deal with there grief differently and how they blame each other and there dad for what happened but it was never his fault, its so well written and acted that sometimes I forgot I was watching a horror show and just got hooked in there drama. Mike Flanagan really understands trauma and how it effects people and how it can tear families apart over time, hes also really good at making you care about characters before he scares the crap out of you witch is something most horror directors dont get right. The red room reveal is great though like finding out that all these different rooms the kids remembered were actually the same room the hole time, that was a cool twist I did not see coming.

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Source The ending though man the ending is where things get messy and I know other like have different things too say about it and argue about it online because I think the ending was very emotional but there could have been a more drastic fight against this danm house, like how Hugh was never able to neither open the Red Room or find where all the fungus was coming from but ALL his kids spend time inside the damn room. Without spoiling too much the last episode kind of goes against everything the show was building too for nine episodes, it feels way too happy for a show that was so dark and depressing and relentless with its sadness for so long. Some people think everyone actually died at the end and the happy ending is just the red room tricking them one last time witch would make sense with how the house works, would have been cool if the series had gave me some classic context on why this all happen, most like it was that crazy lady form the 60s who started all but who knows, the sure thing is that all her family was staying there stuck. The tone of that final episode is so different from everything else that it almost feels like a different show, its like Flanagan didnt have faith in his own dark ending and tried too give everyone a happy resolution witch just feels wrong for a story this tragic. I wanted it too end sad I wanted it too hurt because thats what the show earned over ten episodes of building up all this trauma and pain, instead we get this weird hopeful ending that dont really fit.

#skiptvads, #inleo, #hive, #haunting, #hillhouse, #netflix, #horror, #flanagan, #scary, #ghosts, #family, #trauma, #grief, #depression, #addiction, #supernatural, #thriller, #psychological, #episode, #twist, #emotional, #drama, #series, #binge, #scared, #creepy, #disturbing, #review

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If you are not clear about who Tim Robinson actually is you are not alone. He is one of those comedians out there that it doesn't really make much sense to me how it is that people keep shoving money in his direction because most of what he does isn't really worth watching.

One of his clips from his sometimes ok show I Think You Should Leave might be something you recognize because it has become a meme.

Apparently, Robinson was on Saturday Night Live and that is how he got his foot in the door. He was on there from 2012-2016 and that is probably why I never heard of the guy because who watched SNL anymore?

I saw his face on the advert for The Chair Company and I basically just ignored it because while Tim does have his moments that are hilarious in some of the things that he does, I Think You Should Leave was mostly unfunny crap and I expected this to be the same.

I'm actually pretty delighted to say that this is a departure from his usual short sketch comedy and instead is a big-picture series - which of course is about something stupid - but somehow manages to work.

So the story here is that Ron Trosper (Robinson), who is a project manager for a property development company that builds shopping malls and I guess that is supposed to be funny because shopping malls aren't really something that people go to anymore.

When he is giving a presentation one day at a corporate events he goes to sit down on a chair and the chair breaks, briefly rendering him unconscious and making him feeling embarrassed about the fact that he fell. After being picked on a bit and getting harassed by HR because on the ground he accidentally looked up an unattractive coworker's skirt, he decides that he is going to reach out to the company that makes the chairs and demand answers about how it is that a chair could collapse and break so easily.

When he attempt to get in touch with the comaany "Tecca" who manufactures the chairs he ends up going through something that I think most of us can relate to. It is nigh on impossible to get any contact information from their website, you end up speaking to an AI chatbot with no real helpful information, then when you do get a phone number and call, you are put through an enormous menu to automate as much of the process as possible then when you actually talk to a human being, they are powerless to provide you with any real answers.

Most people would just let it go at this point but Ron feels as though he has been seriously wronged by the chair manufacturing company and keeps digging until he starts to unravel that Tecca the office furniture company, is some sort of covert operation that is doing bad things to society. Ron has a lot of theories about this but then one day he is attacked in the parking lot of his work by a thug that was hired by Tecca.

He keeps digging into the company and starts to find what he believes is a massive operation built on smuggling among other things and the more he digs the more he discovers that all of the information put online about this chair company is false including who works there, where they are located, and even what they manufacture.

All the while he is still forced to carry on with his corporate life and for me, this is where a lot of the real comedy came into play.

If you have never had to work in an office like this consider yourself extremely fortunate: The drab environment that is filled with everything looking the same and how everyone just starts to seem like an lifeless wage-slave starts to get to you after just a very short while. Things only get much worst (in real life) whenever you have to interact with Human Resources and their new and ever evolving rules and safety videos that you are forced to endure.

As Ron keeps digging he starts to reveal other aspects of this chair company and we, the viewer, can't really tell if this is a real conspiracy, or if Ron is just made to feel this way because every corporation has awful customer service. I can relate to a lot of what happens in this series because honestly, fast and good customer service doesn't really exist anymore and the only way that a company is going to help you is if you are relentless and dig really deep in order to actually find a phone number.

In one particularly funny scene, Ron is elated that he finally got the contact information for Tecca's parent company called "Red Ball" think it was, only to call the number and end up being on hold listening to repetitive music and a repeating message about how "your call is important to us" for 5 hours before he finally gives up.

There is an ever growing list of side characters that Ron enlists to help him bring down this nefarious global operation and the comedy that we encounter along the way isn't particularly intelligent, but it is more of a stupid and well to be honest, very specific to Tim Robinson that reminds me of some of his skits on I think You Should Leave.

The team of writers probably didn't know any other way to write but somehow managed to make something that are 30 minute episodes stick a lot better than the vignettes that were in the sketch comedy that he has done in the past.

Should I watch it?

I will admit that the trailer above doesn't do much to entice people to watch it but I think they were trying to not reveal all the characters before you have even seen the show because a lot of them join in very unsuspecting ways.

But the show actually is quite funny in an unusual way that I haven't really seen in any other comedy. It combines the tedium of everyday life and work with the potential of accidentally uncovering something important. Yet, the show is presented in such a way that even after all 6 existing episodes I can't decide if the conspiracy is real, or if Ron is just making the situation out to be bigger than it is.

If you ever been driven to near madness by office jobs or poor to non-existent customer service, you'll be able to relate to a lot of what happens in this and that is part of the reason why it works so well.

The episodes are only 30 minutes long also and this appeals to me because it seems like these days that there is some sort of mandate that everything has to be an hour long even if you only have 20 minutes of actual material. Things move fast in this, so after half an hour you will know if you want to carry on. I did, and now I've run out of episodes.

If you are the type of person that needs to have all episodes available before watching, season 1 will be fully released by the end of November, 2025.