Tag: UNBINGED

 

The Penguin (HBO Max)

Gotham City is not for the weak of heart. It is the type of metropolis that can easily destroy anyone not willing to fight for what they have, or not fight back against those who wish to take it from them. And within that hellscape, an occasional hero might arise. But this isn’t a story about heroes. Welcome to the underworld of HBO’s The Penguin. 

Picking up from where Matt Reeves’s The Batman left off, criminal mastermind and capo of the Falcone crime family Oswald “Oz” Cobb (a completely imperceptible Colin Farrell) is left to pick up the ruins of his life thanks to the destruction caused by the Riddler. With his club eradicated, his crew scattered, and his power left uncertain, the only thing left for Oz to do is rebuild.

 

With the help of car thief Victor (Rhenzy Feliz), who he can conveniently dump a little exposition upon, the audience quickly learns of the state of Gotham’s gangland and the Falcone family after Carmine’s demise. Fresh out of Arkham, “rehabilitated” serial killer Sofia (a scene-stealing Cristin Milioti) attempts to take her place at the head of the table, only to be sidelined by her father’s former cronies. Add in the Maroni family for a friendly little gang war, and Oz has his hands full with a few sides to play.

Though it seems strange to cast Colin Farrell in a role that requires oodles of prosthetics, body padding, and a nondescript East Coast accent, the actor builds upon his impressive work from The Batman, breathing new life into this revision of the Caped Crusader foe. Now a dutiful son with an itchy trigger finger, a clubbed foot, and a genetic disposition to the soapy-flavored aldehydes in cilantro leaves, this Penguin is far more realized than any previous interpretation, be it Meredith or DeVito.

The Penguin is far from the first Batman saga to exploit a Gotham setting sans the Caped Crusader, but it is one of the best. The series makes good use of the trademark grittiness fans have come to expect from any halfway decent Dark Knight story, but also manages to sneak in a bit of unexpected levity. Without a bemoaning Bruce Wayne to weigh down the narrative, The Penguin offers brief moments of humor and a fun little rogues’ gallery to balance against the darkness. The end result is a far more entertaining product than one would imagine.

Expensive, flashy, and at times, downright mean in all the right ways, The Penguin is unapologetic and unrepentant with its main character. There is no tragic backstory here — no sad sack who turns to the shadows for acceptance or pulls on our heartstrings, but rather a criminal mastermind with a hair-trigger rage and more ambition that can be contained in a chintzy suit. Brimming with violence, engrossing action, and occasional humor to boot, The Penguin is an energetic series that should appeal to any Batman fan, comic-book junkie, or high-octane aficionado looking for a little fun in the mean streets of Gotham after dark.

 

Agatha All Along (Disney+)

Double, double toil and trouble; Disney+ seems to be in a heap of trouble,
One lackluster project after another; Fans have turned on the brand and then each other,
Eye of newt and toe of frog, Disney now needs a witch to clear the smog,
Iger’s fork and critics’ sting, No one knows what Harkness will bring.
But if Agatha falls flat, there will be some grumbles; As the MCU continues to crumble.

A spin-off to the successful and acclaimed WandaVision, Agatha All Along is hoping to reclaim a little of the Disney magic that seems to have dwindled since Wanda Maximoff placed the town of Westview under her spell. But that was before Disney+ hit MCU fans with a constant barrage of superhero series filled with meandering plot points and non-essential characters. Now the streamer is going back to the well with the series that put them on the small screen map by focusing on the big bad that started it all: Agatha Harkness, played by the indomitable Kathryn Hahn.

 

When audiences last left Agatha, she was trapped in a mindset of tradwife Agnes, a character she created to snare the Scarlet Witch. Now three years later, Agatha is stuck in a loop of primetime tropes, playing one hackneyed character after another as the residents of Westfield humor her antics. However, after a house call from a mysterious teen (Joe Locke) and a Green Witch with a bit of a vendetta (Audrey Plaza), Agatha regains her memory, but not her powers. But luckily, she still has her sass.

To regain her “purple,” Agatha requires a helping hand to find the Witches’ Road, a magical plane of existence where she can revive her spark. She begins to cultivate a new coven, which includes live-action versions of Alice Wu-Gulliver, Jennifer Kale, and Lilia Calderu (Ali Ahn, Sasheer Zamata, and Patti LuPone). And while Agatha and her sloven coven attempt to walk the Road, they are being tailed by the Salem Seven, who have a score to settle with the sorceress.

Agatha‘s true power pulls from Hahn, who shows off her comedy prowess by knocking everything and everyone in her path, from Gwyneth Paltrow’s Goop hustle to Gens X through Z. And the supporting cast is equally bewitching, but that is not surprising given the talent pool. However, the story quickly falls into Hocus Pocus territory with a dab of Wizard of Oz road trip elements, causing the spooky, sardonic tale to turn a bit goofy at times, as Disney vibes overpower the Marvel elements.

Agatha All Along will bewitch those willing to give it a shot, thanks to Hahn’s trademark cheekiness and a good amount of caustic dialogue. However, those not invested in Marvel Comics deep-lore or femme-based fantasy series will probably turn away from the series that seemingly strays from mainstream MCU storylines. But much of the show’s sorcery stems from a central character, who is nothing less than enchanting. Who’s the real draw behind Agatha? It was Hahn all along.

 

Monsters: The Lyle and Erik Menendez Story (Netflix)

On Aug. 20, 1989, Lyle and Erik Menendez took the lives of their well-do-to parents José and Kitty, which was depicted by the media as a massive case of affluenza and an attempt to cash in on their inheritance a bit early. But in Ryan Murphy and Ian Brennan’s Monsters: The Lyle and Erik Menendez Story, the series attempts to make a case that there are at least two sides to every story, and far more monsters.

Last year, both Evan Peters and Niecy Nash dazzled in Dahmer – Monster: The Jeffrey Dahmer Story, the first installment of the serial killer series that won accolades for the actors as it delved not only into the life of the depraved Dahmer, but his suspicious neighbor, his innocent victims, and inept law enforcement that kept the maniac on the streets. Monsters: The Lyle and Erik Menendez Story offers a similar lens into the lives of the brothers grim, as the series explores the dynamics of the dysfunctional family, as well as friends, associates, and their social circles. Almost four decades after the murders, the Netflix series explores the Menendez brothers’ claims of self-defense as stated by their defense team, who asserted that their parents were verbally, physically, and sexually abusive towards the duo.

 

In this saga, everyone is a monster. Cooper Koch and Nicholas Alexander Chavez step into the roles of easily agitated Lyle and his distraught brother Erik, while Javier Bardem and Chloë Sevigny portray the volatile, unbalanced José and Kitty. The series depicts the Menendez family at the mercy of a controlling father while concurrently vilifying the brothers. No one escapes unscathed as Monster places the infamous trials under the microscope for the amusement and analysis of Netflix audiences.

Like its predecessor, Monsters is about the creation of urban boogeymen and the havoc they wreak. But Monsters also examines how they were shaped not just by their circumstances, but by the era in which they lived. More of a period piece than an exposé that divulges into the dark side of humanity, Monsters is propelled both by the performances and the ’80s references that it oozes, from the songs of Milli Vanilli to every meticulous popped collar.

But beyond the fastidious details, the story itself is uneven. While Monsters is direct with its villains, there is a clear lack of protagonists as the series creates a world populated by people who lack even a hint of empathy. Consequently, Monsters: The Lyle and Erik Menendez Story creates a fascinating dramatization thanks to over-the-top performances from its cast, but fails to reach the bar set by Dahmer.  ❖

 

Feud: Capote vs. The Swan (Season 3, FX)

Hell hath no fury like a woman scorned. But what of a flock of scorned women? A veritable gaggle of seething gals who were betrayed by one famous yet contemptuous writer looking for glory by sacrificing their good graces?

Based on the book Capote’s Women by Laurence Leamer and directed by Gus Van Sant, Max Winkler, and Jennifer Lynch, Feud: Capote vs. The Swans is set during the scribe’s heyday when he was coasting off the laurels of In Cold Blood, but the booze was slowly curdling his creativity. Instead of looking to headlines or inward for insight, Capote cast an eye toward the company he kept for inspiration. In this case, the women who made up the top tier of New York society and fed his social circle, AKA the Swans.

These dapper dames included Lee Radziwill, the sister of Jackie Kennedy Onassis, editor and socialite Babe Paley, fashion icon Slim Keith, and model and fashion designer C. Z. Guest. All live in a world of their own, carefully crafted to keep out the unwanted.

The crime here lies with Capote, who betrayed his flock when they took him under their wings, only to be culled by the barbed tongue and acidic wit they so admired. But for Capote, there was no crime. He merely fulfilled his job as a storyteller, and cannot fathom why everyone is in a tizzy. After all, what’s a little treason before lunch?

Whoever worked their magic in casting Swans deserves kudos galore. Naomi Watts, Diane Lane, Chloë Sevigny, and Calista Flockhart are superb as the ladies who lunch who pull rank when destroyed by Capote’s ink. While Watts and the late, great Treat Williams stand out as the Paleys, it is Tom Hollander’s Capote who is the gleaming star of the show, played to perfection with every high-pitched, Southern note.

Like its predecessor Bette and Joan, Feud offers audiences a chance to revel in the lurid details of idle gossip by classing it up into prestige television. The bickering prattle between the upper class makes for great fun, but the four-star performances gives the whole endeavor a respectable sheen. Come award time, these Swans will be fed. And well.

https://www.youtube.com/watch?v=YabKNs66eeg

 

True Detective: Night Country (Max; Season 4)

Scientists from a remote science station on a frozen tundra of Ennis, Alaska, are found frozen in the ice, naked and mutilated. For all intent and purposes, it appears that the men did this to themselves. But small clues, such as the appearance of a single human tongue, seem to belie other forces at hand as small details arise connecting the crime to an old cold case of a murdered Indigenous woman named Annie.

Oscar-winner Jodie Foster and professional boxer-turner-actress Kali Reis lead the fourth outing of Max’s True Detective: Night Country, the gritty detective series known for its morose narrative, award-worthy acting, and gripping mystery. This time around, the story takes audiences to the dark days of Alaska, where 24-hour gloom coupled with the all-encompassing ice creates a foreboding feeling of dread that clings to the audience.

Det. Evangeline Navarro (Reis) and Det. Liz Danvers (Foster) were former partners who reunite when the TSALAL Arctic Research Station finds its crew embedded in ice. The how, the why, and the WTF of the situation drives the viewer to want to binge Night Country to get to the bottom of the icy conundrum. But, as Danvers likes to say, to get the answers, they need to ask the right questions: What was the crime? Was this a punishment? For what? And dear god, how?

In addition to Foster and Reis, the rest of the cast does a great job creating a small town vibe by projecting how much they can’t stand each other, using bickering to build a sense of history in an isolated burg where there is nothing to do but get on each other’s nerves. Finn Bennett and John Hawkes stand out as Hank and Peter Prior, a father-son lawman duo who have different ideas on how to maintain justice.

True Detective: Night Country occupies the gray area where crime and punishment intermingle to become sludge. Sporting serious John Carpenter’s The Thing vibes thanks to the constant snow and a few moments of deeply upsetting horror, this season of True Detective is setting out to capture the attention of the horror crowd. While previous seasons have leaned heavily into the creepy, Night Country builds a foundation firmly rooted in the dread. And it is very much welcome.

 

Echo (Disney+)

Another day, another new Disney+ show being used to expand new characters into the somewhat precarious Marvel Cinematic Universe.

The story of Maya Lopez (Alaqua Cox) might have started as a Hawkeye spin-off, but the character is connected to several key MCU heroes, particularly Daredevil, one of Marvel’s few remaining heroes who still remains in high regard. But instead of crafting an exceptional hero’s journey for the hearing-impaired adopted daughter of Wilson “Kingpin” Fisk (Vincent D’Onofrio), the studio offers yet another redemption story, much like we’ve seen with Black Widow, Scarlet Witch, Bucky Barnes, or Hawkeye after the Snap. So even though the character of Echo is wholly unique and stands out among the large catalog of Marvel cape wearers, the series tends to follow one tired trope after another with occasional moments of triumph.

After a quick recap of the Hawkeye series from 2021 in which Echo tried to kill one of the MCU’s best written villains, the fugitive is on the run. With a bounty on her head, she flees to her birth home of Tamaha, Oklahoma, where she reconnects with her family and her people of the Choctaw Nation.

But it is here where the series begins to falter. She might be reuniting with her family, but Maya actually never makes amends for her sins, or really relates to anyone. Instead, she treats most everyone she meets with the same indifference, be it a long-lost cousin or a murderous henchmen. Casting Cox, who is deaf and Native American herself, was a step in the right direction in terms of staying true to the comic, but she never identifies or bonds with any character in any significant way, and because of that, never connects with the audience.

By the end of the series, Echo attempts to leave audiences with an important message about the power of family and community that comes off as slightly muddled due to underdeveloped characters. The end result is a series with a repetitive narrative and filled with superhero cliches in a redemption story we’ve seen time and time again.