TV Reviews
TV Reviews

The Worst COVID Inspired Media Made So Far

These tone deaf creations missed the ball completely

Johns Hopkins recently discovered that the COVID-19 pandemic currently "kills an American every 107 seconds."

But as the virus enters this brutal second wave, some creatives are already moving to profit off the latest American tragedy. It remains to be seen whether Grey's Anatomy and This Is Us will strike the right tone while implementing the pandemic into their scripts, but from blockbuster movies to stand alone TV shows, a lot of people are creating COVID content from scratch.


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TV Reviews

Snoke clones? Palpatine? "The Mandalorian" | Season 2, Episode 4

Carl Weathers directs Season 2's most revealing chapter yet

Baby Yoda has a bad feeling about this

Disney+

"Chapter 12: The Siege" premiered Friday, November 20 on Disney+.

Before getting into spoilers, let's discuss the episode's set up. Din Djarin, the titular Mandalorian, and Baby Yoda are en route to the forest planet of Corvus to find Ahsoka Tano. Their ship remains badly damaged from the events of the previous two episodes, so they decide to take a detour for repairs. Okay, it's spoiler time!

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The Queen's Gambit

Netflix's The Queen's Gambit rose to prominence last month, becoming the network's most buzzed-about show.

The 7-episode series tells the story of Beth Harmon, a young orphan and chess prodigy whose obsession with chess closely overlaps with drug addiction. Based on a novel by Walter Tevis, the show mostly consists of high-drama chess matches and long shots of Anya Taylor-Joy's massive eyes.

But punctuating Beth's many solo scenes—and perhaps forming the most interesting part of the series—are a number of brief, fractured relationships. When Beth interacts with other people, her actions are usually short and stilted. There is little small talk, no hello and goodbye, and no warmth.

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TV Reviews

Review: Bo-Katan Kicks Ass in "The Mandalorian" Season 2, Episode 3

Bo-Katan and the Power Rangers arrive

"Chapter 11: The Heiress" is the most exciting and important episode of Season 2 by almost every measure.

Directed by Bryce Dallas Howard and written by show creator Jon Favreau, Episode 3 goes all in with the action, set design, and story revelations.

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TV Reviews

Review | "The Mandalorian" Season 2, Episode 2 Is the Perfect Side Quest

Spoilers for The Mandalorian Season 2

Disney+

Last week we covered The Mandalorian season premiere (read the full review), where I was upfront about my disappointments:

  • Too much nostalgia baiting, not enough new world-building
  • Not nearly enough Baby Yoda moments
  • Lackluster set design and visuals (with a HUGE exception for the krayt dragon)
  • Underwhelming/predictable Boba Fett reveal at tail end of an otherwise inconsequential episode

To be fair, the show's serial adventure, monster-of-the-week style means most episodes are seemingly inconsequential by design. If Season 1 was a sign of things to come, then Season 2 will find our hero encountering and ditching new characters each week until it all culminates in the finale.

For many fans, this is actually a major highlight of The Mandalorian. Unlike recent films in the franchise, where the fate of the galaxy is constantly at stake, Mando lets us chill out and enjoy the detailed and lived-in world of Star Wars. "Chapter 10" (S2:E2) gives us exactly that: a lovely side quest.

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The Mandalorian first premiered on Disney+ nearly one year ago to audience and critical acclaim.

Star Wars fans were ecstatic about the show's potential. The series promised a welcomed break from the overstuffed and increasingly disappointing theatrical releases set in the Star Wars universe.

Showrunners Jon Favreau and Dave Filoni introduced a new protagonist completely separated from those of the "Skywalker Saga." Each episode had refreshingly low stakes.

Where the Star Wars films felt they needed to keep compounding in scale and space wizardry, The Mandalorian kept things approachable. The future of the galaxy was never in jeopardy. The fall of the empire is the backdrop, not the focus.

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