Weirdly, the sociopolitical Easter eggs often feel beside the point, serving as window dressing for an impersonal game of cat and mouse. Battlestar is so often suspicious of such deeply felt emotions that it’s surprisingly moving to see this moment. The feel of the series is richly atmospheric, filled with oversaturated colors and quaint cottages that would make for a nice weekend getaway were it not for the inhospitable, antagonistic, and slightly cult-ish locals. These recruits temporarily, and more effectively, take on the straight-man role that’s often filled by Armisen’s Skip, the son of a former NASA astronaut and the group’s passive-aggressive leader. Notable Video Game Releases: New and Upcoming, November Preview: 19 TV Shows & New Movies to Watch at Home, The Best TV Shows of 2009 ... and the Decade.

President Roslin's been kidnapped!

Allowing her characters to respond imperfectly to each others’ crises, Coel foregrounds the importance of forgiving individuals within a broken society—daringly including among the forgiven characters who have unambiguously crossed a sexual “line spectrum border” (the title of the show’s eighth episode). With Edward James Olmos, Mary McDonnell, Katee Sackhoff, Jamie Bamber. She’s also nursing a desperate crush on Poppy (Zadeia Campbell-Davies), the popular girl at school. The tone is usually set by Reilly’s Cap, a divorced, failed businessman looking to regain some self-respect by going to the moon. For all the lived-in verisimilitude of its world, though, I May Destroy You also smoothly incorporates psychologically subjective and allegorical elements: The bar in which Arabella is assaulted is called Ego Death (a perfect summation of the consequent disintegration of her identity), and the book on sexual assault that she’s writing throughout the series is likely an in-text reflection of the creation of I May Destroy You itself.

That her personality shines through at all is both a testament to Creevy’s performance and the character’s determination to make a better life for herself, however misguided.

Or at least that’s what she’s told her literary agent (Adam James) and financier (Natalie Walter), as the trip was actually motivated by a visit to her on-again, off-again beau, Biagio (Marouane Zotti), who remains noncommittal about their relationship as she departs. Brief point-of-view flashbacks to the attack that recur throughout the series complement Coel’s larger fascination with the role that memory and its interpretation play in the formation of identity. Rate . By submitting your information, you agree to our, Battlestar Galacticast: Remembering Season 4, Episode 8: 'Sine Qua Non', WIRE Buzz: Hulu's Hardy Boys sleuths dark first trailer; Walking Dead teases 'Splinter' of S10; more, Tiny terror: Horror fan transforms dollhouse rooms into iconic scary movie scenes, 'A Quiet Place' gets loud with new spinoff spawned from original John Krasinski idea, WIRE Buzz: Adventure Time's 'Bubbline' special; Fox greenlights Demi-God comedy; Thanksgiving to the HBO Max, American Horror Story’s scariest stories have always been its most human ones, Spider-Man and Hulk march Marvel into pop culture immortality in Titan Books' Marvel: The First 80 Years, Salute a half-century of comic collecting in Overstreet's new 50th anniversary special, For the person whose bookshelf is looking lean, See you on the Otherside: Everything you didn't know about Silent Hill, Why Frank Miller's The Dark Knight Returns is still the most influential comic, Catch up and rock out with our Back to the Future franchise rap-up, The Improvised Generation goes boldly unscripted into the final frontier, Scares in an elevator: How horror utilizes this space, Share Battlestar Galacticast: Remembering Season 4, Episode 8: 'Sine Qua Non' on Facebook, Share Battlestar Galacticast: Remembering Season 4, Episode 8: 'Sine Qua Non' on Twitter, Share Battlestar Galacticast: Remembering Season 4, Episode 8: 'Sine Qua Non' on Reddit. That personality is what drives In My Skin, and Bethan’s self-sufficiency is a big part of what makes her so compelling. Like Comic-Con. Similar to its exploration of the multiple dimensions of a person’s identity, I May Destroy You depicts the different forms that sexual assault can take, not all of it as immediately readable as Arabella’s violent rape, and not always committed by obvious villains like the man (Lewis Reeves) in Arabella’s flashbacks. But Coel isn’t simply out to demonstrate the many variations of sexual assault in the manner of a sex education video; rather, I May Destroy You examines how sexual, racial, and gender exploitation weave themselves into people’s identities and attitudes.

Despite the show’s unsettling backdrop, though, the circular nature of the story keeps any appreciable amount of tension from building over the course of the five episodes were made available for review. Find out what shows... Fall TV Preview: A Guide to New & Returning Broadcast Shows. Despite its timely trappings, the sci-fi series works best as an empty-calorie thriller. With the exception of a Skynet joke in the second episode, the series takes its subject matter very seriously, even when Next’s actions are particularly silly, like spreading office gossip or delivering petty insults. Over the past decade or so, Tim Heidecker’s work has walked a fine line between accessibility and postmodern provocation, without ever being anywhere near as pretentious as that might sound. But now, faced with the possible destruction of his beloved, a rattled Adama resolves to simply wait for her until she returns. Rate. After two episodes full of deliberate but pulse-quickening pacing, “Sine Qua Non” feels a little scattered.

In the show’s early episodes, when Next is still theoretically contained on servers at Paul’s former company, it speaks in a placid male voice that sounds a lot like HAL from 2001: A Space Odyssey, and once Next escapes into the internet, it sometimes speaks in the voice of an off-brand Alexa or a car’s GPS, but mostly it doesn’t speak at all. Battlestar Galactica. The author feared America becoming infected with evil that would sink it asunder, while Green’s series operates from the opposite point of view: that evil was integral to the nation’s creation and that it must be fought, however futilely, to be overcome. They’re able to be pretentious and profound on entirely their own terms, rather than seeming like mouthpieces for middle-aged screenwriters. Arabella’s assault forces her and her closest friends, Terry (Weruche Opia) and Kwame (Paapa Essiedu), to examine their own sexual encounters, relationships, and histories, leading them to disconcerting conclusions about the various roles they play in relation to each other and their sexual partners. When footage surfaces of Shaun hitting Hannah and dragging her out of the camera’s sight, he denies any involvement, but he’s immediately accused of a second crime that’s supported by theoretically objective evidence. Paul LeBlanc (John Slattery) is an amalgamation of various tech billionaires, from Musk to Steve Jobs to Bill Gates, and the warning about the threat of artificial intelligence that he delivers in a TED-style presentation at the beginning of the first episode is reminiscent of alarms that some of those figures have raised in real life. Fangrrls is about kicking down doors, breaking boundaries and celebrating female fans with fun, witty and entertaining content. The first episode throws a lot at the audience before even getting to the island. Cast: Jack Dylan Grazer, Jordan Kristine Seamón, Chloë Sevigny, Alice Braga, Spence Moore II, Kid Cudi, Faith Alabi, Francesca Scorsese, Ben Taylor, Corey Knight Network: HBO. Sadly, the political plot goes to some very predictable places from there. Terry comes to rethink a threesome she ostensibly opted into, whose circumstances we explore in a flashback to her and Arabella’s first trip to Italy. Star Trek has tried and failed at constructing a one-episode arc around a rugged male individualist before, and Book isn’t the worst instance of this archetype (see—or don’t see—the notorious Next Generation episode “The Outrageous Okona”), but Book is too obvious a pulpy fabrication for the kind of emotional weight his reluctant friendship with Burnham is meant to carry. This is all essentially setup, and Chanan threatens to stuff his concept up to the breaking point of contrivance. This is relatively new terrain for Heidecker, and Moonbase 8 doesn’t always strike the right balance between mocking its characters and itself. By spotlighting this interplay, the series emphasizes how we create so many of these boundaries ourselves, whether in our own heads, through procedures, or in accordance with society at large, along lines of political affinity, relationships, and sexuality. may be self-aware, but Next the series rarely is. The first episode of the series generates much dread from Tic, Letitia, and George passing through towns as white people turn their heads in eerie unison and police cars seemingly materialize out of nowhere. Chanan’s concerns, though, aren’t existential ones, as he’s fashioned a murder mystery that laboriously connects modern surveillance to social media, war crimes committed in the Middle East, rising notions of fake news, and whistleblowers like Edward Snowden—all of which are referenced explicitly in the show’s dialogue. This article was originally published on The House Next Door. Indeed, much of the joy of Moonbase 8 comes from watching three of the greatest comic performers of their generation play off of each other, demonstrating their individual ways of developing a simple character and elevating a basic, formulaic workplace comedy into something entirely unique.

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