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Dark Matter: The Box (2024)
A Tightening Grip - Episode 3 - "The Box"
It's been a week since we were able to behold Blake Crouch's creation on our screens. For me personally, it's always a good thermometer, of sorts, to check whether or not you're looking forward to another episode after having to wait for 7 days. Do you sense nonchalance within yourself? Or excitement? Do you want to unfold the mystery of the story further, or have you been content not having it at your disposal? I for one was eager to jump back in, and after a quick recap of the previous events, I find myself at the mercy of the ever more tightening grip of Dark Matters.
Episode 3 is an episode with truely important plot points, and without giving away anything about said plot, it makes episode 3 a bit faster-paced than the previous two iterations. It takes some jumps, not leaps, to further not only the main arc of Dark Matters, but also the development of its main characters. I'll be the first to admit that I've always been a sucker for parallel-universe-lore, and Dark Matters shows you why it is such an intrigueing subject. Mind you, as specifically mentioned, the episode doesn't make leaps, which is a good thing. Even the jumps that can be seen as questionable or skipping past important notions of the storyline, are almost instantly rectified by following dialogues.
A lot of characters show their bite, where first there was a mere bark. Relationships are put to the test almost every step of the way, and some of our characters hava a first encounter with dilemmas. Edgerton continues to do his best to show us all he is very much capable of leading a cast of equally talented actors. The story continues to stay close to its source material. And, as we have come to both hate and love about scientific thrillers, it leaves us with an agonizing cliffhanger, of which we know we'll have to wait an additional 7 days to have our questions answered.
Until more of the series and its plot are available to us, I'll be safe about it and score episode 3 a very respectful 8 out of 10. But make no mistake, knowing the story as written by Crouch will be the story shown in Dark Matters, the series shows an adept skill in pacing with strong characters that develop more and more.
Bodkin (2024)
Worthy of our Time, but Not our Memories - Full Review - Bodkin
As always, no spoilers in my reviews.
The attraction that murder mysteries have to us as an audience is well-known. As such, to no one's surprise, the genre is not uncommon in televised entertainment. From the more classic approach of miniature investigations in each episode, like CSI, to longer-lasting and overarching bigger mysteries, like Sherlock or Luther, mystery dramas tend to do well. But is 'well' really good enough anymore? What makes a murder mystery lasting in our increasingly limited memory. Do we prefer the central characters developing, or do we instead give favor to a more complex mystery? Or, in rare cases, can we get both? As Jez Schafer and Alex Metcalf worked on Bodkin together, they must have had the same questions. But while entertainingly lighthearted and plain and simple fun, Bodkin is worthy of your time, while slipping away from memory.
Bodkin's primary elements fixate on a disappearance mystery, investigated by a wildly differing trio, aided by and worked against an array of support characters, while all being set against the backdrop of an idyllic and small Irish town. Our trio consists of famous podcaster Gilbert Power (Will Forte), wreck'em-up-styled journalist Dove (Siobhán Cullen) and newcomer-so-naive Emmy (Robyn Cara). Gilbert is a cheery and happy-go-lucky American, as typical as they come, while his assistant Emmy is a bit more realistically balanced. Dove is, more times than I'd want, an excruciatingly cynical and pessimistic reporter, with a somewhat understandable reason as to why she is the way she is. Bodkin also features many extra characters, of which David Wilmot, playing a fierce Seamus Gallagher, is the most noteworthy. Not saying the other characters are fuel for boredom, but... they just don't linger. Sadly, it is a returning feature for Bodkin, specifically in the first half of the show, to choose quantity over quality.
Don't get it wrong: Bodkin is entertaining television. As nearly each episode is formatted in a same manner, working from its last cliffhanger to the next, you'll be enticed to watch one more, 6 times in a row. It is however, not a very strong case for a compelling mystery drama, if it seeks to lean on cheap tricks and predictable endings. As the episodes go by, so does the mystery and its supposed revelations, but none of it really sticks. It goes onward to provide us with a satisying ending, albeit it a bit far-fetched at times. Then again, Bodkin was inspired by something overheard in a pub... That's to say, Bodkin does its thing as you'd expect from a murder mystery, pushing the story forward bit by bit, allowing for some room of character development and the occassional knee-slapper. But I can't help but feel it could've been a lot more than that, with just a little bit extra.
Instead, Bodkin tries to do too much, with too little effort. Inclining you wish to uphold high standards, character development is lacking truly shaping events, humor that was supposed to be dark is rather run-of-the-mill instead, and dialogue is predictable and of little substance. While the show juggles several storylines among an ever-forwarding central mystery, it sacrifices true art for a quick and mild success. As a concrete result, the stories together create a strange sort of pace, ultimately rushed down in simplicity and eager to leave not a trace of grandure, but of a fun and satisfying mystery. But if it is that lighthearted Saturday-evening entertainment you're searching for, make no mistake, Bodkin will deliver.
Bodkin receives a 7 out of 10.
Bodkin: Empty Your Pockets (2024)
It All Comes Down to This - Episode 7 (Finale) - "Empty Your Pockets"
Alas, we're at the final straw, the last bit of our murder mystery in idyllic Bodkin. For most shows, finales of a season, or in this expected case, an entire series, are often the most important episodes. But for a murder mystery, it adds an extra layer of expectations to it. It is, in every sense of the word, the final chance to finish your story. And to have any hope of your creation being a memorable one, you must do it right. And Bodkin... does this quite well, actually.
No, I haven't completely swayed to a point of ecstacy about the show, and it still will not be the most memorable experience and/or story you have witnessed. But it redeems itself in the end, by seeking closure to previously weird story arcs, allowing for final development of its characters, and by giving us a satisfying ending. Episode 7 does what we have come to mildly enjoy about Bodkin. While most of mystery itself is finished at this point, having had 6 episodes for the unraveling of the disappearances and murders, "Empty Your Pockets" shows us what all of our characters do upon hearing the outcomes of that investigation.
Waiting tirelessly, Emmy finally shows the bite that goes with the earlier bark, Gilbert comes to important selfaware conclusions and Dove shows us yet another different side of herself. While most of these outcomes are enjoyable, they remain in the safer space of creative writing that we have come to expect from Jez Schafer's construct. The dialogues remain predictable, the jokes keep it comedy rather than the dark comedy we expected, and the character development, where applicable, edges ever onward with no ground-breaking events. The show reminds me of a good and clean cut at the barber: after seeing the same one for a while, you know what to expect, decent, nothing fancy, just safe. That sort of feel.
While I make up my mind about the show's overall score, episode 7, the series' finale, cuts a clean 7 out of 10.
Bodkin: Ends Justify Means (2024)
Been There, Done That - Episode 6 - "Ends Justify Means"
Writing reviews per episode is a tricky business. It's hard to figure out what events in which episodes will hold a connection to any show's overal plot. However, episode 6 being the penultimate episode of Bodkin, meaning we'll have just one episode left after this, I can, with a fair amount of confidence, say that the alternate storylines to out main characters hold little interest for the finale. And if it doesn't, and instead shapes up to be of the upmost importance, Bodkin chooses to deliberately stretch out character-shaping arcs for a big bang in episode 7, which is honestly just a shame.
Episode 6 focuses on bringing the murder mystery quite a bit further in terms of solving the riddle. The questions answered are of significantly more importance than what we have seen until now. It's not a surprise, as most shows that feature investigations of some sort often turn to nail-biting conclusions near the end of a season or, in this case, the entire show. The way in which Bodkin chooses to do this is stale however, hiding behind cheap secrets, obvious lies and an overall theme for the show of a close-knit community that is wary of outsiders. Sure, softening up the inhabitants of the idyllic Irish countryside can be a fun exercise, but hardly so is the case when each non-main characters is developed in the exact same way.
Where episode 5 employed a different technique of storytelling, episode 6 sees our trio and its setting go back the more linear approach of asking some questions, getting lied to, and then running out of time. Don't get me wrong: you'll still want to hang on and finish the ride, but the ride itself is so full of ups and downs, the question one will have to ask is if it would all be worthy of your time at the end. "Ends Justify Means", as all others before it, also has its good moments, with a side of Dove we were yet to witness, as well as Gilbert finally showing a more direct and abrasive side of himself. It's a shame that none of it really sticks.
As the episode chooses to end itself on an extremely poor attempt at meaningless banter, episode 6 scores the same number as its iteration number: a 6 out of 10.
Bodkin: Peace in Our Time (2024)
A Different Approach - Episode 5 - "Peace in Our Time"
And there you have it, following last episode's review: the magic that can occur when you favor quality over quantity. While episode 4 was close to make us lose our interest alltogether, episode 5 grabs it back, in style too. "Peace in Our Time" is like most of Bodkin's episodes or, really, any other mystery drama show: it answers some questions, raises some new ones, and provides us with some character development. But where most of the episodes did this in its same and rather bland style, the fifth installment not only provides us with a refreshingly new style, it also improves on each of the aspects we mentioned.
The episode's style is a well-known one: it focuses on one storyline, but zooms in on different characters' point of views running parallel to each other. The effect is not necessarily more of the central mystery being revealed (quantity), but the part that is revealed is done with a keen eye for more detail (quality). Both Dove and Emmy enjoy a new depth to their characters, albeit not groundbreaking by any means. Gilbert unfortunately does not see this yet, although the episode does set a stage for a possible development in character for him as well. Yet again, Seamus undergoes a vast array of different emotions, which Wilmot is portraying nicely.
While the show's struggles remain visible throughout the course of episode 5 also, the manner in which it's visible becomes blurred for the first time since we started watching. It's also the episode in which there's room for actual dark humor, even though it's still on the safe side. The environment set in this episode seems to better Bodkin in nearly every aspect, and it makes me wonder what would happen if we got more of the story narrated by Gilbert.
One can only hope Jez Schafer's creation can keep up this pace, mixing in plot twists with its promised dark humor and giving us a side of character development at last. The plot thickens while "Peace in Our Time" scores a very solid 8 out of 10.
Bodkin: Poison or Something (2024)
Slow and Steady - Episode 4 - "Poison or Something"
Where episode 3 featured a wide array of characters, opening up possibilities for interesting, and pointlessly witty at times, dialogue, episode 4 sees Bodkin going back to its core trio. While the dynamic between these three is becoming stale, the insertion of them seemingly going their different paths more and more adds some, not many, layers to the story told. Specifically, the Gilbert and Seamus arc of the episode is the most enjoyable part of this episode. Not to say Dove and Emmy do unremarkable things, as namely the latter enjoys some well-deserved depth to their persona.
If it wasn't for David Wilmot's portrayal of Seamus, the episode would lose its little interest. The unfortunate trend I see forming is that the main characters, Gilbert, Emmy and Dove, carry too little substance to them to grasp attention and keep it there. Sadly, Dove's character arc is an uninteresting one, where her continued lack of proper humane morals becomes excruciatingly cliché and bland. Emmy finally shows her bark but has yet to truly reveal her bite. Gilbert is once again put on the back end of character development, as even now, it's Seamus that is most deserving of your attention. Bodkin tries to steadily move itself forward, but truly suffers from a slow pace in storytelling.
Although slow and steady usually wins the race, the main goal for Bodkin should rest on the advancing of its mystery. The show painfully juggles storylines that raise questions on the meaning of those storylines related to its main murder case. Every episode, we get a few minutes, and sometimes not even that, of alternate arcs that provide little information to our characters' personal matters. It takes away attention that could sometimes better go towards its main story, seeing how seemingly little influence those alternate arcs have on our murder mystery.
Bodkin seems destined to want to stretch itself out, with little to no acknowledgement of its relationship to the story told. While our trio slowly and steadily delve deeper and retrieve more and more answers, one can't help but wonder why. "Poison or Something" gets a 7 out of 10, but it is dangerously close to being at the lower end brackets of scores if it continues to sacrifice quality for quantity.
Bodkin: Perfectly Innocent Life (2024)
Development Galore! - Episode 3 - "Perfectly Innocent Life"
Episode 3 improves on nearly everything its two forebearers set as a stage. Where episode 1 set an alright stage for a perfectly fine and fun murder mystery, and episode 2 working hard to undo that fun, the third installment of Bodkin feels fresh again. There is room for dark but also lighthearted humor, profound but also emotional dialogue, advance on its mystery but also on character development. Where the series stands on the edge of becoming its own caricature, "Perfectly Innocent Life" swoops in to promise we have not yet seen all that Jez Schafer's Bodkin has to offer.
The key to its success, albeit mild, is the inclusion of a much broader set of characters, opening up a realm of possibilities in the dialogue department. Where the other two episodes quickly became stale in its dialogue, referring to riddling its conversations with clichés and toe-curling humor, episode 3 dares to make its cast open up to the viewers. We still receive the step-by-step treatment of any murder investigation, and that same method is also found in the sidelined storylines that zoom in on Gilbert's and Dove's personal situations. Every episode peels off a bit of those arcs, but it's the combination between the scenarios happening in idyllic Irish countryside and our characters' mainland that makes it tick more efficiently than before.
Bodkin clearly has its goal to entertain viewers for about 50 minutes, drop a good ol' cliffhanger and roll credits. The clues gathered during their research raise just enough questions for us at home to want to unravel the next episode again. But if it merely continues that pace, the show will quickly lose its favor. No; it needs to show us, needs to let us feel connected to the small town and its inhabitants. Because that's where Bodkin can prove to be something more than a hand-me-down mystery that simply wishes to tell its rather predictable secrets.
Here's hoping this episode is a but a teaser of what we can expect from Gilbert, Dove and Emmy, but if it doesn't, we at least had this. "Perfectly Innocent Life" scores an 8 out of 10.
Bodkin: Who We Are (2024)
The Not So Mysterious Mystery - Episode 2 - "Who We Are"
While episode 1 focused on introducting the show's main characters, as well as the first few leads into our investigation, episode 2 of Bodkin builds on that foundation. It adds some, although seemingly not enough, layers to our characters, allowing for a mild touch of development in that department. The personality traits are also enlarged, showing us a more and more intrigued Dove, while still holding on to her unrelentless snarky nature. Emmy also shows us her inner conflict more, having to pick between the kinder and more respectful methods of Gilbert or the more abrupt and invasive ones of Dove.
If it wasn't for the dynamic the trio gives us to relay our minds from a rather bland mystery, the show wouldn't be able to grasp attention for as long as it does. It continuously wants to push you one episode further, using out-of-the-book cliffhangers and revelations that will undoubtedly increase the mystery's complexity. But the reality of the matter is that it needs to be looking at different directions to entertain its viewers in a wider sense.
Although the comedic murder mystery warrants its disclaimer that we've mentioned in episode 1's review, it begins to look stale in episode 2. There's only so much to do with the basic set of emotions handed to our lead actors by a limited script, although Robyn Cara tries her damn hardest. Nigh all characters are given a single state of mind, with less room for their development as the focus on the actual mystery seems to increase. Sure, there are some sidelines in which Gilbert's personal situations come to light, in which Dove finds herself reliving traumatizing events, but they're short-lived and stale.
It's saddening to think this is all we'll get from an otherwise talented cast. Specifically Will Forte, increasingly seen as a talented comedic artist, is put on the backseat as the show's focus seems to favor the hardened Cullen and her portrayal of Dove. The not so mysterious mystery needs to increase its depths to further maintain curiosity, scoring a 6 out of 10 for episode 2.
Bodkin: One True Mystery (2024)
A story about Bodkin... And people will watch it? - Episode 1 - "One True Mystery"
Comedic drama series always draw more serious reviews than it warrants. They need a sort of disclaimer, a thought of sorts, before one embarks on them. For Bodkin, it is no different, as one will fairly quickly after finishing its first episode. As for the actual disclaimer for this series, even though not much can be known from "One True Mystery": do not go looking for top-end dialogue, belly-laughter scenes or mindboggling twists, as it's not a comedic drama's goal to shock the world. The goal is to provide lighthearted fun, a step away from the more serious forms of entertainment we have at our disposal. And that is exactly what Bodkin offers.
Bodkin is created by Jez Scharf, a rather new figure in these parts, mostly known for unknown work. Other than Nash Edgerton, whose work you could behold in Mr. Inbetween, and Bronwen Hughes, having directed several episodes for high-profile TV series, the rest of the production team is similarly unfamiliar. There is one name however that stands out, or rather two people that share the same name: Barack and Michelle Obama are listed as executive producers for Bodkin. The show doesn't sell it on that though, as it shouldn't; I doubt their influence is of the upmost importance here.
Episode 1, as all pilots do, focuses on the introduction of our characters, the general vicinity of its plot and the overall setting in which most of said plot will take place. We meet our rather dynamic trio: upbeat and frivolous podcast host Gilbert Power (Will Forte), naive and sweet Emmy (Robyn Cara), and misunderstood-because-plainly-rude Dove (Siobhán Cullen). The mix in personality traits makes for enjoyable dialogues, albeit almost positioned as caricatures of themselves. There's naive, and then there's Emmy. There's happy, and then there's Gilbert. There's cranky... you get it, I think. And for all the small laughs it enjoys, it's also dangerously close to becoming its own joke. Namely Dove has to melt quickly, because as understandable as her character traits are, at times, it's excruciatingly unlikeable. Luckily enough, the show sets the stage for what looks to be like a balanced comedic murder mystery.
The first episode of Bodkin won't be the most memorable piece of entertainment you've consumed in some time, but it's nice to be able to just enjoy something lighthearted. There's plenty of mixed scenes in its bag to be good TV, and people will watch it. With a smile, episode 1 scores a timid but more than okay 7 out of 10.
Dark Matter: Trip of a Lifetime (2024)
The Time Between the Clicks - Episode 2 - "Trip of a Lifetime"
Luckily enough, as most publishing studios seem to make a habit of, Apple decided to not just give us episode 1 on release, but episode 2 as well. And for good reason. Where I found myself willing to further unravel the mystery that is Dark Matter after episode 1, the second installation of this season does so even more. The main goal of a second episode, if done right, is to present the viewer with some, not too many, extra layers to the overall plot it seems to steer towards. "Trip of a Lifetime" does so graciously, with a more and more impressive Joel Edgerton, and an even more impressive dynamic between Joel and Jennifer.
Episode 1 left us with questions, and while episode 2 answers some, it mostly just adds new ones. It's a good trick out the ol' thriller-handbook, but not less effective because of it. As a viewer, one wants to be able to create their own version of the storyline, only to be glee when it unfolds in that manner or, better yet, to be surprised when it doesn't. Jakob Verbruggen, director of the first episode as well, does this right, as we know him to do. My initial doubt of Joel being able to carry such a profound role slips further away, yet ever remains. Two episodes in is not enough to vanquish it alltogether, but it tries its damn hardest.
Accompanied by a strong Jimmi Simpson and an endearing Jennifer Connelly, part 2 offers more room for intricate relationships to be discovered. In particular, chemistry between Connelly and Edgerton is splashing up until now. The acting needed to pull off multiple faces, attitudes and small details in their interactions amongst each other should not be taken lightly. Even more so, episode 2 teases us with what's to come in season 1, and if you may believe the preview, the intricacies only increase in number. Sure, there are some minor details in dialogue that could be better. There could be more room for different kinds of emotion and understanding. But as a whole, after 2 episodes, Dark Matter is shaping up to be a refreshing entry in an otherwise competitive field of psychological thrillers.
As we end episode 2, knowing we now have to wait a week for the show's third part, it makes it worth the wait. Where episode 1 marked an 8, episode 2 definitely deserves the + next to it.
Dark Matter: Are You Happy in Your Life? (2024)
Raising Questions and Showing Potential - Episode 1 - "Are You Happy in Your Life?"
Over the past few years, psychological thrillers have been rapidly growing in numbers. Specifically, dramas that actively chase the boundaries of the seemingly impossible have found a strong footing in today's entertainment landscape. Dark Matter profiles itself as that, a psychological thriller that pushes its storyline towards the supernatural. It's a slope that can quickly become too slippery, with many examples losing themselves in their narrative as a result. Dark Matter is no different in that regard. It shows potency to become too complicated for the audience to share a meaningful connection with the show and its actors. However, as far as pilots can set a stage for an entire season or even show, it's off to a promising start to do it right.
The series is based on, as so many series are these days, a novel. The novel is created by Blake Crouch, who is also very much involved in this spinoff. Crouch previously tried to transform his novel into a cinematic approach, wishing upon itself a feature film. However, a case can be made for the complexity of the content of his novel to be more fitting in a TV show adaptation. Wishing to do these reviews while giving away no major spoilers, the novel, and thus the show, tells the story of Jason Desson (Joel Edgerton) that is abducted and consequently abruptly thrown into an alternate version of his life. The first episode, and more to follow, is directed by Jakob Verbruggen, most commonly known for his strong work on The Alienist and The Fall. His directing style is quite noticeable, and in all honesty, it seems fitting for now. Cast of the series include Joel Edgerton, as the show's (very) main character and Jennifer Connelly, presenting as the supportive wife, Daniela.
"Are You Happy in Your Life?" does nigh everything you wish from an opening episode. It raises questions, introduces the main plot that viewers can interpret on their own, and lets us see most of the show's central characters. If by the end of this episode your wish is the same as mine, to further unravel the questions put forward, a pilot served its main goal. Doubt arises also, as the show will hinge on the ability of a select few to portray strong performances throughout the first season's 9 episodes. My main concern rests on Joel, having to play an intense role that demands multiple faces and attitudes. The same can of course be said for the other actors, but Dark Matter will, by all means, tell Jason's story. Meaning it is up to Edgerton to deliver the bulk of storytelling, a role not often taken by him.
All of that is for later concern, as episode 1 raises questions and shows its first potential, making this a strong pilot that scores anything but a dark 8 out of 10.
Masters of the Air (2024)
A Story as Convoluted as the Skies it Portrays - Masters of the Air Full Review
Before we begin, as always, my reviews hold no spoilers.
The year is 2001. Mini Series, let alone 'epic' Mini Series were rarely being produced at this point. If done right, it shares budgets the size of movies, but without the, sometimes, outrageous returns on that investment. For most production companies of entertainment value, it doesn't attract. Cue Steven Spielberg, Gary Goetzman and Tom Hanks. Cue Band of Brothers. A mini series on a scale we were not yet accustomed to, but soon would represent a new standard in television productions. To amplify my statement mentioned above: Band of Brother's budget was 125 million dollars. By that time, plenty of war movies hit our screen, and while some of them are outstanding productions in their own rights, we never knew we needed a longer tale of such an event before we got BoB. From that same team we got teased with Masters of the Air, dating back years since we first heard about its aspirations. And before we delve deeper into this review, it is not fair to expect another Band-like production. To properly review it, one must put it into its own vaccuum. However, how do we do that when we know what we can get? How do we potentially enjoy a Mars, when we've tasted Snickers before? Alright, that's personal and uncalled for.
Masters of the Air is an epic TV Mini Series focusing on events in World War II. Specifically, as the title rightfully suggests, it focuses on the aerial combatic section of said war. Even more specifically, its main point of interest lies with the 100th Bomber Group on the United States. That last bit caused major dismay for our British friends, as the RAF played a major part in the eventual success story in WWII. Our main characters are played by a seemingly strong cast: Austin Butler, Callum Turner, Nate Mann and Anthony Boyle are the show's centric pieces for the to-be-told storyline. We already know the production team's captains, but the 'supporting' (arts in their own rights) figures carry their own weight. John Orloff as a writer (also from Band of Brothers), Blake Neely on music, Colleen Atwood on costumes, every member of the team has earned his or her stripes. It all looks to be a match made in heaven or, rather, the return of a crew that has proven it can deliver outstanding television. With all the right pieces, Masters of the Air is set to reach tremendous heights. And yet, it rarely, very rarely does.
Masters of the Air does a lot of things well enough, some things are superb, and some other things are unworthy of the story it tries to tell. Trying to come up with a show's main flaw, a main culprit as to why it never really outdoes itself in any department, I find myself stuck. In all its glory, we share a journey together with our protagonists, and by all essence of the saying, we do. But the journey feels clunky, rushed and even heartless at times. On the other end of the stick, some its key moments are among the best bits of TV we can witness. And that right there would be the red thread through it all: it could've been so much more. We've seen in the series itself that it could've been so much more. So why wasn't it?
Masters of the Air is not bad television, far from it. In its own vaccuum, it's enjoyable, great even, from time to time. But sitting down to watch 9 episodes of 50+ minutes of TV, knowing you will not get anymore after those 9 episodes, the feeling at the end of it all should be much more memorable than MotA allows it to be. I watch mini series to be taken on a journey, to share a connection between myself and the story, to feel emotions in the events that occur, in all of its forms. As far as televised entertainment goes, Masters of the Air delivers. But as far as the epicness of being a mini series that takes place in the heart of maybe one of our most tragic times these generations have witnessed, it fails to deliver the quality one aches for.
Like so many others before it, Masters of the Air struggles with upholding multiple storylines to a decree that would entice a viewer to experience emotions with the story told. Every episode tries to tell a bit of all of the storylines, rather than taking the chance to thematically decorate episodes with some of them. It more often than not results in convolution of the narrative and, as such, fails to make most characters or the events that happen to them memorable. At the end of most episodes I find myself reflecting on them, trying my hardest to sum up the key events that took place. This should not be necessary. Not in this show.
But of course, there are things that Masters of the Air does well, nigh perfect even. As advertised plenty, the depiction of aerial combat is stunning. Camera work from within the bomber places, but also outside, effortlessly flows through the episodes, with some absolute treasures of episodes among them. Namely dependent on the director in charge of an episode, we see some of TV's most impeccable CGI, a department in which we have already been tremendously spoiled by other productions. Furthermore, most the leading cast members deliver stellar performances, albeit all very reliant on the material given to them. A special hats off to Anthony Boyle and Nate Mann, whose characters actually form their own development from a certain state of mind to the next. Neely's music score can also not be left behind when describing the show's key performance factors, as everything, from the main theme to the accompanying sheets for some of the show's most memorable scenes, clicks together to try its hardest to redeem an otherwise mediocre tale.
Alas, there is something exta grim about being confronted with a show's full potential, but only seeing it for 25% of the time. Masters of the Air is a story as convoluted as the skies it portrays, while one can clearly see it could've been much more. Do not however hesitate to watch it and see for yourself, as you'll have a good time doing so. In its own vaccuum. Knowing what else was out there, Masters of the Air scores a meager 7 out of 10.
Masters of the Air: Part Nine (2024)
A Modest Redemption - Episode 9 - "Part Nine"
That is a wrap. That was Masters of the Air. Part Nine is the show's final entrance, and it goes without saying that all eventually goes well for our winged heroes. At least, as well as it can go, for most. As for how it closes out this epic Mini Series: it's a modest redemption of a greatly stumbling tale. Part Nine continues right where we left it at Eight, mostly focusing on the POW storyline, and its connection to the bigger show's plot. We get closure on almost all storylines that show tries to tell, where one is closed off quicker and more abrupt than the other.
Episode 9 is directed by Timothy Van Patten, which is one my all-time favorite TV show directors. The clear vision of the story that he wishes to portray is a good one, but it struggles to fully redeem itself as the mini series that could have been. Too many episodes that it must rectify, too many botched and rushed storylines it needs to close, and so many high expectations to withstand. If only the setup would've been better, the overall excitement after finishing the penultimate entry in the series would've been of a better level.
But there is redemption indeed. Part Nine mixes the will to end the show with a phenomenal portrayal of our now beloved main characters. As always, Nate Mann shows his versatility, Anthony Boyle his vulnerability, Austin Butler his sheer will. But episode 9 is truly Callum Turner's redemption arc, as he is given, rightfully so at last, more emotional screen time than before. To fully appreciate an actor's wide array of capabilities, one must first cover the material. And this is where he shines, finally.
An end of a story worthwhile telling, and worthy of its tale, Part Nine closes off Masters of the Air with a solid 8 out of 10.
Masters of the Air: Part Eight (2024)
Just Too Much - Episode 8 - "Part Eight"
When a show struggles to create any profound connections with its character and, to a greater extend, different story arcs, the worst possible turn of events would be to attempt to create even more. Sadly, that's what episode 8 tries to do. While it's admirable to see the show's effort at portraying the Tuskagee Airmen, it does so amidst the already numerable present arcs. The result is convolution in its narrative, a trait that turns out to be Masters of the Air's true achilles heel.
There's light in this episode too, however, coming mostly from an apt performance from the Airmen and the band of prisoners of war. It's where Part Eight truly shines, but its shadow cast by numerous parallel storylines is too dark to truly come to fruition. Both Nate Mann and Anthony are criminally underused, put on the back bench with some lesser dialogue than what they deserve. Episode 9 simply tries to do too much, too little.
There's no denying that the arc of the Tuskagee Airmen deserves its own space. But no matter how hard it tries, the showrunners seem bend on pushing it among the other storylines. Room for detailed backgrounds fade, as even the most important event of World War II gets sidelined with a mediocre to simply bad reason. Few will find it cleverly done, many will leave Part Eight with a sense of "I wish I would've seen more from thát!".
For all the storylines it tries to tell, it tells them poorly, rushed and nigh incomprehensible, netting Episode 8 a meer 6 out of 10.
Masters of the Air: Part Seven (2024)
The Calm Before the Storm? - Episode 7 - "Part Seven"
Episode 7 is similar to episode 6 in its pacing, although it tries to tell more in the same timespan as its predecessor. Because of that, episode 7 feels clunkier, more forced, a deliberate calm before an eventual storm. Directed by Dee Rees, who is probably not known by a bigger part of MotA's viewerbase, this one feels like it was given goals to tie up loose ends that would've otherwise been scrapped from the script alltogether. And as honorary as that might seem, it makes the episode feel rushed. Not even the narration by Crosby delivers a sense of being in the moment, something that most often than not connects storylines together the actual scenes in-show struggle to do.
Performances by leading actors and, more importantly so, supporting ones, remains to be strong. Given the material they had to work with during this episode, the actors save us from what would otherwise be bland and dull television. An additional argument for the show's success up until now were the aerial combat scenes, which episode 7 also features, albeit in a timed manner. The batallion's missions take an unexpected and, rightfully so, terrifying new direction, and I can't help but feel this new path would've done well with more of a backstory. To be more 'in the moment' when the news is brought upon our now, mostly, young pilots and soldiers.
Everything it tries to do, it does well enough to not be a bother. But a sense of rushness and inclarity persist within me when I reflect on Part Seven. Even now, when writing this review, I find myself grasping for meaningful words to put on digitalized paper. And while this can definitely be a welcome change in an otherwise hectic entertainment landscape, it seems to be lesser welcome here.
Hoping it's a deliberate and well-meant calm before the storm, episode 7 of Masters of the Air scores a just-as-well-meant 7.
Masters of the Air: Part Six (2024)
A Powerful Interbellum - Episode 6 - "Part Six"
Once again, we are faced with a much calmer kind of episode, after being spoiled by its predecessor. However, this time around, instead of being a cold shower, it's more the phase between two warm baths. One knows the episodes will pack punches again in the not too distant future, and to take the time to heed the tranquility set in episode 6 is both wise and comforting. Do not however, take up too much comfort, as there is plenty to get lost in and make slip your eager mind in this episode also.
After the destructive events taking place in episode 5, episode 6 interludes its own plot by narrating the need for peace and quiet. Albeit for just a few days. Instead of downright defeat in their eyes, our main characters are seen with reflective nature. Nate Mann continues to warrant the question of why we're not able to see him more in other shows, while Boyle and Turner are presenting themselves as the show's most centric pieces, more and more. The dialogue sometimes steers its way into more predictable water, sometimes riddled with clichés, but even that does not take away from the fact that the deliverance on their lines is impeccable. To create tension and unlock emotions from its viewer by not using conversational backdrops is a skill most would be envious of. Anna Boden and Ryan Fleck continue to marvel and daze in that aspect of storytelling.
While the episode omits any form of real combat, the room for breathing is welcome, if paced well. If you interlude, tell your story, and then create a powerful bridge to the next episode, with a touch of humour, anger and tension, the episode plays itself. As a cherry on top of this cake of interbellums, Bel Powley could not have been cast in a better role. Credits for Masters of the Air often goes to combat, CGI and special effects, but my word, costume design, done by Colleen Atwood, is near perfect.
A welcome and well-paced pause amidst a rapidly expanding show, episode 6 scores a very strong 8 out of 10.
Masters of the Air: Part Five (2024)
Irrefutable Yet Unexpected Perfection - Episode 5 - "Part Five"
Where episode 4 left me with a pondering sense of the show's overall plot, albeit in a low quality manner, episode 5 finally shows us everything. Better yet, it shows everything in its deserved and upmost beauty. Where episode 3 was a diamond in the rough, episode 5 is stunning yet terrifying, slow yet perfectly paced, beautiful yet dirty. It elevates itself above the rest of the bunch by being well crafted, by all meanings of the saying.
As we have come to expect, and as such almost lesser value, the action scenes taking place high up are gorgeous. But what episode 5 does in a better manner than episode 3 is pacing. It takes time to tell a story of character amidst the rampant carnage. Being the first episode directed not by Cary, the place-taking director is Anna Boden, accompanied by Ryan Fleck. The difference in styling of the episode works to its advantage, as the crafting of the action sequence is only this beautiful because it takes its time to first construct a closer connection to the crews heading up into the clouds.
But what truly evokes the emotion from a viewer will be the acting. Anthony Boyle plays the now well-known Crosby, who effectively portrays just about every emotion known to man. A rollercoaster of pride, sadness, insecurity and anger, yet no words are spoken. It is all perfectly readable from the captain's face, and even more powerful when words cannot possibly add anything. Callum Turner plays a broken shell of the once proud and almost uppity Bucky Egan, showing us only now how the events of episode 4 affect him. And as stellar a performance that Anthony and Callum deliver, it is Nate Mann that gives me goosebumps. A strong man, a proud man, broken into bits as the episode continues.
Irrefutable yet unexpected perfection. Irrefutable, because there's no denying that the show creates a new standard for itself. Unexpected, because at the end of it all, while the action-packed aerial battles take up the biggest time on screen, it is the actors' abilities to portray such a wide array of heartfelt emotions that propels episode 5 to not yet witnessed heights for Masters of the Air.
10 out 10. Perfection. '
Masters of the Air: Part Four (2024)
A Cold Shower after a Hot Bath - Episode 4 - "Part Four"
Admittedly, we have been spoiled from watching episode 3. The show's full potential was thrown at us, not only in terms of aerial combat and special effects. It also showcased the importance of zooming in on decision-making, intense in-action dialogue and character development. And while episode 4 is by no means bad television, I can't help feel like a kid who got a bite of his favorite piece of candy, only to have it ripped out of his hand after said first bite.
Sure, episode 4 works to develop the overall show's plot and different character arcs. It highlights some of the characters' flaws and shortcoming, while simultaneously underlining their strengths. It just all feels rather... bland. The dialogue is your run-of-the-mill writing. The romances are seemingly of no importance. Emotions are tossed at you to instantly forget them.
While I can appreciate the effort of having an episode that so clearly wants to explain and set up for what will eventually be the show's plot, it definitely could've done so without having to grasp for cliché after cliché. Having to write these without any spoilers becomes particularly hard during these episodes, but let's just say that what Masters of the Air chooses to make you consume in episode 4 has a general "We all know how this is going to be turning out"-ring to it. Mix that with filler dialogue and nigh numbing emotions, the cold shower after our hot bath feels not rejuvenating, but just cold.
5 out of 10 knots, let's hope the setup is worth it.
Masters of the Air: Part Three (2024)
Third Time's the Charm - Episode 3 - "Part Three"
No spoilers.
From okay-ish, to stunning. From bland characters, to in-depth treasures. From tedious speed, to exhilarating momentum. Third time's the charm indeed. It took us two episodes, which, in anything but a mini series would be fine, to get to the episode that shows us Masters of the Air's true potential. The episode has nearly everything the show missed thus far. By the end, we've been on a journey, witnessed the cost of war, and see where our aerial troops stand amidst conflict.
While no guarantee can be given for the momentum to be held at this very point in the show, episode 3 sets the stage anew. If you look past the grim nature of mission briefing telling nothing of the severity of the challenge ahead, facial expressions and hard-heard sighs make up for its absence. The action in particular, is stunning. Nearly capturing the feeling of being on such a plane yourself, Cary (director for the first two episodes as well) takes you deep into the battle. The mission is an immensely important one, one that has been told many times but never has been captured this beautifully.
Add to the above that we can finally begin to see the splintering of arcs and storylines, the episode is easily the best so far. With it setting the tone for the episodes to come, hopefully, one can't help but wonder how their favorite characters will fare further down the line.
9 out of 10 knots. Stunning TV.
Masters of the Air: Part Two (2024)
Creating Connections - Episode 2 - "Part Two"
As always, this review is spoiler-free.
Episode 2 of the TV Epic Mini Series continues the story, as told through the diary of Harry Crosby. It does something to a greater extend than what episode 1 attempted to do: create connections. Not just between on-screen characters, but also between characters and the audience. By the end of the episode, most viewers will share a closer connection to the show's limited key personas. Understandably so, episode 1 left little time for in-depth exploration of the likes of Buck and Bucky. And while that exploration is more than welcome, it also reminds me of a more surfaced exploration, if you will. If episode 1 received 7 knots out of 10 rounded up from a 6.8, episode 2 earns a 7 rounded down from 7.2.
Improvement, yes, but little so. The show remains safe on character development, story archs and connecting with its audience. While having to stay true to source material, I have accepted that the present actors put on a mask, making any kind of emotional storytelling hard to pull off. And, of course, we have not yet been through the grief with this battalion. My heart longs for more dramatic events that allow the show and, as such, its audience to share a journey. Until that time arrives however, episode 2 feels like a shallow and, at times, tediously slow continuation of an already mediocre start.
Masters of the Air: Part One (2024)
Setting a Weaker Stage - Episode 1 - "Part One"
As always, this is a spoiler-free review.
When Masters of the Air was first introduced to the public, all thoughts went to Band of Brothers and The Pacific. Both, but particularly the first, were pioneers in shaping a new kind of landscape for what 'epic' mini series are supposed to be. With the exemplary vision of epic storytelling from Spielberg, and the craft of nuance and emotion from Hanks, the foresight of having yet another similarly styled mini series was promising. But, as far as expectations for an entire series from a first episode can go, Masters of the Air lacks the same flair and overall excitement of watching something epic.
Directed by Cary Joji Fukunaga, whose greater work we can first endearingly behold as prime director for True Detective Season 1, episode 1 sets the stage for what Masters of the Air will entail. But while True Detective's first season is one of the most critically acclaimed pieces of TV entertainment to date, the stage set for Masters of the Air is weaker than that of its brothers in arms. Cary's style of building up tension with clear setpieces throughout the episode works well when you can smear it across an entire season. To create the same flow in one episode results in convolution of the storyline. At the end of a first episode of a mini series you want to leave the viewer with a thought of "My world, this is going to be great". While I can say "My world, this is going to be good", I can't predict great.
All this is not to say that Masters of the Air is bad television. Not by any means, in fact. Episode 1 features as a sort of summary of what the entire series will entail. As said, it sets the stage. There's a little bit of all; brotherhood, conflict, action, loss and decision-making. There are enough silver linings to an otherwise mediocre first impression, to make you 'ok' with another episode. One silver lining is the music score, because oh my, is it good. From the main theme's song to the trumpet-blaring intersections, the score does not miss. Another lining that is indeed silver is that the series is aesthetically beautiful. From the indoor set pieces to the flashy but comprehendable action scenes, the budget on finetuning the aesthetics was not mild, to say the least.
Rated 7 out of 10 knots, episode 1 of Masters of the Air sets the stage of something that cán be good, not great.
Fallout (2024)
No Spoilers - With Nolan at the helm, can we finally have a good adaptation off of a video game?
First things first; as always, there will be no spoilers in this review.
Fallout, as the title from a singular word suggests, is about the end of the world. A theme not estranged in the entertainment industry. On the contrary, it is one of the most handled topics. Rarely well done, often rushed and unimaginative. And while most forms of entertainment focus on the actual happening itself, Fallout focuses on... well... the fallout.
The general timestamp of Fallout is around 200 years after the cataclysmic events. The show intrinsically weaves current and flashback-styled historic storytelling, the latter of which excellently constructs the base for the former. Without giving away too much about the plot, obviously, the show does it graciously, albeit with a hefty smear of gruesome details. And since Prime had one of its best successes with The Boys, which doesn't shy away from gore spectacles either, it's no surprise they gave the good ol' 'OK' for this path.
The show is produced by many, but Jonathan Nolan is the main set piece for its production. He also directed the first 3 episodes himself, after which he gives the esteemed job to many other gifted directors. Clearly able to see each director's vision in each separate episode following number 3, it's Nolan's vision for the show that upholds high quality TV. There's a jungle out there of adaptations of different forms of entertainment, turned into other forms of entertainment. Surprisingly enough however, we do not possess a lot of adaptations of video games. Surprising, because, there is a vast pool of excellently told epic stories in the land of gaming. And we get The Witcher. Ouch.
The mix of a producer and/or director with his or her own vision on the product seems a match made in heaven, as most adaptations choose a linear approach to the story told from its source of entertainment. That match works wonders for Fallout, and the result is a strong contender for one of the best TV shows to hit our wailing screens in 2024.
While production and directing are important in the fulfillment of an 'epic' TV show, the cast is what we are confronted with as viewers as a more direct face of the show. And here, as pessimistic as one might be about adaptations, especially if you've consumed the base version first, the show comes truly comes to life. Grounded, strong and naive Lucy, played by a stellar Ella Purnell, is the show's most centric character, with its main storyline seemingly deriving from there.
But Fallout tells a much bigger story than that. It tells the story of the naive that come to surface, the story of ghouls that lived longer than they should have, the story of communities and collections. Not necessarily supporting Lucy in her story, but rather constructing and building further upon the main arch, it's Walter Goggins and Moises Arias that further improve a stunningly strong cast. These are the main storylines, mind you, and there is so much grandness to be witnessed by just the smallest of characters. Layer after layer is peeled off. Even the smallest characters, with the littlest screen time, can have a rippling effect on the story told. And that's when you know you're watching something different. Entertainment that wants to achieve something only few can.
Conclusively, the story of Fallout is twice. For the most part, it's about survival after literal life-ending events. For the smallest but perhaps most important part, it's about the ancient discussion of what can be considered 'good' and 'bad' in this new world, which will instantly be trickled down to the most profound desire of mankind: to persuade, willingly or unwillingly, others to your ideologies and beliefs. A story told such as that, with a good amount of self-mocking and imaginative violence, by a cast and production team that clearly lays its heart into its art, is entertainment in its purest and, quite frankly, best manner.
So we ask: "With Nolan at the helm, can we finally have a good adaptation off of a video game?" Yes. Yes, we can.
Rated 9 out of 10 bottle caps.