The Midnight Club is based on a series of books by author Christopher Pike. It tells the story of teenagers, all with terminal illnesses, who go to live out the rest of their lives at Brightcliffe Hospice. During their time at the hospice, the residents sneak out of their rooms late at night to take part in something called the Midnight Club. In this club, they share various stories all with the goal of trying to entertain/spook their fellow hospice patients. Simple premise, sure, and yet the series is so much more than merely a series of ghost tales.
The series adaptation stars Iman Benson as Ilonka, a young girl who was once readying to start college at Stanford University, but her plans are tossed out the door after a cancer diagnosis. After doing her best to fight it in hopes of getting her life back on track, Ilonka looks into other forms of treatment in an act of desperation. During her research, she stumbles upon Brightcliffe Hospice and a mysterious girl whose story will change her life going forward.
Those going into The Midnight Club with little knowledge of the books should know this isn’t necessarily a horror series. There will be some thrills occasionally, yes, but this is more of an emotional story than anything — and that’s a good thing. But it’s also something that works against it at times. As enjoyable as The Midnight Club is, it is often bogged down by depressing moments with very little moments of hope sewn throughout. Of course, a story about teens with terminal illnesses is unlikely to be hopeful, but sometimes the constant sense of dread can be emotionally draining. (Episode 7, in particular, packs a hell of an emotional punch.) Still, even with this, the show is worth watching, although, forgoing the usual weekend binge might provide the optimal viewing experience.
Perhaps one of the most exciting aspects of The Midnight Club is getting to see the main cast act out the spooky stories being told during the club. The young cast is incredibly talented and in the moments they get to explore these new characters, they seem to get lost in the stories. The ability to swiftly change personas is not an easy one, and yet, every single member of the Midnight Club does just that as they become the victims — and sometimes the killers — in the stories being told.
All in all, The Midnight Club is an emotional ride full of thrills and chills that will easily become a Halloween classic. It’s a “horror” series that focuses on learning to live while we’re still alive and building the families we so desperately need to survive. Just be prepared to have tissues on hand.
One of Marvel Studios’ longest-kept “secrets” turns out to be perhaps one of the most triumphant projects of the Marvel Cinematic Universe’s Phase Four, if not the MCU as a whole. Formally announced only last month, Werewolf By Nightis Marvel Studios’ first foray into the “Special Presentation” format (in this case, a one-off feature less than an hour long) and without a doubt, this project is, indeed, enormously special. Werewolf By Night shines for several reasons, but its brilliance as a standalone story is the most obvious.
The first thing the viewer notices about Werewolf By Night is its aesthetic. Through its limited marketing, it is known that the feature was inspired by classic horror films of the 1930s and 40s. While the concept elicits immediate excitement from some, it of course risks overwhelming a story with a gimmick. Fortunately, the stylistic choices of this project were almost entirely in service of the story itself, and director Michael Giacchino achieves a near-perfect cocktail of stunning imagery, blocking, and overall texture. The use of black-and-white is an easy grab for an older or spookier look, but it was far more productive in Werewolf By Night than in most modern films that use the technique. The unique and rather all-consuming style certainly takes the viewer to a place easily associated with horror and monster stores, but it also removes one from the known Marvel universe. Consequently, the natural expectations the audience might place on the feature are almost reset, allowing a completely fresh experience.
The greatest achievement of Werewolf By Night is surely its excellence as its own story, disconnected from anything else. Whether in the comic book genre or elsewhere, there is something extremely refreshing about a short story that is able to be thoroughly enjoyed and leave a memorable impact on the viewer. Despite a limited runtime and plenty of moving parts, the feature does a phenomenal job telling a full story without invoking virtually any backstory. The triumph of Werewolf By Night is captured in the feeling of simplicity and ease it executes despite clearly arising from a relatively complex technical foundation. At the end of the day, the project is a wonderful standalone think piece that invokes plenty of metaphors and themes regarding what makes a monster.
However, given its inclusion in the MCU, there is little question that Werewolf By Night will ultimately be part of a larger narrative. Lucky for Marvel Studios, the feature doubles as an exciting introduction to a future Monsterverse considering it leaves the audiences with a litany of questions about the story’s and characters’ past and futures. If anything, Werewolf By Night could have benefitted from additional runtime purely due to the fact that there is enough action and intrigue to go around. An expanded rendition of the hunt itself would almost certainly be a riot, as a prolonged bottle-episode-type suspenseful action thriller would without a doubt rival the famous Daredevil hallway fight scene.
In fact, a certain sequence in Werewolf By Night already does. The amount of violence in the feature has been a key talking point ahead of its release. The project features, objectively, some of the most violent, brutal, and gory scenes in the MCU. Where those are utilized are done so in a way that serves the story—Werewolf By Night is not filled to the brim with blood and violence, but it stands out when on display in the best way. Similarly, the feature gives off plenty of notes of horror, but it is not an overwhelmingly “scary” or frightening piece. It is, however, extremely tense, suspenseful, and even uncomfortable at times like any good horror film.
Werewolf By Night further benefitted from its cast and character ensemble. Laura Donnelly as Elsa Bloodstone is, perhaps, the surprise standout of the feature. Not the title character and not given much fanfare, Donnelly’s portrayal comes off as effortless and she easily carries scenes in a way that cements Elsa as much more than she appears. Two rather different storylines crisscross throughout the special, and Elsa is the rock that holds them together. Gael García Bernal certainly hits the sweet spot as the mild-mannered and warm Jack Russell. The heart of the project resides in him, even if he were not (ultimately) the title character. Viewers should not worry about a “nice” Jack, as Bernal can flip the switch into the titular werewolf without a problem.
The rest of the cast is stellar, and the character designs are so spectacular as to stand out in a generally visually-stunning project. Harriet Sansom Harris supplies the particular brand of sinister that Werewolf By Night needs to achieve its delicious end result. The monster at the heart of it all will surely go on to be a new fan-favorite creature of the MCU, but the special does not forget that he is, indeed, a monster.
If Marvel Studios intended for Werewolf By Night to be a surprise, it is perhaps the best surprise a viewer could hope for. The special is incredibly unique on virtually all levels, and its short story format is one of the most fulfilling MCU experiences in years. Not all Marvel projects can benefit from, or achieve, the type of creative leap required to produce this feature. This special demonstrates that Marvel Studios should continue investing in “Special Presentations,” but Werewolf By Night is special enough on its own to be a one-and-done.
In an episode that feels very small in terms of scope, scale and what’s accomplished as far as advancing the plot, those words, spoken quietly to Cassian by Faye Marsay’s Vel Sartha may capture the larger essence of the Age of the Rebellion better than any spoken on screen in any Star Wars project to date. Episode 5 of Andor, brilliantly titled “The Axe Forgets” showcases some beautiful scenery and wonderful cinematography as the backdrop to Cassian’s struggle to forge bonds and build trust with his new team. In what feels like the calm before the storm, the episode’s team-building moments that make up the bulk of the runtime seem to echo classics like John McTiernan’sPredator and Peter Jackson’sLord of the Rings: The Fellowship of the Rings.
When they start their march, they are a team only in the loosest sense, united only because everyone, as it turns out, does have their own rebellion. And while they don’t initially trust nor much like one another, they are able to find common ground by understanding how each of them has been the tree on the receiving end of the Empire’s axe…and none of them have forgotten. And so while it may not feel like the larger plot of the 12-episode first season of Andor has moved along much by the end of Episode 5, for this group of people about to strike out against the Empire, nothing could have moved at all if not for the time spent together in it.
The creative duo of director Susanna White and writer Dan Gilroy teamed up to illustrate the growing tensions not only amongst the team on Aldhani but also far away on Coruscant. Kyle Soller’s Syril Karn is hen-pecked by his insufferable mother, Eedy, while holding on to his hatred for Cassian; Denise Gough’s Dedra Meero continues to sense a growing threat, too random for anyone else to see; Mon Mothma’s work for the Rebellion is coming at the cost of her family; and Luthen Rael expresses anxiety that he may have overreached in his effort to strike back at the Empire. Though each of them only get a little time to shine in the episode, White and Gilroy make the most of it, carving each of their unique concerns out of the same material: the Rebellion, which now includes Cassian. And it’s Rael’s words in the episodes final moments that truly serve to frame just how tense of a moment the entire galaxy is on the edge of, even if only a few of them know it. As he says, what comes next may just be the start of it.
In that sense, “The Axe Forgets” feels like the last bit of requisite exposition before the show switches gears. The characters have been developed, the costs to them made clear and their roles in it seemingly solidified. Episode 6 would seem to be the time for Andor to transform into the fast-paced action-adventure that fans certainly associate with the Star Wars franchise. But as the pace quickens, keep in mind that while each of the Rebels are trees who have been hit by the axe of the Empire, they’ve all been axes to the tree of the Empire and they are about to collectively take their biggest hack yet. And as the roots of the Empire extend to new parts of the galaxy, they’ll prove a tough tree to fell.
Nearly 30 years after Tom Cruise, Brad Pitt and Kirsten Dunst brought novelist Anne Rice’s incredible world of beautiful and terrifying vampires to the screen in 1994’s Interview with the Vampire, AMC, which gained the rights to adapt Rice’s works in 2020, has chosen to retell the story to launch their Immortal Universe. Despite several starts and stops, Rice’s rich universe of characters and stories was never able to live on in serial format beyond her novels. AMC seems to think they can remedy that problem, however, having ordered both a second series, Mayfair Witches, and a second season of Interview with the Vampire ahead of the latter’s series debut. If Episode 1 of Interview with the Vampire, “In Throes of Increasing Wonder…”, is any indication of what to expect from AMC’s adaptation of Rice’s works, it would seem that they have indeed found a way to bring the characters, settings and themes of those works together and lay the foundations of a shared universe as steeped in lore as the novels.
Any effort to adapt Rice’s works has to begin with capturing the essence of the two main characters: Louis de Pointe du Lac and Lestat de Lioncourt. And to this end, AMC seems to have made preternaturally acute choices in casting Jacob Anderson and Sam Reid as Louis and Lestat, respectively. Audiences will likely find themselves as captivated by Anderson’s Louis as Lestat was himself. Whether it’s the smooth delivery of his accent in early-20th century Nawlins or the ennui of an immortal man in the present day who has seen all the world has to offer, Anderson’s performance is as effortlessly brilliant as he is beautiful. Reid’s Lestat, Rice’s chosen protagonist of the bulk of her Vampire Chronicles, shows off the petulance and power that earned the character the moniker of the Brat Prince in the novels and lures Louis deeper into his game until he bestows the Dark Gift upon him. Equal parts charming and infuriating, Lestat only gives glimpses of his true nature in the pilot episode but Reid’s performance leaves the audience both wanting more and knowing there’s more there, much as Louis knows the same about his new lover.
As much as Louis and Lestat might feel like they are ripped right from the pages of the novels, creator Rolin Jones hit the sweet spot of reinventing the characters (likely in part to keep them from being carbon copies of Brad Pitt and Tom Cruise’s versions) while capturing the essentials. From cleverly making this Louis’ second go-round with journalist Daniel Malloy, played brilliantly by Eric Bogosian, to Louis’ new profession and boldly changing the location of Louis’ transformation, Jones put his stamp on this adaptation. Though the sample size is small, it looks as though those choices, as well as Jones’ willingness to embrace and explore the nuances of the nature of Louis and Lestat’s relationship, something the 1994 film avoided, have not only set it apart from the film but, so far, make it a superior effort.
While the series would never get off the ground without proper characterization of Louis and Lestat, Jones, director Alan Taylor and executive producer Christopher Rice, Anne’s son, also captured another of the elements that made the novels so powerful: Rice’s sense of the importance of history, both real and imagined. A read-through of any of Rice’s Vampire Chronicles would serve as a fascinating lesson in grounding a fictional mythology in some of history’s most interesting eras. The episode works as much as a love letter to the New Orleans of the early-20th century as it does an introduction-and a very brief introduction at that-to the incredible world of vampires and supernatural creatures that AMC is setting out to create. AMC’s burgeoning Immortal Universe won’t just be inhabited by vampires, after all, so the subtle nod to New Orleans family of witches might seem like a throwaway line, but the audience might rather think of it as equivalent to Nick Fury’s drop-in following the events of Iron Man.
Taken as a single, standalone episode, “In Throes of Increasing Wonder…” tells a compelling story of a man who deserves to be more than what he’s allowed to be; taken as the first episode of streaming series that’s already been green-lit for a second season, the pilot introduces intriguing characters, plotlines and promises in both its past and present settings; taken as the first look at AMC’s shot at developing a shared universe with a staggering number of stories to be told over the known history of humanity, the first episode of Interview with the Vampire is the adaptation fans of Rice’s novels have dreamt of for decades and one that Rice, who passed away nearly a year ago, would have proudly endorsed as capturing her love of history…and of Louis and Lestat.
Pretty much from the very start, Amazon’s The Rings of Power has had a bit of a pacing issue. The show has been awe-inspiring in nearly every other facet of storytelling, but from episode to episode, it’s slowly become clear that this season of television was going to be a little slow. This feeling of creeping along has been due, in large in part, to multiple different plots occurring fairly separately from each other, with no immediate signs of coming together anytime soon. The lack of connectivity and variance in strength between arcs could often lead to difficulty with viewer engagement or cause the series to feel aloof despite the actual quality of the scripts being filmed. With this week’s ‘Udûn’, however, that problem vanished into thin air.
Udûn is an incredibly satisfying payoff to two of the four concurrent storylines happening on The Rings of Power. Ismael Cruz Córdova’s Arondir and Nazanin Boniadi’s Bronwyn attempt to lead the people of the Southlands in combat against Joseph Mawle’s Adar and his dastardly army of orcs, while Morfydd Clark’s Galadriel sails toward Middle-earth with the forces of Numénor in tow. The ultimate culmination of these arcs leads to the show’s most epic, emotional, action-packed hour yet, gleefully pulling from weeks of build-up and suspense to craft an episode that feels like a season finale despite having multiple installments left to air. As per usual, the visuals are glorious, and the nearly episode-long battle between man, elf, and orc appeared to be pulled from a feature length film.
The intensity of the action in Udûn was rather impressive, with stunts and fight choreography that should remind audiences they’re watching the most expensive show on television. A moment between Arondir and an especially large orc stands out for its immaculate camera work and character design. When The Walking Dead was at its peak, it seemed that anyone and everyone had dreams of putting on zombie makeup and wandering around the set. The Rings of Power, especially in this episode, is making a great case for changing that dream to raiding villages in full orc regalia. It’s amazing how much fun it can be to watch a show when its best moments happen in broad daylight, and there’s no darkness to mask the stupendous work of the costume department and set designers.
Most of the action bits work as well as they do because the character moments in-between allow the chaos to feel earned. After a few weeks in which it sometimes seemed the show’s leads were just running in circles, most everyone in Udûn took leaps and bounds toward becoming as unique and interesting as the first few episodes had promised. The series’ villains, in particular, finally have a genuine motivation for viewers to understand, something that makes Adar and his vile crew even more entertaining to watch. Charlie Vickers‘ Lord Halbrand and Maxim Baldry‘s Isildur, along with Lloyd Owen‘s Elendil, also get some much-needed backstory and character progression that will hopefully make them more intriguing to follow going forward.
The episode’s ending, which plays out in spectacular style, has also undoubtedly left fans craving more. It was the perfect ending to an episode that felt like all gas and no breaks from the word “go.” Obviously, a show can’t survive on pulse-pounding action alone, but hopefully The Rings of Power has spent enough time slowly constructing its plots that the rest of the season can be as exciting as Udûn. If it sticks that landing, there’s no telling what kind of joy the series will bring as it moves on to greater pastures.
Trigger is a household name in the anime industry, and they’ve also built up quite the reputation for the kinds of projects they put out. So, many were naturally quite excited when it was announced that they are actively working on an animate adaptation of Cyberpunk 2077, which was for quite some time considered the most anticipated game release of all time. Sadly, it didn’t quite manage to stay true t that promise. A lot has happened since, but the anime under the title Cyberpunk Edgerunner revived the Cyberpunk hype. And that’s for a good reason.
From the moment Franz Ferdinand‘s “This Fffire” plays, you know you’re in for a dark tale. The opening doesn’t hide what’s about to come and sets you off perfectly for what’s about to unfold. Yet, there’s this glimmer of hope and optimism this series continues to hold throughout its run. In a way, it encompasses the game’s core philosophy better than even its original medium. Trigger’s greatest strengths are at play here bringing us their likely most “grounded” story yet.
We explore the story of David Martinez and the tragedy that unfolds his life as he finds himself in the underbelly of Night City. Even if the game wasn’t well-received, there’s definitely something beautiful and fascinating about the world they’ve created. Once you’re trapped in the nightscape of Cyberpunk, you can’t help but want to see more stories explored in this world.
It’s also very bloody and shows no restraints; just adds a little splendor to the already extremely well-animated sequences. The use of CG is also quite well-done as outside of some vehicles here or there, it was extremely well implemented into the more traditional animation. Though the highlight is the character details, something that they certainly made use of in a world filled with cybernetic enhancements.
Speaking of, they make good use of the world to tell their story and characters. We get some of the best insights into characters’ minds through the concept of cyberpsychosis. Episode 6 is a standout and heartbreaking in many ways that just adds so much to the concept of how this is familiar but also different. At the core of this story, it’s about these characters and their lives. And it does it wonderfully with the only complaint being that we don’t get more than 10 episodes.
There are some standout characters and the show knows you’ll get attached to them. Emi Lo‘s subdued Lucy offers something alluring and dangerous at the same time. You don’t blame Zach Aguilar‘s David for falling for her and taking a leap into a new world. Probably the biggest standout was Alex Cazares as the trigger-happy but delightful Rebecca, who commands the scene every time she’s around. You’ll get attached to this crew quite quickly.
There is a bit of a jump after a specific episode that feels like it could’ve used more time. While it made sense given how they were approaching the story, its 10-episode story structure felt a bit restrictive in how much time we could spend and how fast some aspects seem to pass by. You want to spend time with these characters and when the show starts taking jumps it sometimes can be distracting especially if characters go through some major overhauls in-between episodes. This isn’t House of the Dragon level of time skips but for one case it felt a bit surprising.
While CyberpunkEdgerunners tells its own self-contained story throughout this season, it would be a shame not to tell others. There’s something gripping about this world and Trigger seemed surprisingly at home here. We get a glimpse of this world and it feels like there’s just too much to explore. Yet, at the same time, this series feels perfect as a one-time release, and wouldn’t really say I#d be mad if that was the only one we get. It had me laughing, and crying throughout; what more can you ask for?
“Of drink I have little And food I have less My strength tells me no But the path demands yes
My legs are so short And the way is so long I’ve no rest nor comfort No comfort but song
Sing to me, sing to me, lands far away Oh rise up and guide me this wandering day Please promise to find me this wandering day“
The Rings of Power begins its fifth episode, titled Partings, with a song sung by Megan Richards‘ Poppy Proudfellow. Called ‘This Wandering Day’, the tune is described in-universe as something Poppy’s mother once used to entertain herself whilst walking for days upon end with the other Harfoots. In the real world, however, the song comes across as much more than just a means of keeping the brain occupied. The lyrics, written by the maestro Bear McCreary, instead double as a metaphor for the theme of this week’s episode, and perhaps the entirety of the Lord of the Rings franchise – holding on to hope, even when all seems lost.
The many plotlines of Partings all see their lead characters facing difficult choices. Robert Aramayo‘s Elrond must decide if he’s willing to break a personal oath for the sake of Elven kind, Nazanin Boniadi‘s Bronwyn is forced to watch as her people choose between the light and the dark, and the citizens of Númenor weigh the consequences of going to war. Yet, despite the dire stakes at hand in each story, the concept of a potentially brighter future looms larger than the tangible threats at hand. Thematically, it’s actually a welcome departure from the series’ previously doom-centric thought process. Partings feels like a lighter installment in the Rings of Power saga from the very get-go, which in turn makes it a bit easier to watch than the denser first quarter of the season.
Of course, this doesn’t mean the episode is without it’s hardships. In a particularly action-packed sequence, Daniel Weyman‘s mysterious giant saves the Harfoots from a pack of monstrous wolves. In another, Joseph Mawle‘s Adar revels in making a villager kill a child to prove his newfound allegiance to Middle-earth’s darkest forces. This is, unfortunately, par for the course in J.R.R. Tolkien‘s land of fantasy. As Poppy’s song, and Markella Kavenagh‘s Nori Brandyfoot, explain, the path to peace is filled with perils, something true of both Middle-earth and the actual planet it was based on. Partings does a fantastic job of relaying this message to the audience. There will always be setbacks on the road to finding true happiness. A person who lets that stop them will never know the contentment they were hoping to find in the first place.
That being said, the episode does also present a few problems for the series at large. One would think that with so much time to spend with the show’s vast collection of characters, fans would be able to care about more of them. Aside from a few standouts, many of the individuals getting screen time week-in and week-out are beginning to feel like they only exist to advance parts of the plot. The obvious leads of each arc are well-developed and fun to watch, but many of their smaller counterparts are beginning to mash together and become slightly forgettable. Hopefully, before the season ends, The Rings of Power will be able capitalize on a talented ensemble in the same way shows like Game of Thrones have done to capture audience’s attention.
Until then, the series will likely continue to stand on its greatest strengths. As per usual, this week’s episode was gorgeous, and the effects were impeccable. A particularly memorable moment involved the origin of Middle-earth’s most precious metal, which was shown via striking slow-motion images and beautiful color contrast. Despite any problems one may have with the series, its thematic element is also undeniably riveting. It’s as rich as anything Tolkien wrote and as comforting to watch as anything Peter Jackson put to screen. For anyone who has yet to be hooked, take this week’s entry as a form of advice – the road may not be perfect, but maintain hope, and the finale might just pay everything off.
At last comes their answer Through cold and through frost That not all who wonder or wander are lost No matter the sorrow No matter the cost That not all who wonder or wander are lost
The previous episode of Stargirl left us with a mighty cliffhanger, as Sylvester Pemberton seemingly lay lifeless while doing some investigating of his own and being attacked by an unknown assailant. Episode 4 furthers the murder mystery in Blue Valley while throwing the spotlight onto a suspect that was thought to have perished towards the end of Season 1, leading the Justice Society to question a recent allegiance and Courtney distracted by a blossoming romance.
‘The Evidence” moves the story ahead in a productive way, but it can feel like it’s spending a bit more time on its b-plots rather than focusing on the premise of the episode. We’re given much more character moments, ones that have felt lacking throughout this season specifically between Pat and Sylvester. The duo had butted heads a bit and had their moments, but it never felt like they got those moments of growth until now, with the once great sidekick known as Stripesy acting as Pemberton’s anchor and helping to guide him towards a new purpose in life.
It felt as if the biggest part of the episode was cast aside and not given attention until the final minutes of the episode. The episode title leads you to believe that they’d found something shocking that’ll push the story on forward more, when in reality, it just sets that up for presumably what is to come in the next episode. A dragon scale at the scene of the crime leads the team to believe that Dragon King could be back in play, hypothesizing that his numerous experiments on himself could’ve brought him back, with others showing their reluctance to trust and immediately throwing the blame onto the newly pardoned Cindy Burman, whom the audience themselves isn’t all that sure they should be trusting either.
The biggest revelation of this episode would be Dr. McNiders diagnosis of just what is going on with Sylvester Pemberton and how he’s been able to return after spending ten years six feet under. McNider believes that prolonged exposure to the Cosmic Staff has energized Pemberton’s body, similar to how Jade was imbued with the power of the starheart. This reveal just feels a little murky, feeling like you should be scratching your head a little bit because… that’s it? It just felt like something so important was so casually revealed and could’ve been built up to a little bit more.
Another bright spot of this episode is finally seeing some payoff to the relationship set up between Cameron Mahkent and Courtney Whitmore, something that’s been planted since season one. This episode reaffirms just what kind of person Courtney is because when she sees someone in need, she’s going to jump into action, no matter what else is going on. She can see Cameron struggling with his newfound cryokinesis abilities and feels the need to help him, when deep down we can feel the guilt she holds knowing the true fate of his father, feeling like she owes him while crushing on him at the same time.
To cap it off we get a better glimpse of just what exactly is going on behind the scenes, as the Helix Institute has yet to make its presence known, we got a peek at Mister Bones within a room full of monitors, a much better look at the villain and the series seems to tease his arrival is getting closer and closer. Not a bad episode, but not necessarily the strongest episode of the season.
The Rings of Power has returned, and this time, it’s looking toward the future. Unlike last week’s action-packed entry, this week’s episode – The Great Wave – is focused mainly on setting up arcs that will hopefully pay off later in the season. Galadriel and Elrond anchor two very solid plotlines in wildly differing locations, while Arondir comes face-to-face with a new threat and reconvenes with cohorts in trouble. It’s another wonderous journey into the depths of Middle-earth, supported heavily by more incredible visuals and some truly powerful acting. Like previous installments, the episode leaves the viewer wanting for more, and continues to open doors without closing them on the way out. Luckily for fans, it doesn’t look like The Rings of Power is going to run out of steam anytime soon.
Much of The Great Wave plays out with a sense of foreboding. The episode’s title is literally taken from the visions had by Cynthia Addai-Robinson‘s Queen Regent Míriel, of Númenor’s disastrous fate. The great City of Men, she sees, is destined to be consumed by a great wave and sunk beneath the ocean, if the Queen Regent does not remove Morfydd Clark‘s Galadriel from the island post-haste. This opening scenario sets the tone for the whole shebang, as viewers begin to see similar vibes present in the other two major plotlines happening concurrently. In Khazad-dûm, Robert Aramayo‘s Elrond seeks to continue the bonding process with his old pal, Owain Arthur‘s Dwarven Prince Durin IV, but no matter how chummy they’re able to get, the idea of something more in the works keeps both of them on edge. Rounding out the episode, Ismael Cruz Córdova‘s Arondir is allowed to escape his captivity by Adar himself, but only under the condition he deliver a special message to the human survivors not far from danger.
The titular “Great Wave” quickly becomes a metaphor for the paranoia spreading throughout all corners of Middle-earth. All characters are beginning to find themselves afraid of something. That fear, and the anxiety and greed that come with it, are the fuel that keeps The Rings of Power‘s fourth episode ticking. In a fun change of pace, the Lord of the Rings universe is allowed to feel more like a political thriller than a fantasy epic. Granted, it does still look and sound like a fantasy epic. In fact, this episode contains one of the most bone-chilling sequences of the series thus far, with Sophia Nomvete‘s Disa belting a gorgeously haunting musical number as the Dwarves perform an ancient prayer. It’s the show’s ability to switch so effortlessly between moments of grace and terror that keep it so refreshing week in and week out. On an added note – the grand reveal of Adar, an Elven-looking man portrayed by Joseph Mawle, was also expertly done. The flipping of expectations as to how Adar would appear was a wonderful surprise, and one that instantly makes the villain more intriguing.
If there was to be any concern around The Rings of Power, it would have to be for its pacing. Of course, the Lord of the Rings franchise is not exactly known for its swift storytelling, but one has to wonder how long The Rings of Power will wait before it begins answering any of the multiple questions it’s lobbed into the air. It’s not a problem at the moment, but another episode or two of set up without pay off could lead to some viewers starting to tune out. For now, though, the series remains stellar, and viewers remain excited to see new batches of orcs show up on their screens every week.
Fate: The Winx Saga quickly became one of Netflix’s most popular titles when Season 1 was released in January 2021. It wasn’t without controversy, though. The series is an adaptation of the animated series, The Winx Club, and fans of the original show were quick to note that the Netflix series had seemingly whitewashed some of the characters for live-action. Criticism which some of the actors took to heart. Now, with Season 2, the series seems keen to try to do better by being more inclusive, and ultimately, these decisions help to carry an otherwise uneven season.
The second season of Fate: The Winx Saga picks up after the events of Season 1. The students of Alfea College are adjusting to life at school with headmistress Farah Dowling (Eve Best) still missing and Miranda Richardson‘s Headmistress Rosalind seeking to take back control. She’s strict, secretive and focused on Bloom because she’s the first fairy to transform at Alfea College in a long time. Sadie Soverall‘s Beatrix and Ken Duken‘s Andreas remain by her side as she seeks to right the “wrongs” of Dowling. Unfortunately for her, though, Bloom and the girls are not on board with her secrecy and the mysterious disappearance of Dowling. Eager to seek answers, Bloom and the others will have to take risks that could ultimately cost them everything.
Fate: The Winx Saga Season 2 is a lot better than the first season. But there is one issue the writers seem to continue to struggle with. Bloom remains the least interesting character of the group, which is unfortunate given her powers and what she’s meant to be capable of doing. It’s frustrating because it’s not the actress that fails in the role. Abigail Cowen gives her all to Bloom’s story. The problem is in the writing. It feels like Bloom’s story is never going to change. She has the dragon flame, yes, but when will she be able to be more than the fairy with the dragon flame? Allow the character to grow instead of making her reckless, leaving those around her to constantly clean up her mess. Thankfully, the other girls are fascinating.
Season 2 sees the rest of the girls spread their wings – pun intended. Aisha (Precious Mustapha), Musa (Elisha Applebaum) and Terra (Eliot Salt) all get a chance to shine. Especially Aisha, who was often used to drive the plot forward in Season 1 by “snitching.” Season 2 allows her to become a fully realized character. She’s allowed the chance to be an actual student and, more importantly, an actual teenager. The first season made Aisha out to be a goody two shoes who had no problem snitching on her friends. Her entire identity was the upstanding student who dared not to be reckless like her friends. This season, though, she’s allowed to have faults, she’s allowed to have relationships outside of the girls. It’s a much-appreciated change. The same can be said regarding the others, too. Terra and Stella, especially, feel as though they’ve grown tremendously since the first season. The only character to feel poorly conceived is Beatrix, who doesn’t change much from the first season. She’s a frustrating character who truly sees no real character development; it’s hard to decipher who she truly is as the show still remains unclear of who she is until the very last episode of the season. As for the boys? Some of them make strides this season, but honestly, they’re around more so to serve the plot than to truly become their own important characters.
As for the story, well, this is where Fate: The Winx Saga struggles a bit. Overall, it’s a strong season, sure, but there are plenty of issues throughout that do pull it down quite a bit. The fight scenes are still incredibly short; it usually takes a matter of five minutes for someone to come out on top and it’s always rather predictable. More importantly, though, the story has not changed much since the first season. Which is frustrating because by season’s end? There’s still plenty we don’t know regarding questions brought up during the first season. Should a third season be ordered, there’s sure to be plenty of new and exciting stuff to cover judging by the ending, however, the season does often feel like filler because it doesn’t advance nearly as much as it should. With that in mind, the character moments this season make for a strong sophomore effort. The young cast gives it their all, delivering some stellar moments in an otherwise uneven season.
Is it the best sophomore season of a Netflix series? Far from it. Is it still enjoyable? Yes.
While there’s still plenty of things Fate could do better, it does make an effort to try to be more inclusive this season. That, of course, does not make up for the casting issues many brought up during season one, but there is an obvious effort being made this time around and it doesn’t feel forced, which is a nice change.
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