Feelin’ TV: February 6, 2018

Of the 5 largest comebacks in NFL playoff history, the Kansas City Chiefs have been on the losing end of two. In 2014, Andrew Luck, the quarterback of the Indianapolis Colts, recovered a fumble by running back Donald Brown and ran it for a touchdown en route to a 28 point second half comeback. Just last month the Chiefs were defeated by the Tennessee Titans, overcoming a 21-3 deficit. At one point, Titans quarterback Marcus Mariotta threw a pass that he then caught when it was batted back in his direction and proceeded to run it into the end zone for an unlikely (and unprecedented) playoff touchdown. The last time the Chiefs won more than one playoff game in the same season, I was 12. They’re 5-14 in the post season in my lifetime. It’s hard to dispute this fact: the Kansas City Chiefs are cursed. I root for a cursed football franchise. Because there’s very little chance that I’ll ever be able to experience championship joy, I find my enjoyment of Super Bowl Sunday in tasty food and in the commercials.

Something that I find interesting is that if you look at all of the Super Bowl ads in a year, you’ll often find that a theme emerges. The 2017 Super Bowl found America at the tail end of the 2016 vicious election cycle that divided the nation in ways that we had never seen before. In response, last year’s ads were quite a bit more subdued than normal and advocated things like unity, tolerance and service. It was fine. Honestly, I don’t remember one of them. This year though, the theme that I saw emerge was one of self-referential parody that aimed to just have a little fun. From Mountain Dew’s decision to give us Morgan Freeman without actually giving us his voice (besides the little stinger at the end) to the weeks long set up of a Crocodile Dundee reboot that was actually just a tourism spot, most of these ads just wanted to cut loose and have some fun. My two favorite commercials/sets of commercials that played around with its format are the Chris Pratt Michelob ads and most everyone’s pick for best commercial(s), the Tide ads.

The Michelob ad campaign is one that I haven’t heard mentioned much in the reading I’ve done about the best commercials since the game. While the first commercial isn’t anything special on its own (unless, like me, you have a large man-crush on Chris Pratt), the payoff is pretty funny as Pratt’s beer commercial training ends up with him being cast as an extra in a beer commercial. What makes the campaign stand out though, is the second ad where we see the actual commercial referenced in the first ad, complete with Pratt in the background of every scene. I like a campaign that rewards you for paying attention the whole game, and this one definitely did that in spades.


The easy winner of the night was Tide, which is good because they need a PR win with all of this Tide Pod Challenge nonsense going on. 33 years ago, Apple aired it’s famous 1984 ad during the third quarter of Super Bowl XVIII and it’s a commercial that is still talked about in marketing classes to this day (well, at least it was in 2016, the last year I was in a marketing class). I have a feeling that this Tide campaign could be one that is talked for years to come as well. What started out as a funny-ish send up of stock Super Bowl commercials then became an unpredictable series of shorts that made you think that any other commercial could possibly be a Tide ad. It’s completely brilliant. I watched every commercial for the rest of the night, regardless of the product, thinking about Tide.


And as a bonus, here’s a commercial that I’ll probably forget by next week, but I found it to be really, really funny when it first aired. Kudos to Sprint for breaking out of the mundane tendency of cell phone ads to simply try and up the ante of situations in which it can put a spokesman.


What were your favorite Super Bowl commercials? Sound off in the comments or in the Facebook group.


Channel Surfing:

  • Did you keep watching after the Super Bowl to see This Is Us? I waited until Monday because I was too busy enjoying the thought of Tom Brady having a good cry to have one of my own. Once I got around to it, the tears started flowing early and often as we finally saw the heroic way in which Jack Pearson died. It was a great episode and the final scene gave us a glimpse into where the show might go from here. This season has been great, but there has also been a long shadow cast by the inevitability of Jack’s death. With that particular plot point having been revealed, I’m excited to see what’s next.
  • I watch a lot of TV, so I can be a hard viewer to surprise. That’s why I’m such a big fan of The Good Place. After a first season finale that caught me completely off guard, the show disrupted the status quo time after time in season two in ways that I didn’t see coming at all. The season two finale was one of my favorites so far (Ted Danson behind a bar? Yes, please!) and set itself up for a hell of a season 3.

That’s all for this week! As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. 

Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.

Feelin’ TV: January 30, 2018

“I don’t know how to put this, but I’m kind of a big deal…People know me…I’m very important. I have many leather-bound books and my apartment smells of rich mahogany.” – Anchorman

Sometimes a show or a movie comes along that transcends its own entertainment value and achieves a level of importance based on its subject matter and the time in which it is made. A lot of films (or TV, music, etc.) fall short of the so called “important” label either by abandoning all subtlety and beating you over the head with its message or, like the great Ron Burgundy (quoted above), by coming off a bit too proud of itself for being so damned important. A recent example of the latter is Steven Spielberg’s The Post. The Post is a really good movie with some really good performances by a really, really good cast. It’s also a really important movie in a time when the reliability of the press is constantly under fire. I very much enjoyed it. If you listen closely, though, there’s this little voice, not a loud voice but it’s a persistent voice, whispering “I’m very important” into your ear in every frame. The fact that The Post is a film starring two of a generation’s greatest acting talents and made by one of our greatest living directors serves to illustrate my point that making entertainment that is “important” is not at all simple.

Onto this razor’s edge between relevance and afterthought comes The CW’s Black Lightning. Packed with conflict taken straight from the front pages, Black Lightning tells the story of Jefferson Pierce, an inner city high school principal and retired superhero forced back into the world of vigilantism when the crime and corruption in his city of Freeland knocks on his front door. Through two episodes, the show adeptly straddles that line between preachy and self-aggrandizement to tell a story that is both entertaining and, I’ll go ahead and say it, important.

Black Lightning achieves this balancing act with a combination of solid performances and real-world complex drama. Cress Williams is perfect as Jefferson Pierce/Black Lightning. His physicality commands every scene he’s in. He’s an imposing character who is absolutely believable as both a tough-as-nails inner city principal and as a masked crime fighter to be feared. Aside from Williams, the bulk of the drama has been adeptly handled by China Anne McClain, Nafessa Williams and Christine Adams who play Pierce’s two daughters and his ex-wife, respectively. Adams has been particularly good as the concerned spouse for whom Pierce gave up the Black Lightning mantle in the first place. If she’s the anti-vigilante angel on his left shoulder, James Remar’s Peter Gambi is the superhero enabling devil on his right. Remar hasn’t had much to do through the first couple of episodes, but he’s the kind of actor who you can count on making the most of what he gets and his turn in Black Lightning is no exception. The tug of war on the soul of Jefferson Pierce’s soul between those two perspectives has carried more heft than most anything else being put out there by comic book shows now days (and this is coming from a guy who watches/loves them all).

Bottom line: The heroes are virtuous, the threat of evil is tangible, and the answers to what the city of Freeland needs are not easy solutions. It’s only January, but Black Lightning is already setting itself up to be one of the best new shows of the year. Give it a shot for yourself to see what you think. I’m sure this won’t be the last that we talk about it this season. Old episodes of Black Lightning can be viewed on The CW app and new episodes air on Tuesday nights on the network.


Channel Surfing:

  • Great News ended it’s second season on a high note this week with an episode that may end up being not only the season-capper, but also the series finale. It has not yet been renewed by NBC and it’s looking more and more like it will not be back. Thursday’s show provided a satisfying end to the major arc of the second half of the season while getting off a few biting jabs at the Harvey Weinstein’s of the world. A series that started out as a poor-man’s 30 Rock really stepped out of that shadow to become it’s own thing this season and it would be a shame if it doesn’t return. So go watch it! I’ve never steered you wrong before. Season two of Great News can be streamed on Hulu. 
  • It’s been a good couple of months for Psych fans. First, we get Psych: The Movie in December and January saw the series become available to watch in its entirety on Amazon Prime. It’s not a great show, but it’s a whole lot of dumb fun. Sometimes that’s just what you need at the end of a long day.
  • The Paramount Channel (formerly known as Spike TV) launched their six part miniseries Waco this week about the infamous 1993 standoff between the FBI and the Branch Davidians. Starring Taylor Kitsch as the cult leader David Koresh and Michael Shannon as Gary Noesner (the real life FBI hostage negotiator on whose book the series is based), the series looks to be one that will attempt to tell the whole story without merely playing the blame game. There will be more coverage here of this one in the coming weeks.

That’s all for this week! As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. 

Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.

Feelin’ TV: Top Shows of 2017

Feelin’ TV is back for 2018! Before we get too far in to the television of the new year, I wanted to take my first week to look back at my favorite five shows from 2017.

5) The Crown

If there is one thing that I hate more than British costume drama, it’s the obsession that a large portion of American society has with the comings and goings in the British Royal Family. The fact that The Crown manages to be both while also being one of my favorite shows that I watched last year is absolutely astounding to me. It succeeds because of its performances (John Lithgow as Winston Churchill is astounding) and the way the writers include significant historical intrigue into their telling of the story of the longest serving British monarch. My favorite episodes thus far have been “Assasins” (S1E9) in which Churchill befriends an artist painting his portrait and “Vergangenheit” (S2E6) that sees the Queen consult a young Billy Graham as she weighs her personal desire to forgive against her positional responsibility to the appearance of justice. The first two seasons of The Crown can be streamed on Netflix.

 4) Better Call Saul

I’ve said it before and I’ll say it again, Better Call Saul could have easily and lazily coasted to several seasons of solid ratings based solely on the success of Breaking Bad and it’s built in fan base. That Vince Gilligan and his crew have instead created a show with rich, fully realized characters, intricate stories and a lived-in setting is a remarkable achievement. Bob Odenkirk anchors the show as the sad sack Jimmy McGill who really did just want to go straight. Michael McKean steals every scene as his arrogant and cold older brother Chuck. My favorite episode from season three was “Chicanery” (S3E5) which managed to be satisfying and heartbreaking at the exact same time. The first two seasons of Better Call Saul can be streamed on Netflix

3) The Leftovers

One gets the impression that with The Leftovers, Damon Lindelof explores all of the things he wanted to with LOST without the restrictions put on storytelling in a network show. The Leftovers, much like LOST, provided many more questions than it did answers. Unlike LOST though, viewers of The Leftovers were never led to believe the answers were there to be had. The Leftovers is a show about moving on when there are no easy answers. It’s about coping with grief when the answers are unknowable. The Leftovers ended its run with one of the greatest series finales ever as characters resolved to love each other even in the mess. The Leftovers can be streamed with your HBO subscription.

2) Big Little Lies

There’s not much I can say about Big Little Lies that hasn’t been said elsewhere. It is deservedly one of the most awarded and critically acclaimed shows of 2017. The cast is fantastic. Reese Witherspoon is as good as she’s ever been. More than any show I’ve ever watched, the relational conflicts feel real because they’re rooted in actual, real-world issues. The central murder mystery, which not only leaves the viewer guessing about the perpetrator but also the victim, is never less than edge-of-your-seat tense. In a year that saw so many strong women stand up to inequality, harassment and abuse, Big Little Lies was the perfect show of 2017. Big Little Lies can be streamed with your HBO subscription. 

1) The Good Place

If I had been writing about TV in 2016, this would’ve been my #1 show back then as well. Here’s the thing, I’m an unashamed Michael Schur fanboy. Parks and Recreation and The Office are my two favorite sit-coms of all time. I’ve watched Brooklyn Nine-Nine from day one. I listen to his podcast about baseball every week. Shur’s work just speaks to me. I was predestined to love The Good Place no matter what. But I’m going to go out on a limb and say that The Good Place is the best sit-com on TV whether you’re a Michael Schur fan or you’ve never heard of the guy (I’ll bet you have, in addition to being a writer and one time show runner on The Office, he also played the role of Dwight Schrute’s cousin/roommate Mose). The Good Place arrived with a completely realized setting in a way that you don’t see often. Most shows take a bit of time to figure out what they are or what they want to be, but you get the feeling that the writers of The Good Place knew everything about the world they built from the word “go” and anything we don’t yet know is because they don’t want us to know it, not because they haven’t figured it out yet.  On top of the setting The Good Place boasts two solid main characters in Kristen Bell and Ted Danson who are every bit as great as you’d expect them to be. And then you get to add the four other members of the main cast (William Jackson Harper, Jameela Jamil, D’Arcy Carden and Manny Jacinto), each of whom have emerged from relative obscurity to breakout character status, as the cherry on top. Season one ended with a twist that I thought the show could never top. Season two has shaken up the status quo every week to the point that I have no idea what is going to come next. It’s my favorite show of the year, and it’s number one on my list of shows you should be watching if you’re not already. Season one of The Good Place is currently streaming on Netflix and season two episodes can be found on Hulu.


Channel Surfing:

  • Runaways has been renewed by Hulu for a second season after a solid freshman debut. In my opinion, it fizzled a bit at the end, but there’s still quite a bit of promise for some good stories to be told in the future. I think later episodes showed some of the limitations of the young cast members, but the older members of the cast and the intriguing source material make it a show to continue to keep an eye on while the younger actors find their footing. Season one of Runaways can be viewed on Hulu.
  • Black Lightning premiered on The CW this week and it was a hell of a debut. The major theme of this superhero drama is racial injustice and it doesn’t appear to be interested in easy answers and mustache twirling villains. With plot lines ripped straight from the front pages of 2017 news, it’s a show that’s always going to be in danger of being soapbox-y, but the premiere managed to sidestep that pitfall. And even if it does slide to the preachy side of the pendulum from time to time, Black Lightning‘s point of view is one that we can always use more of. Give it a shot. Black Lightning airs on Tuesday nights on The CW

That’s all for this week! As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. 

Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.

Feelin’ TV: November 27-December 3, 2017

Don’t be sad that it’s over, be thankful that it happened. The week of the Arrowverse’s annual crossover event is now over. And although my heart is a little sad that we won’t see these heroes all working together for another year, what we got in Crisis on Earth X was a wildly entertaining four hour block of television.

In the past, the crossover has been much like similar comic book scenarios where a three or four hour story is broken down to three or four different portions that take place from the lens of the show they’re on, for example, during Supergirl, Supergirl takes center stage, and so on and so forth. It worked pretty well last year, my only real squabble was that while we were promised a four-part crossover, Supergirl’s (the show, not the character) connection was only tangential as the connection to the rest of the universe came in the closing moments of what had been a standard episode of the show. This year, though, they went all in, even going so far to eschew the normal opening credits of each program for the crossover specific Crisis on Earth X name.  The result was a more unified story with a singular vision where every character was given the opportunity to shine. Even non-super characters like Felicity and Iris, normally regulated to speaking into the ears of Green Arrow and the Flash, respectively, had much of the resolution of the plot on their shoulders as the story went on. After doing this for the past couple of years, you can also sense there’s a comfortability with the casts of all four shows, which only added to the enjoy-ability of the event.

The plot of the crossover is simple. Oliver Queen crosses dimensions to steal the heart of Supergirl. Unfortunately, we’re not talking about romance here. In this scenario, the Oliver in question is a Nazi führer from Earth X who actually needs to steal the beating heart of Supergirl to save his wife, also Kara, known on their earth as Overgirl. It’s a fairly straight forward plan, which works in the crossover’s favor as it gives us a chance to get to the action. And the action is a real treat. By the time everyone in the Arrowverse is suited up in battle, I’ll admit to having goosebumps and a tear in my eye. It was a feeling similar to the ones I had when I first watched Avengers or a few weeks ago when I saw Justice League. The event built to its climax perfectly and the payoff was spectacular. Sure, it was cheesy and some of the CGI was poor, but I honestly can’t imagine it being pulled off any better.

I believe what put the event over the top, and I’ve talked about this before, was that the crossover had real stakes. That’s something I wasn’t expecting. When I began watching Supergirl on Tuesday, I had the thought, “This is going to be fun but ultimately the TV equivalent of empty calories because they surely won’t do anything to throw off the status quo of any of these four shows.” I’m happy to report that I was completely wrong. Before Crisis on Earth X was over we had not one, but two couples get married and one main character was dead. On that latter point, I was completely stunned. I expected someone good to die, but I expected it to be someone on the periphery to give the event the appearance of stakes without actually giving it any. Besides adding emotional depth to the entire undertaking, it also made the danger that our heroes were facing feel real. It was a brave choice, and while I’m sad to see the character go, it raised Crisis on Earth X from good to great. I totally can’t wait until next year! The Crisis on Earth X four-part event can be streamed on The CW app.

Channel Surfing:

  • Agents of SHIELD is BACK! And it was great! The two part season premiere of AoS aired this Friday with an opening act straight out of the Twilight Zone and a mystery that has the potential to really carry the season. The thing that impressed me the most about Agents of SHIELD this week was its production value. As I watched the cold open, I couldn’t help but think that it felt like I was watching a movie, not a network TV show. AoS gets a bad rap from a lot of people who never watched past the first season. Over the past few years it has matured into a pretty darn great show that deserves your attention if you’re into the drama. The new season of Agents of SHIELD can be viewed on Hulu.

That’s all for this week. As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. Programming note: I’m going to be taking a break from Feelin’ TV for the next 4-6 weeks while most shows are on break for the holidays and my wife and I prepare for the birth of our child. I appreciate you reading and look forward to returning in a few weeks. Happy Holidays, and I’ll see you next year!

Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.

Feelin’ TV: November 20-26, 2017

Whenever a new movie/TV show is released based on a comic book property, the conversation about super hero fatigue begins. It gets louder every time, especially in months like this where the discussion around Thor: Ragnarok had barely died down before Justice League arrived in theaters. It’s completely understandable. A lot of people are burned out on the genre.
I do not suffer from that affliction. Give me more. I love the oversaturation. There is enough room in my heart for all of it. When I hear of something new, I’m all over it like white on rice in a glass of milk on a paper plate in a snow storm. I may not keep watching (Inhumans), I may quit watching and go back later because I have nothing else to do (Gotham), I may even hate watch (The Walking Dead) but more often than not, I watch and enjoy and put it securely in my regular rotation. It should be no surprise then, that I took the opportunity this week to check out (and fall in love with) Hulu’s new comic book series, Runaways.
Runaways is based on the Marvel comic of the same name. It’s set in the MCU along with the popular films and shows like Agents of S.H.I.E.L.D., Inhumans, Daredevil, etc. It’s about six teenagers who find out that their parents are super villains who make up a team called Pride and begin to work together to thwart their plans. Along this journey of discovery, they also begin to develop powers of their own. I haven’t read the comic, so if you have, you probably have a better handle on what’s going on than I do at this point. From what I’ve read, fans of the print version have been pleased with the way the show has remained faithful to the source material. In the three episodes that have been released, creators Joshua Schwartz and Stephanie Savage have succeeded in crafting solid characters, both in the teens and their parents, not sacrificing the development of the villains in favor of the heroes. They’ve done so by taking their time to introduce characters and the world that they live in.
Hulu has been putting out some solid programming over the last few years. They seem to be a bit more concerned with quality over quantity in contrast to fellow streaming service Netflix. Thus far, Runaways continues that trend. It feels like more than an attempt to capitalize on the superhero craze. They’re laying the groundwork for a pretty intriguing story that I’m excited to add to the queue moving forward. Runaways is available on Hulu.

Channel Surfing:

  • The Arrowverse has a pretty big week coming up with their annual week of crossover episodes, so I had assumed that this week would mostly be table setting for that event. I was wrong. Supergirl saw the bittersweet return of Mon-El, The Flash came face to face with this season’s big bad The Thinker, Legends of Tomorrow had maybe the best Mick centered episode of the series and Oliver got arrested and vigilantes were made illegal in Star City on Arrow. But all of that will be on hold this week when all of the gang gets together for Barry and Iris’ wedding. Will everything run smoothly? Given that the whole ordeal is called Crisis on Earth-X, I’m guessing it won’t. It’s a tough thing to balance 4 shows into one storyline, but last season it was the best week of the year. Hopefully they can keep it up. Arrowverse shows can be seen on The CW.
  • This Is Us made me cry again this week. Chrissy Metz and Mandy Moore (Kate and Rebecca, respectively) play the two characters that get under my skin the most on that show (in a good way, like how members of your own family get under your skin). This week though, the story gave them both a chance to absolutely shine and they knocked it out of the park. I’ve heard people say that maybe the show leans a bit too heavy into sadness territory, and I think that’s a valid criticism, but I think the way it was portrayed this week was sensitive, thoughtful and accurate. Also, I’m going to start a petition to get NBC to give Toby his own show. I don’t care what it’s about. I just want more Toby. This Is Us airs weekly on NBC and past episodes can be seen on Hulu.

That’s all for this week. As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. Next week, we’re going to spend the bulk of our time talking about the Arrowverse crossover event and I’ll probably have a thing or two to say about the season premiere of the new season of Agents of SHIELD as well.

Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.

Feelin’ TV: November 13-19, 2017

Just when things were starting to look pretty bleak for Netflix’s Marvel shows (Marvel Streaming Universe? Daredevilverse? Defendersverse?), Frank Castle arrived on the scene to single handedly put things back on track. After an unfortunate spring and summer that saw both Iron Fist and Defenders widely panned (I thought both were merely fine), there were legitimate questions about whether or not the universe had lost its magic. But The Punisher, released this past Friday on the streaming service, returned to not only prove that there were good stories yet to be told in this world, but that the best might still be yet to come. After Jon Bernthal’s portrayal of the brutal vigilante became the breakout character of Daredevil’s sophomore season, fans were pleased to hear that Netflix granted the anti-hero his own show. Recent deficiencies in storytelling had me apprehensive about the quick turnaround from breakout character to main player. Those fears proved to be unfounded. Not only did creator Steve Lightfoot create an intense and compelling season of television, they managed to find a cure to some of the ills that have plagued all of the other Netflix Marvel series.

The story is pretty straight forward. Just when Frank Castle believes his quest to avenge the death of his wife and children has ended, as he’s settled in to live a life of anonymity, he discovers that the plot that ended with the destruction of his world goes deeper than he imagined. Along with a few allies that he picks up along the way, Frank sets out on a mission to finish the job. There are two things that really set this simple revenge story apart, the themes and the performances.

The Punisher is brutal. The combat is up close and personal. But the story doesn’t revel in the violence (mostly). It uses the violence to speak to issues like gun control, PTSD and the difficulties our veterans face when they return home from war. It doesn’t simply pay these issues lip service nor does it provide easy answers. No punches are pulled in the series’ attempts to show the miserable care that our soldiers receive when they return home from our country’s perpetual overseas conflicts. The effects of PTSD are seen in the lives of Frank and others in heartbreaking detail. It refuses to provide simple solutions to the issues of gun violence and gun control, but weighs both sides without being didactic.

Jon Bernthal leads a stellar cast that slide into their roles with ease. Castle is the role that Bernthal was born to play. He’s believable in his intensity in focus but also in his portrayal of Frank’s special brand of compassion. Ben Barnes is an actor I’ve never been very impressed with, but he’s outstanding as Castle’s old military buddy Billy Russo. Barnes plays Russo in such a way that you’re never quite sure if he’s friend or foe. He’s charming and slimy all in one. Ebon Moss-Bachrach portrays Castle’s ally Micro (the comic’s Microchip) with an exasperated desperation as he helps Frank to settle a score of his own. Amber Rose Revah mirrors Castle’s driven and obsessed personality as Department of Homeland Security agent Dinah Madani. Deborah Ann Woll returns to the universe as Karen Page and is probably as good as she’s ever been. The breakout performance in my opinion belonged to Daniel Webber, a young vet struggling to readjust to life after war. His story exists outside of the main conflict, but it helps the show avoid the midseason lull that fans of this world are used to at this point. Almost every other season could have afforded to have 2-3 fewer episodes to cut the fat and make their stories tighter, but I never felt that way with The Punisher and a lot of that is due to Webber’s solid performance. He was one of the brightest spots of Hulu’s 2016 series 11.22.63 as Lee Harvey Oswald, and I’m hoping that this role will give him bigger opportunities in the future because he’s really great.

To reiterate, The Punisher is not for the faint of heart. It’s absolutely brutal. But if you can stomach it, you’ll find a surprisingly thoughtful and poignant show that entertains while also having some thoughtful reflection on issues ripped straight from current headlines. If you’re a fan of the character or the universe he exists in, I can’t imagine you won’t enjoy The Punisher. The Punisher is currently streaming on Netflix.

Channel Surfing:

  • I’d like to take some space and talk about the Arrowverse, but I really can’t even remember what happened this week. Slade Wilson came back to Arrow, but it was a pretty bland story that didn’t really go anywhere. The door is open for his return, so maybe there’s more to come with Deathstroke. And Diggle finally came clean with Team Arrow about his shoulder issues. I’m guessing Curtis will have a microchip that fixes the issue installed in his armpit by the end of the next episode.
  • I don’t normally give up on TV shows. Sometimes if I do, I end up catching up anyway (looking at you Gotham) but I’ve got two shows that are on life support. I’ve never hidden my disdain for The Walking Dead in this space, and I’ve decided to give it until the mid-season finale to do something interesting before I quit altogether. I’m not holding my breath. The other show I’m about done with is Riverdale. The first season was outstanding but season 2 has been a total slog. I’m struggling to care about any of the characters and the story is an absolute bore. It’s saving grace at this point is that it’s on Wednesday nights and I have very little to watch on Wednesdays.
  • The Seth Rogen and Evan Goldberg penned Future Man starring Josh Hutcherson dropped this week on Hulu and I thought it was pretty good. It’s really funny and has a lot of fun easter eggs for the lover of sci-fi movies. It’s not a show for kids. But you should’ve guessed that when I told you who the creators are.
  • I’m hearing good things about Netflix’s Alias Grace. If you’ve seen it, I’d love to hear your thoughts. I’ll try to catch up with it over the holidays.

That’s all for this week. As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. Next week we’ll get a chance to talk about Marvel’s The Runaways! Happy Thanksgiving! I’m thankful for all of you who read this every week!

Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.

Feelin’ TV: October 30-November 5, 2017

I think that a mark of a good show is its re-watchability. Sometimes I’ll love something the first time, but when I have a chance to watch it over again, I have little to no interest. Some shows, like The Office, Parks and Recreation or 30 Rock for example, are shows that I can watch and enjoy, start to finish, over and over again. Then, there’s the rarest of rare shows that get better every time you watch. I’m talking about Arrested Development.

I watched AD for at least the 5th or 6th time this week and I’m still blown away by it. There are set ups in season one that aren’t paid off until season three. There are gags that run further than any other gags in television history. There are things that make me laugh that I can’t even tell if its intentional or not (is it weird to anyone else that they refer to jelly beans as “candy beans”?) In previous viewings, I’ve been blown away by the intricacy of the story, enamored with the ability of Will Arnett and Jessica Walter to take over every scene they’re in as Gob and Lucile, the awkward existence of Michael Cera as George Michael and the creepy energy of David Cross as Tobias. This time though, I couldn’t stop admiring the straight man, Jason Bateman’s Michael Bluth.

The Bluth’s are wildly un-relatable. They’re rich, oblivious, and as characters, they’re ridiculously broad. I love each and every one of them, but I don’t think I would have been able to put up with them for more than an episode or two without Michael Bluth there to keep the show grounded…sort of. Through 3 seasons and 53 episodes (the Netflix season doesn’t count), whenever the rest of the Bluths threatened to take the show too far over the line into Crazy Town, Michael was there with a look or a perfectly timed quip to bring us right back down to earth. One of the biggest failings in Netflix’s attempt to bring the show back for a season four in my opinion is that Michael was as nuts as the rest of his family, losing its tether to normal people altogether. In a show full of perfectly cast characters, there may have been no one more perfectly suited to the show than Jason Bateman. If you haven’t seen it, I encourage you to give it a shot. If you have seen it, watch it again to rediscover its brilliance. Season five is coming in 2015 with a promise of episodes in the vein of seasons 1-3 and less season 4. Here’s hoping that’s the case. Arrested Development is available to stream on Netflix.

Channel Surfing:

  • The Arrowverse had a great week with a crazy fun episode of Supergirl involving Kara and Jonn flying a convertible to Mars, a Legends of Tomorrow that wrapped a tale about Ray Palmer’s childhood into an homage to ET and The Flash introduced Elongated Man into its universe. The best news this week though? MICHAEL EMERSON IS A BAD GUY ON ARROW! His character at this point seems to be the master of manipulation that we saw in Lost’s Ben Linus combined with the tech savy expertise of Person of Interest’s Mr. Finch. There may have been an audible squeal of glee in my living room when he showed up. This has been a stellar season all-around for the Arrowverse, and with Emerson around, it looks like it will continue trending up. The current season of Arrow, Supergirl, The Flash, and Legends of Tomorrow can be viewed on The CW app.
  • Thursday night NFL football is the worst. The games are always subpar because of the quick turnaround and the matchups are typically pretty lame. The worst part though, is that because of NBC’s commitment to Thursday Night Football, we don’t get to see any new episodes of The Good Place or Great News until the new year. Maybe it’s just sour grapes, but I hate TNF. Well, unless the Chiefs are playing. If you’re like me and you can see The Good Place withdrawals in your future, check out this video taken by Kristen Bell of the rest of the cast finding out about season one’s epic twist (spoilers, obvs).
  • I was remarking to a friend this week that out of all of my friends with kids, I don’t know anyone who has ever had a baby without making it to the hospital first (not counting my slightly crazy friends who have had their kids at home on purpose). But if my calculations are correct, roughly 90% of TV children are born that way. A This Is Us flashback added Randall’s oldest child to that statistic this week. It’s a pretty worn out trope, but overall, it was a strong episode that made me cry so I’ll forgive them for going to that well.
  • Oh, and The Walking Dead was awful. I’m going to need someone to spend some time in the Facebook group telling me why I should still be interested in this show.

That’s all for this week. As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. Happy viewing!

Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.

Feelin’ TV: October 16-22, 2017

I want to start off this week’s Feelin’ TV with a confession. I don’t really like The Walking Dead anymore. I watch it because I’ve been watching it this long so I might as well finish it. I watch it because people around me watch it and I don’t want to be out of the loop at the water cooler (at my office, it’s an ice machine). I watch it because I hope it will get better, but as I sat down to watch the season eight premiere, I was finding it hard to be optimistic. I say all of this because I want to let you in on my head space when it comes to TWD. It’s currently a show that has to win me back.  And it’s going to take more than one episode to do so. But after watching the premiere, I think it’s on the right track.

The best thing that this week’s episode did was that it jumped right into action. One of TWD’s biggest issues has been pacing and taking a ridiculously long time to work up to inevitable conflict. There have been times, like in season two, where I’ve thought the writers were trying to make the audience feel as miserable as the characters with its plodding pace. So I took the promise of all out war this season with a grain of salt. From the opening minutes though, we see the preparations for war, as Maggie and Ezekiel, leaders of the Hilltop and the Kingdom, respectively, join Rick in giving a (only slightly expository and on the nose) speech before heading off to war against Neegan and his Saviors. Before the episode ends, we see them pull off a well-planned and methodically executed plan to do so. It stands in stark opposition to Rick’s typical reactionary nature. It was something different, and for a show that tends to get stuck in the same rut, anything different is good. It was also fun to see everyone working together again. There was so much segmentation last season that we rarely got to see the shows best characters interact with each other.  But seeing Carol, Daryl and Morgan working together was great, and I hope that can be something that continues over the next few months.

I didn’t love everything about it. Carl still exists. He hasn’t gotten a haircut. Michonne is left back at home and not a part of the action taking down the Saviors. Maybe there’s a plan for her, but I fear that she will continue to be criminally under-utilized as she was in season seven. Much of the dialogue are lines that look way better on paper than they sound spoken out loud. But there’s enough about it to like that I’m cautiously optimistic for the future. If you’re a fan of The Walking Dead and want to dig deeper into its themes from week to week, I’d suggest following Gene Gosewehr’s weekly recaps here at Reel World Theology (He’s also quite a bit more positive about the show than I am. He still likes Carl). Seasons 1-7 of The Walking Dead are currently streaming  on Netflix, and episodes from season 8 can be viewed on the AMC app.

Channel Surfing:

  • Arrow dropped a bombshell this week when Oliver invited John Diggle to take the mantle of the Green Arrow. I’m quite interested to see if they’re able to pull that trigger or whether Oliver will find a way to balance his family, public and nocturnal lives in a way that satisfies his conscience as a father and remain the Green Arrow after all. If he indeed does pass the hood to Dig, I’ll be quite impressed with the show-runners, as having your main character make a change of that magnitude is rare. The first hurdle will be the effects of Diggle’s nerve damage and if he’ll be able to physically pull off the transition. But Ollie doesn’t even know about that yet, so we’ll see. The current season of Arrow can be streamed on The CW app.
  • I had heard enough good things about NBC’s Great News that I decided to give it a watch this week. Created by Tracy Wigfield and produced by Tina Fey and Robert Carlock, all of 30 Rock fame (among other things), it definitely has the DNA and frenetic 100-jokes-a-minute pace of 30 Rock. It would be easy to label it as 30 Rock in a newsroom, but I think that’s a bit too dismissive. It stars Briga Heelan as Katie Wendelson, a young producer for a struggling news cast called The Breakdown. Her mother, played perfectly by Andrea Martin, is hired as an intern for the same newscast after being inspired to go back to school to follow her dreams, and as they say, hijinks ensue. John Michael Higgins plays self-absorbed co-anchor Chuck Pierce with all of the flare that you expect from the reliable comedy actor. If you love him as the a capella podcaster extraordinaire in the Pitch Perfect films, and of course you do, you’ll love him here. The biggest surprise to me has been Nicole Richie as Higgins’ co-anchor, Portia Scott-Griffith. Her comedic instincts and timing are nearly perfect as the young, hip (at one point she shares that she spent her weekend seeing The Weeknd at a new club called Weekend) and oblivious yin to Higgins’ old-school, stodgy and oblivious yang. The show takes aim at the ridiculous world of cable news and hits a lot more than it misses. The second season has been especially sharp as Tina Fey joined the cast as the network CEO who takes our main character under her wing as a mentee (ok, maybe it’s an awful lot like 30 Rock). If you’re a 30 Rock fan, I can’t imagine you wouldn’t also very much enjoy this show as well. The first season was only 10 episodes long and the second has only aired 4 so far, so you’re not too far behind if you haven’t started yet. All of Great News can be streamed on Hulu.
  • And we’ll close with your weekly reminder that you should be watching The Good Place. This past week was probably the funniest and sharpest that the show has been as they tackled the classic thought exercise, the trolley problem, with hilarious results. Everyone aspect of this show is currently firing on all cylinders. Get on board now before you’re too far behind. The current season of The Good Place can be streamed on Hulu.That’s all for this week. Next week we get to talk about Stranger Things 2! It’s all happening! As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. Happy viewing!

Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.

Feelin’ TV: October 9-15, 2017

The biggest news in my TV watching world this week is that the CW’s Arrowverse kicked back into action after the summer layoff. These aren’t the best shows that I watch every week, but they’re probably the ones that I most look forward to. Each of them went through spells where they were uninspired and drab, but they’ve also had some impressively high highs. If you haven’t watched before and you like properties based on comic books, I’d suggest giving them a shot. But if you just want to jump right in, the next few paragraphs will give you a bit of where we’ve been and a quick note or two on where the season premieres seem to say that we’re going.

Supergirl ended its second season overall (and first season in the Arrowverse on The CW) in gut-wrenching fashion. In order to save National City and the world from the invasion of the Daxamites, Team Supergirl was forced to take measures that meant the love of Kara’s life, Mon-El the Daxamite, wouldn’t be able to live in the earth’s atmosphere anymore. Our season premiere picks up a few months after that decision with Kara still unable to handle her feelings. She throws herself into her life as Supergirl and neglects her responsibilities as Kara like her job, to her friends and her family. She’s facing an interesting question: If she’s going to continue to have to give up the things that make Kara happy for the greater good, then what is the point of the altar-ego in the first place. It isn’t the first time this line of thinking has been explored in the superhero genre, but it’s handled well because of a predictably great performance by Melissa Benoist. She has the ability to give Supergirl vulnerability without it coming off as weakness that is just a joy to watch every week. Season three brings a few new faces that will be familiar to longtime fans of super-hero TV about as well.  Adrian Pasdar (of Heroes and Agents of SHIELD fame) appears to be taking up the mantle as this season’s baddie Morgan Edge and Erica Durance (Smallville’s Lois Lane, taking Laura Benanti’s role) slides in to a supporting role as Supergirl’s Kryptonian mother, alive only in dreams and holograms, Alura Zor-El. If there’s one thing I didn’t love about the episode, its’s the way that everything gets set back to the status quo by the end of the premiere rather than letting things linger. These are complex issues that Kara is dealing with, so it would be nice to see it take a bit of time to resolve. It’s something that the Arrowverse does pretty often, and this season appears to be no different. It will be a recurring theme this week.

Speaking of a refusal to let things linger, The Flash returned this week as well. At the end of last season, Barry successfully thwarted Zoom’s plot to kill Iris West, but had to exile himself to the Speed Force Prison to keep the universe from being destroyed (it was a whole thing, I’m not sure I could explain it). If I’m being honest, it was kind of a dumb way to get Barry removed from the equation, but I was looking forward to seeing Team Flash in action for a few episodes this season until Barry’s inevitable return, provided the writers had the guts to keep him away for a while. But they did not.  Of course a villain came to town that promised to destroy Central City unless the real Flash faced him. Of course Sisco had been working on a way to bring him back that was just about done (it’s as if the writers totally forgot that the show tried to sell Barry’s banishment as permanent). Of course it worked, admittedly with some side effects. And of course, the side effects were a-okay by the end of the episode. It was an unfortunate development even though I’m a big fan of Grant Gustin’s Barry Allen and I like having him around. But when the consequences of a character’s decisions last for less than an hour in TV runtime, it’s pretty hard to believe that any of the stakes are very high. All of that being said, most of last season (and the season before that) was pretty mediocre to poor, so if hitting the reset button a little too quickly gets us to the fun Flash of season one as the writers are promising, then I’ll eat crow. We’ll need some more context to see if that’s the case.

At least The Flash took a whole episode to press reset. Legends of Tomorrow did it before the first commercial break. When we last left the Legends, they had returned to the present day only to see that time had gone crazy. There were dinosaurs in the streets for crying out loud! But not a minute after the “Previously on” segment, Rip Hunter shows up with his new team of time fixers, who take care of everything effectively and efficiently, and disbands the Legends. Each of our heroes find themselves in the middle of a mundane existence that they can hardly stand (one that looks a lot like yours and mine), but they’re given a reason to regroup when Mick Rory runs into Julius Caesar on his vacation in Aruba. The group proceeds to attempt to take him back to his time, make a mess of things, and then clean it up again. Legends is one show where I don’t mind the quick reset. Each season so far has seemed like its own thing to the show’s credit. It isn’t a show that asks the deep questions. It’s a show about a bunch of heroes that travel through time and screw stuff up. It’s not going to win any Emmy’s, but it might just be the most enjoyable show that I watch every week. Having a season by season arc rather than carrying past seasons worth of baggage keeps the show light and fun.

Arrow returned after an explosive (pun intended because, let’s admit it, all puns are intended) finale that saw Oliver watching in horror as an island with all of Team Arrow blew up before his very eyes. The finale gave us little in the way of hope that anyone other than Ollie survived. But, hey, this is Arrow not Game of Thrones, so season three quickly assures us that everyone is okay (well, Oliver’s son William’s mom died, but we didn’t know her really and Thea is in a coma, but still). That didn’t make me upset because there’s no one on Team Arrow that I don’t like, but again, like The Flash, it keeps the stakes pretty low. The rest of the episode was really solid though with Bad Laurel back from the dead to wreak havoc on Star City’s police department and someone finally outs Oliver as Green Arrow on the news for all to see. Now unless the Legends of Tomorrow show up and use their Men In Black style flashy-thingy on the whole city, things are going to get pretty difficult for Ollie. Throw on the added difficulty that he’s experiencing as a new single father, and you have the makings of a pretty good arc for Arrow’s sixth season. While Arrow has had its issues, I believe that season five really put the show back on track. The biggest difference has been Oliver Queen’s growth as a character. He seems to be in a position to grow even further this year.

Previous seasons for all four shows in the Arrow universe can be streamed on Netflix. Episodes from the current season can be found on The CW app. 

Channel Surfing:

  • Riverdale also returned to The CW this week in a premiere that picks up literally minutes after the finale left off. Riverdale was last season’s most surprising show in that from the outside looking in it appeared to be just another CW drama in a long line of CW dramas that I had no interest in. But by grounding the story in the rich world of the Archie comics and presenting a solid mystery with great performances from a young cast, it completely surpassed my expectations. I’m interested to see if the tension can be sustained now that last season’s arc is complete. The questions about the identity of Fred Andrews’ killer and whether or not Jughead joins the Serpents don’t grab me nearly as much as the mystery surrounding the disappearance and death of Jason Blossom. We’ll see if they can bring in a little more intrigue here in the next few weeks. Mark Consuelos’ addition to the cast as the slimy Hiram Lodge is a good start. The first season of Riverdale can be found streaming on Netflix and the season premiere is now available on the CW app.
  • Halt and Catch Fire ended this past weekend with a solid 2 hour finale. I hesitated to mention it here because I plan on writing more on it later, but it was too perfect not to mention. In the beginning of the episode, Lee Pace’s Joe McMillan recalls a time when he told Scoot McNairy’s now deceased Gordon Clark that the advent of the personal computer wasn’t “the thing” but that it was “the thing that gets you to the thing.” In the context of his speech, “the thing” is the internet. But the finale shows how that idea of “the thing that gets you to the thing” has been weaved throughout the tapestry of the show from the very beginning. In the end we see that the thing at the end isn’t nearly as satisfying as the thing that got you there. In the case of Halt and Catch Fire, that thing is the relationships between the five core characters. While Joe, Cam, Donna, Gordon and Boz have experienced love and hate and everything in between over the course of almost 15 years, they’ve also been constant in each others’ lives, spurring each other on towards growth and maturity. The characters in the finale would be nearly unrecognizable to the characters in the series premiere. But that isn’t the case because of poor writing that isn’t true to the characters, it’s the case because each of them has experienced tremendous growth. It’s not often that I get sad when a show ends because there are so many out there that I keep up with, but I’m going to miss Halt and Catch Fire. Seasons 1-3 of Halt and Catch Fire can be viewed on Netflix and season 4 can be streamed on the AMC app with your cable subscription.

That’s all for this week. That was a long one! Next week, The Walking Dead is back and we’re less than two weeks away from Stranger Things 2! If you’re an Arrowverse fan, come talk about the shows in our weekly Facebook Arrowverse thread. As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. I really do listen! I didn’t start watching Halt and Catch Fire until I heard about it from someone in the group, so keep those suggestions coming.

Feelin’ TV: August 21-27

Game of Thrones has often been a bleak affair. Westeros has proven to be a place where good is trampled under the foot of evil and virtue is the mark of the naïve. This idea was hammered home in the first season with the death of Ned Stark. People like myself, someone who had never read George R.R. Martin’s five volume (and counting?) epic Song of Ice and Fire, watched the first season assuming that the story of Game of Thrones was the story of Ned Stark. It’s what made the most sense to those of us who are experienced sci-fi/fantasy viewers. When things are the bleakest, the hero, a man with strong character and conviction, throws himself into the melee to expel the forces of darkness with their unyielding light. It’s the story that Star Wars, Lord of the Rings, The Chronicles of Narnia and others have been telling, with varying degrees of nuance, for decades. When he was arrested and sentenced to die, my money was still on Ned Stark making it through. I watched him be dragged to the executioner’s block wondering how it was that he was going to get out of this pickle. It never occurred to me that Ned Stark might die until the blade had done its work, separating his head from his body. And Ned was just the beginning. If there’s one thing that has been consistently true in the struggle for the Iron Throne, it’s that you can count on the plans of good men being thwarted.

Over the course of season seven, though, I’ve seen a change in that tone. As winter moves south, hope has started to bloom, and it’s because of the seeds planted by Ned Stark. To the world around him, Ned’s character may have been the weakness that cost him his life. While his time in Kings Landing was marked on the outside by its futility, it solidified something so much more important than political power, his legacy. In many ways, Ned was one of the main players in the season finale. His name was on the lips of Cersei, who knew that she could trust the word of Jon Snow because she knew his father. He was on the minds of Sansa and Arya as they brought the man who tore their family apart to justice (finally!). And his words were in the heart of Jon as he stood to tell the truth in spite of everyone else wanting him to keep it to himself. “When enough people make false promises, words stop meaning anything, there’s no answers, only better and better lies,” said Jon, echoing Stark. Furthermore, Jon’s moral compass, instilled in him by the man he knew to be his father, gave him the inclination to forgive the duplicitous Theon Greyjoy, inspiring him to grow a pair (sorry) and go save his sister. That’s the power of legacy. For all we know, it’s entirely possible that season 8 ends with Jon Snow and Daenerys Targaryen being buried in a shallow grave while Cersei Lannister ascends the stairs to the Iron Throne. But for now, hope grows as the cold moves in, and it appears that Ned Stark will still have a say on the world that emerges when the winter is over. Game of Thrones is available to stream on the HBO GO and HBO NOW apps. 


Sometimes Netflix recommends some dumb things that I wouldn’t ever think about watching. Sometimes I watch one anyway because I’m bored and Netflix blows my mind. The latter happened to me this week when for no good reason at all, I decided to take Netflix’s advice and watch CW’s Riverdale. Riverdale is a reimagining of the classic Archie comic. It feels like Archie, Jughead, Betty and Veronica thrown in to the world of Veronica Mars. That’s not an insult. Veronica Mars is one of my favorite shows of all time. The show subverts its source material’s wholesome vibe by digging into the underbelly of a town run by powerful families hiding terrible secrets. It’s funny, sexy, intense and intriguing. It makes the most of its 13-episode first season order by telling a well-paced story that ends with enough threads dangling to keep viewers on the hook for its second season. If you’re looking for a short little series to hold you over until the fall season launches in late September, you could do a lot worse than Riverdale. Riverdale is currently streaming on Netflix. Season 2 airs on The CW beginning October 11. 

Another quick series that I’d highly recommend is Amazon’s The Tick that dropped on Friday. It’s an easy watch, 6 twenty-minute episodes, and it’s a lot of fun. I’ve been a fan of The Tick since I started watching the cartoon when I was in high school. Peter Serafinowcz plays the titular character, a large, naïve, seemingly indestructible bloviating blue man who may or may not be wearing a costume. He’s great. He’s long been a reliable comedic character actor in films like Guardians of the Galaxy, The Spy and Shawn of the Dead, and he slides into the lead role very easily. Griffin Newman plays Arthur, Tick’s reluctant sidekick, who has done tireless work trying to prove the continued presence of the presumed dead villain, The Terror, played with a knowing wink and nod by an unrecognizable Jackie Earle Haley. It’s a delightfully funny send up of all things super hero with a lot of room to grow. The first season sets a great foundation for more. The only disappointment was the absence of classic Tick characters like American Maid and Batmanuel. Hopefully we’ll get to see them when the second season comes around. The Tick is currently streaming on Amazon Prime.

That’s all for this week! Fall TV is just around the corner. What new shows do you want us to cover? Leave your comments below!