hasansevik Reviews

Leave the World Behind (2023)

Are you Americans really this thick?

[9/10 · 2 March 2024]

I've read so many bad reviews that complain, like children smashing their keyboards, "Tell me EVERYTHING that is happening" and "Why did the movie suddenly end?" Are you genuinely this thick?

Do you really need to be spoon-fed every single answer to every question? Are you really so two-dimensional that you cannot use your own thoughts, your own predilections, your own imaginations, to determine the point of the movie?

We live in a cinema age where "great films" are comic book adaptations, where there is an A-B-C plot and storyline, where characters can be easily categorised as "good" and "bad" with nothing or little in-between. We go to the movies and we expect a beginning, a middle and an end, because we've been told since the dawn of time that this is the essence of story telling. We have characters that find out all the questions to all the answers and, by the end of the movie, everything is wrapped up in a nice, neat little package. Endings are made to give us hope, to lull us into some form of security that everything's going to be okay.

But this is not life.

Life throws us challenges. We have friends and family members who get diagnosed with cancer and, guess what? A lot of them die. Do they deserve to die? Do they die because they didn't fight hard enough, or because they didn't believe in God enough, or because of some other one answer reason? Or, maybe, just maybe, people die regardless of all these things. And there is no ending afterwards. No happy resolve. Some of us will carry that grief and never move on. Others will destroy their relationships or careers or whatever. Because life doesn't have an A-B-C storyline. Life doesn't have an easy, simple, straightforward ending.

So what is the point of this rant? The point is this movie. This movie isn't about "a" disaster. It's not about finding out what is happening. It's about what happens during such an event. Our own fears, of each other, of ourselves, of the chaos of the situation. It's about decisions we make, connections that either will prove who matters to us or how fickle they can be. We are not consistent in our behaviour, and nor are the characters. "The mum hated the owner, then she suddenly likes him - that just doesn't make sense to me." Really? I've had teachers that I couldn't stand when I first went to school, but by the end I loved them because they challenged me, raised me, forced me to think critically. I've had workmates that I've liked only to find out how shallow they can be, or how selfish they can be when I've needed them.

What this movie does is challenge the viewer's notion of a) relationships, both with those we love and those unfamiliar to us, b) what we would do (which is why the characters keep changing their next steps) during a disaster when we're only getting little bits and pieces of information, c) our reliance on knowing everything based on technology, and our belief that technology has somehow made us god-like in being able to find answers to every question, and d) how easily we can go from pretending to love and respect and accept one another to all out war with ourselves.

If you don't understand that, that's fine - it simply means you don't like movies that challenge your perspectives.

Oh, and the ending IS PERFECT! If you paid attention, you'll have enough answers you need to continue the story in your own mind. But if you need to be spoon-fed every answer to every question, maybe stick to watching The Avengers.

The Batman (2022)

Long, boring and unremarkable.

[5/10 · 30 August 2023]

In the last 2 decades there have been a lot of Batman live action adaptations. Of course, the most memorable is Chris Nolan's The Dark Knight trilogy. So, it goes without saying that any Batman movie after his timeless additions will be compared with his genius, regardless of whether it is wrong or right to do so.

Unfortunately, this version pales, both in comparison to Nolan's masterpieces and also as a movie in general.

While the movie had possibilities, the result leaves a lot to be desired. For one, the constant score throughout every scene, relentlessly playing like a broken radio in the background of a stage play, becomes frustratingly distracting and annoying - and this movie is nearly 3 hours long. The characters are bland and uninteresting, from The Caped Crusader himself to "Oz" to Gordon and even the main antagonist, The Riddler. Batman and Catwoman (never mentioned in that name throughout) have zero chemistry whatsoever, which makes watching them almost painful, like a scene from Gilmore Girls but, tragically, far more difficult to stand. Bruce Wayne is Batman without the Batsuit, so it wouldn't take a genius to figure out that they are one and the same. His emo so-depressed-I'm-going-to-eat-a-child appearances are laughable, and that's being kind. I don't know if it's the actor or the direction or the writing, but the execution was poor, with a complete lack of understanding of the "role" Bruce must play to keep his dark secret hidden from the world (hell, he's supposed to be in Year Two, yet there's even a line from Alfred telling him, as though it's some great reveal, that Bruce Wayne must keep up the charade to ensure no one knows his night time vocation).

While the costumes were okay, they too had a lot more questions than answers. Such as why are Batman's gauntlets armed with metal rods rather than wing-like blades? Why does he speak in the same voice as Bruce Wayne, without the distortion effects of a synthesiser to help both mask his real voice and sound more terrifying to his enemies? And where are his gadgets? 90% of the movie shows him using barely any of the technology that makes Batman, well, Batman. His grapple gun makes the odd showing when he wants to go up a flight of stairs a little faster or to get him into a window, but no one watching sees anything other than a man dressed up in a suit with a grapple gun. The idea is to give people the illusion that he could fly, making him "the Batman" that criminals fear and fans wander with curiosity. Oh, and that car of his - really? Did he just steal Sam and Dean's baby and whacked a jet engine to the back to make it go marginally faster? Even in Year Two, Batman has a lot more tech, a greater understanding of how to fight in close quarters, and a reputation to be frightened of.

The cinematography is decent, but sometimes lost with the unusual choice of camera angles. And The Riddler himself is not interested in taking down The Batman but rather killing everyone in Gotham...and for what? Because he grew up a poor kid?

There are issues within and throughout this movie, so it's a 5 at best.

Dear Evan Hansen (2021)

Not great. Not good. Not even average.

[3/10 · 28 June 2023]

So, a 30-something year old junkie/school "kid" lies to the family of another 30-something year old dead "boy" who used to beat him to a pulp - so he can avoid telling them the truth: their son was abusive, had anger management issues, had no redeemable qualities as a human, and would probably have grown up to be a wife-beater.

Another teen movie that is designed to adultify young people. Everyone looks like they're in their late 20's at least, their parents are old, and the story... Umm, how do I put this? A kid who feels awkward about telling the truth has absolutely no issues with lying to a dead kid's parents, the school, his own family and even his therapist.

Sorry, this is wrong.

Shameless (2011–2021)

Tried this show...

[3/10 · 26 May 2023]

Watched the first episode and, honestly, there's nothing about the show that's worth revisiting. Guy meets two hot girls at a club and the both instantly want to open their legs to him (because guys watching this show think that's how it works). Drunk dad has no money but more then enough to keep buying alcohol and drugs (because that makes sense). Brother is angry at brother for not telling him he's gay (because being angry at not being told is more valid than dealing with one's sexuality). A kid getting blown under a dining table without anyone else knowing. The comeback lines are awesome - within microseconds they're able to come up with great one-liners. So... Soft porn, junkie and alcoholism glorification, and celebrating destitution.

There is NOTHING about this show that is relatable. And for those rolling their eyes at this, I grew up with less than nothing, a drunk and stoned dad that used his family as punching bags, and an older brother who was way worse.

These writers don't know how to write anything that can possibly be believed, related to or even laughed at. The only reason I'm giving this a 3 is because the production value is decent. But that's about it.

God of War Ragnarök (2022 Video Game)

Good, but not compared to GoW 2018.

[7/10 · 11 January 2023]

Firstly, I don't understand how someone can give a game 10/10 yet add "there are some flaws".

Secondly, the title of my review is simple: if this were a standalone game and we'd never come across another like it, it'd probably be an 8/10. But this is both a sequel to an already amazing game and this was specifically made to be awesome on the PS5, which is an incredible console. On both points it's a let down.

Now, onto my review.

I'll keep it simple and make my points in...well, point form.

The good:

• storyline. Not great, but still pretty good.

• voice acting. Amazing again, although at times a fake Kratos does some bits during the side missions, which is...odd.

• weapons. Great weapon mechanics once again, and even better with the addition of a new one.

• length. Yes, there are A LOT of side quests, but let's be honest: no one plays a game only for the main story narrative. Besides, the side quests give you a break from the heavy main story.

The bad:

• combat. Don't get me wrong, the new moves are cool. But it's infuriating all too often. The regular dudes are harder than the bosses because they don't stumble at all while you're beating them to a pulp, and they just whack you with a stick (no, literally, a stick) and you stumble.

• not enough Kratos-time. Playing Atreus is fun, but not if it's nearly half the game. And his combat isn't great.

• the menu interface. Sure, looks spiffy, but I've got a 75 inch 4k screen and I feel like the words take up a third of the screen.

• combat. Did I mention how bad it is? Yeah. You evade and get hit. The indicators are in the middle of the screen, so you have to look at the actual arrow tip itself (in GoW 2018 the arrows were also where the enemies actually were). (I can't tell you how many times I've let an enemy hit me just to figure out where they're coming from.)

The ugly:

• for a PS5 game, it looks like an early PS4 game. The scenery is beautiful, but the characters are two dimensional. They look... Flat, or something. No skin tone, armour looks plastic, even the blades look like cardboard.

• Muspel is boring. GoW 2018 was fun when in both Muspel and Niflheim. But in this there's only Muspelheim, and it's not fun.

• some side characters are terrible. I hate Ratatoskr, and Lunda is annoying. I know she was brought in to replace the Huldra brothers, but honestly, she gets on my nerves.

• Freya is... Well, let's see. Condescending. Patronising. Has a superiority complex. Never apologises for her mistakes. Blames EVERYONE. Asks for an opinion, but then cuts them off mid-sentence and tells them "Enough!"
• the writing leaves a lot to be desired. Kratos goes back to hating his son, then trusting him, then not, then lying to him, then angry that his son doesn't tell him EVERYTHING. The pacing doesn't feel right.

Here's what I think happened here:

• the makers, director, etc were pushed to getting this game out before Christmas, and so the combat, storyline, the visuals, even some of the voice acting, was rushed. Dialogue didn't fit in at times.

• Cory Barlog knew they wanted this game to be the end of Kratos in Norse mythos, but knew he couldn't pull it off in a) one game, and b) within the shorter timeline. So he gave the reins up. As a result, the game suffers and we all have to deal with it.

• Sony wanted their product, regardless of the outcome. The first was a success, so the second will be as well. But this game is a poor imitation of the first.

As I said, if this was a game on its own, I probably would give it 8. But compared to its former title, it pales.

Sorry, Santa Monica. If there's another GoW, I probably won't buy it if Cory isn't the director.

Star Trek: Picard (2020–2023)

This is NOT Star Trek...

[8/10 · 13 March 2022]

... It's what most of these negative reviews will have you believe. And when I read them harking for the good ol' days of TNG, I think to myself, "Have they recently rewatched all of TNG?" Better still, have they watched DS9 in its entirety at all? I am guessing the answer to both these questions is "No."

Without giving away any spoilers, let me just say a few things about STP for those who haven't watched any episodes yet. 1: This is NOT Star Trek. Well, to be more accurate, not the filtered, photoshopped, perfectly encased Star Trek you might remember. That is unless you have watched all of DS9 recently, because that is important. Why? Let's just say that DS9 demonstrates how Starfleet isn't the paradise the other Treks would have you believe. And one line by Sisko sums it up best: It's easy to be a saint in paradise. 2: This isn't Star Trek as you know it because it's not about Starfleet - it's about one person. Picard. Whether you agree or not, his character is one of, if not the most, iconic character ever produced. And the entire focus of this show is about him. Is that a little narcissistic? It might be, if the clue wasn't in the NAME OF THE SHOW! 3: "How can Data be old? He's an Android!" Well, true dat. But the actor who plays him has aged. So let's forgive the show for not being so authentic as to try to find a 20-something year old guy that looks like Brent Spiner and can pull off Data's voice, mannerisms, inflections and body language perfectly enough to ensure we don't have a bunch of other "fans" complaining that he is NOT "my Data!"

In terms of the show, I liked the first season and am really liking the second so far. Sure, there's violence, swearing and a lot of CGI, but I can go into a million reasons why those things are a) necessary to appeal to the audience that grew up watching these shows and movies (I assume they're not trying to recruit teens to watch this show as their first introduction to Star Trek because, if they were, they would spend the first 15 years giving you backstories for context); and b) this is a review of Star Trek: Picard, not an essay diving into the entire ethos of Trek-dum and giving my million word response by saying something stupid like "Gene Roddenbery would be rolling in his grave", considering his SON is one of the producers of this show.

Look, I get it. You want to watch Star Trek when it had monsters covered in printer ink and maple syrup, or when the Captain bangs every alien female he meets including a bunch of robots. That's what you think of the essence of Star Trek. I get that. Me, personally, saw things differently. As a mid-40's loser with a dead-end job, no money and no friends/social life, I see, and have always seen, Star Trek for what it represents - not what the limitations of television and technology did 40 years ago. It's an ideal we aim to reach, but that's the thing about ideals - we are not meant to actually achieve them. The purpose is the journey, not the destination. Sure, TNG tells us that war, poverty, disease were all eradicated within 50 years of us realising we're not alone in the universe. But First Contact also taught us that, while we assume we've grown out of thoughts like revenge, hate, holding a grudge, those things are intrinsically human and will always be part of who we are. DS9 taught me that Starfleet had imperfections, like ambition, jealousy, xenophobia of those we don't understand. Heck, even Insurrection taught us that we are still capable of making morally corrupt decisions if they impact a small enough group of people to benefit a larger group. I can go on and on.

My point is this: some will like this show, others won't, and that's exactly what's expected of us as humans. Some will harken for days that are etched more in memory than actual history. Others will cry out for a "less is more" philosophy. But if you're watching a show made in 2020 and expecting it to perfectly replicate one that originated on 1987, you're going to be incredibly mistaken.

For the record, I don't like Discovery. Not because it's 'too woke' or whatever. I'm just tired of Star Trek making new crew-based shows that are prequels. I'd like one set in the 25th century, after the Dominion and Borg conflicts, after Voyager got home safely, after all that. Something new. Maybe Starfleet needs to rebuild, having lost many alliances during said conflicts, and are therefore seeking new allegiances? Maybe explore the Beta Quadrant now that the Romulans don't have such a monopoly in that part of the galaxy. Or what about the Gamma Quadrant, especially with the Dominion threat expelled? There are heaps of ideas just waiting to be explored, and, to me, Discovery was just another excuse to pretend to be a new show that was like the older shows, but when they realised it didn't fit into the timeline they hurtled it forward as a convenient way of saying "All right, we get it, it's a futuristic ship set before the Enterprise, so let's send it to the future and make up a one line story that no one in Starfleet will ever talk about it again". Sorry, to me, THAT is lazy writing.

Anyway, hope this makes sense.

Joker (I) (2019)

For people who don't get the hype...

[9/10 · 27 February 2022]

I get it. You're watching this movie thinking, "What's the point?" "Everyone treats him terribly, is that really justification for what he becomes?" "Why is everyone a jerk and he's seen as an anti-hero?" All those questions are valid. Here's my perspective.

Firstly, watch the movie on your own. Pay attention to the detail. To every word, every scene, even the clothes, the extras, the background, etc. This is important. Why?

Because this is not just a movie "about" the Joker. This is a movie FROM the Joker.

He isn't the focus of the movie - you are. The movie is him telling his side of the story. And why is that important?

Because you need to ask yourself, what is a more accurate depiction of someone's life? An objective, third person view? Or someone telling you why they did write they did?

Without giving the game away, keep this in mind. The movie is called Joker. It's not just his name, it's what he is doing to you - the viewer. And that's the beauty of this movie. His name is A. Fleck. As in Affleck. That's a giveaway right there that it's not intended to be a factual account of Joker's life. His story is wrapped in lies, in misdirection, in making you think he's a good bad guy but in fact he's just a terrible human. The movie is Joker giving you a story, getting you to 'understand' him, and then him laughing in your face for taking and of that in.

No, it's not your normal movie. If you want an A-B-C storyline, you won't like this. If you want an origin story, you won't get this. But if you just want to watch something without any preconceptions, without any judgement, then just watch it and dive into his mind. Because you are his audience.

Superman & Lois: The Thing in the Mines (2022) Season 2, Episode 3

I liked this episode, except...

[8/10 · 29 January 2022]

Can someone please explain to me why Jordan had to apologise for being upset that his girlfriend kissed someone else, but she didn't have to apologise for anything? And, to top it off, he got her a present (she has never given him anything), he set up a romantic date by the lake (which she promptly bailed on), and she "forgot" a lunch date with her boyfriend to spend time with another girl who she's clearly attracted to... and she is the one that's "bold and honest"? Cool.

I'm sorry, but I didn't realise that being bisexual means you can get with anyone you want even if you have a partner, and that everyone else needs to apologise for being hurt if you cheat on them - but hey, we can't possibly portray anyone of the LGBTQIXTA+ community in any negative light whatsoever.

The show is a good one, but if we continue down this road of having LGBTQIXTA+ people represented, they need to be represented like every other person. Cheating on someone is cheating on someone, and for that person to make their partner apologise for being hurt by their cheating, if that's what this show is, then this is going to be another Batwoman flop.

Last Week Tonight with John Oliver (2014– )

Love the "I used to like it, but..." reviews.

[9/10 · 4 January 2022]

Especially because most of those reviews, conveniently mostly post-2016, will say things like 'He used to be balanced but now it's leftist/woke/agenda-driven. I've watched every episode of this show and it's ALWAYS been left-leaning. Social justice, pro-healthcare, anti-gun... That's what the US needs to hear specifically because the US is none of those things at the moment. Don't pretend that people like John Oliver used to represent everyone equally and then suddenly went Left. That's like suggesting that Tucker Carlson used to be more Centre and then suddenly, out of nowhere, he's become Right, when he's always been Right.

In saying that, I love that he provokes conversation and forces audiences to think beyond just the acceptable alternatives. Rather than increase funding in this, why not scrap it entirely and go with that instead? Sure, some will watch it and think, "Nup, that's going too far" or "That's so un-American" or even "He's pandering to this group or that ideal", but sometimes Americans need to hear those extreme views, especially when their own leaders are happy to implement even more extreme measures (like locking up kids because of their skin colour, building a wall much like the Berlin Wall, and labelling all Mexicans as "rapists and murders...and some, I assume, are good people").

I, for one, love that John is willing to push his views so far that it'll piss many people off, because, if nothing else, it starts a conversation. Since the US has seen absolutely no major social, political or financial reform in the last 50 years, the country needs to be shoved out of its racist, elitist apathy and shaken vigorously until actual change becomes part of the conversation.

Last Week Tonight with John Oliver: Union Busting (2021) Season 8, Episode 30

Why I love Australia.

[10/10 · 20 November 2021]

If this episode proves anything, it's that the US has not progressed at all in the last 50 years. Healthcare, tertiary education, gun violence, discrimination, retirement...in so many ways there has been very little to absolutely no progress apart from helping the rich get richer and the poor get angry, desperate and, eventually, forgotten altogether. This episode focuses specifically on unions or, more accurately, the many tactics companies employ and the amount of money they pay (there is a massive irony there alone) to bust unionisation.

We're not perfect by any means. But lately, every week John Oliver reminds me why I'm so fortune to have been born here, in Australia. I'm sorry, guys. You might have your Le Bron's and your Lady Gaga's and whatever else you want to measure your greatness as a country, but the way you treat each other, the way you accept being treated, in all facets of your lives, makes me SO grateful to be Australian.

The Flash (2014–2023)

It was good...initially.

[5/10 · 14 November 2021]

Now this has become another "Batwoman" or "Supergirl" - everyone has the answers just at the right time, The Flash blames himself until his 'team' convince him otherwise, and the supporting cast are less supporting and more main (so much so that now everyone is questioning why the show is called The Flash when The Flash himself goes missing for several episodes in full).

Iris is now a superhero herself (I know... What?), the CGI is absolutely terrible and the writing is horrendous. From Season 3 onwards the show takes such a spiral dive that fans like me are only watching the episodes in the faint hope that it improves. But it won't.

Watch Stargirl, Titans, Superman and Lois, and, the best of the lot, Doom Patrol, and when you get back to this you'll wonder how these people still have jobs. My favourite DC characters have always been Batman and The Flash equally, but this show is a travesty to my memories of reading The Flash comics decades ago.

Spider-Man (2018 Video Game)

Pretty good, with small yet significant flaws.

[8/10 · 30 October 2021]

Pretty good. Just wish it didn't feel like an Arkham City rip-off. Also feels like Spider-Man flat out avoids hitting certain enemies, potentially to avoid the notion of impropriety against minorities. Otherwise a solid 8 for me.

Supergirl: I Believe in a Thing Called Love (2021) Season 6, Episode 17

Holy crap, this is terrible.

[1/10 · 27 October 2021]

I'm watching this for one reason: I stuck with it hoping it would improve, and though it hasn't I am a finisher. But boy, this show deserves a quick death.

Nothing about this show is redeemable. Nothing. Not even Jon Cryer returning could hope to improve it. How these writers and actors have jobs while I'm stuck in a call centre is beyond me. No wonder why I wish I were dead.

Supergirl: Dream Weaver (2021) Season 6, Episode 9

This episode is why the show got the axe.

[1/10 · 4 September 2021]

Opening: Something mysterious is happening.

Discovery: Bad guys are doing bad things for... Who knows why. But who cares, they're bad guys.

Guilt: "It's all my fault. Everything's my fault." "No it's not, you're strong and smart and valuable to the team." Twist: Someone is being manipulated, but the strong, smart superheroes are too dumb to realise.

End: Everyone wins. Or do they? (Spoiler: they don't, but they will. Why? Because they're American and Americans always win.)

If real life Americans were as 'caring' as some of these shows will have you believe, they wouldn't be bombing the snot out of every other country out of fear and bigotry. But nooooo... Everyone with an accent that isn't American is evil.

Looking forward to the next episode because I'm sure it'll be completely different.

The Flash: Family Matters, Part 2 (2021) Season 7, Episode 11

Yet another episode of The Iris.

[1/10 · 26 May 2021]

Not only does Barry Allen need Iris to do his day job AND his superpowering job, he now needs her scientific expertise at STAR Labs.

Any reason why this does isn't renamed The Iris already...?

The Flash: Family Matters, Part 1 (2021) Season 7, Episode 10

Where is The Flash... Again?

[1/10 · 26 May 2021]

Too many episodes of The Flash without The Flash front and centre.

And Iris is now at crime scenes, so even Barry Allen can't do his job without her now.

Rename this show The Iris already...

The Flash: Timeless (2021) Season 7, Episode 9

Where is The Flash?

[1/10 · 26 May 2021]

Another episode of The Flash without The Flash.

Just rename the show The Iris already.

Supergirl: Prom Night! (2021) Season 6, Episode 5

Wow. This is just terrible.

[1/10 · 20 May 2021]

Actors "posing" for camera shots. CGI made from a 1997 high school science project. And where the hell are the adults? Yeah, it's bad. Oh, and by the way, no Supergirl in a show called Supergirl kinda says it all in itself.

The Flash: Growing Pains (2021) Season 7, Episode 7

This is getting worse.

[4/10 · 20 April 2021]

Holy Moley, how are these writers, directors and producers in jobs? Grant looks like he doesn't even want to be there, and everyone else seems to be written into the show with the sole purpose of auditioning for spin-offs. And don't get me started on a white person being subjected to unfair policing...

The Flash: The One with the Nineties (2021) Season 7, Episode 6

Another non-Flash episode...

[3/10 · 20 April 2021]

Where is The Flash? I'm sorry, I know you've read this before... But this is ridiculous. Why is the show called The Flash if we're not seeing, you know, THE FLASH? Superman & Lois is called that because it's about both Superman and Lois. If the show was called Superman then yeah, we'd be annoyed that she was getting 99% more airtime than him. But because of the title, we watch it for both characters, who are equally amazing and brilliant and world saving. I like Cisco. I like Frost. But Iris, a human personification of the Speed force, Chuck, and a million other side characters that are both inconsequential and yet simultaneously boring is a waste of everyone's time.

I don't get it. I don't like it. And as a massive Flash comics fan and fan of the original series, this show has finally made me switch off. I'm done. You've ruined it.

Thanks.

The Flash: Success Is Assured (2020) Season 6, Episode 19

Apart from Crisis, this season is a write-off.

[4/10 · 23 May 2020]

Not feeling it with The Flash anymore. I've been a massive Flash (and, to a larger extent, Batman) fan since I was 6 reading comics. And this TV show has done well, despite having a few naff episodes here and there. Season 6 is just a waste. They may use excuses like Covid-19 or whatever, but honestly, bad writing is bad writing. Iris being trapped in the Mirrorverse turned the show into The Iris Show. Cisco is clearly leaving Team Flash (that, or he just doesn't want to be there anymore). Caitlin is pregnant but no, she's not, she's got some Frost-flu (because that's a thing apparently). Wells is 15 versions of Wells in one. Oh, and let's throw in some images and dreams of Zoom, Reverse Flash, have a random fight with a fake Godspeed, and turn Barry Allen into a brooding Bruce Wayne every single friggin episode. About this episode specifically. The split screen shots were terribly distracting. The massive character leaps were badly rushed (I know they had to rush, but they really didn't have to - this is not a race, they could have continued with the same theme until next season). And, as has been the case all season, The Flash is barely present in The Flash. How would people feel if Supergirl had an entire session focused on a male character instead of her? Or the same with Stargirl? Why don't we make a Black Lightning season cover a white male that's got nothing to do with Black Lightning's powers? Or how about Wonder Woman 1984 focus on Chris Pine's character? That way DC can finally show everyone that, while the comics are incredible, the TV and movie adaptations aren't what you'd expect, think or even want to watch.

The Flash: Pay the Piper (2020) Season 6, Episode 18

Were Frost's scenes filmed separately?

[4/10 · 16 May 2020]

Not sure about anyone else, but to me it was painfully obvious that Frost and Ralph weren't actually in the same room.

I reckon she's already left the show...

Supergirl: Deus Lex Machina (2020) Season 5, Episode 17

It seemed like a good idea at the time...

[5/10 · 4 May 2020]

The first few minutes of this episode were good. Actually good. For a second I thought they'd turned the corner.

The second half, though, was back to being the terribly written show it's been for 5 plus seasons. Sure, they've had a few semi decent episodes here and there, and John Cryer is an amazing addition. But honestly, this and Batwoman need a new crew to write the episodes.

I sincerely hope Stargirl is better and has learned from these mistakes.

Batwoman: If You Believe in Me, I'll Believe in You (2020) Season 1, Episode 18

Wow. Talk about not learning from past mistakes.

[4/10 · 4 May 2020]

A 50 pound supermodel-hot "secret agent" gets pounded in the face by a 300 pound mercenary, and all she has to show for it is...a cut lip.

Oh, but within seconds she's not only perfectly healed, she's stronger than 15 of those guys (which begs the question: how did she get caught and tied up in the first place?), her makeup and outfit are flawless.

I was hoping the break would allow the writers to revisit their mistakes to repair them - not repeat them.

Another oh - lesbian sex scenes aren't exactly going to save this show from the pathetic writing, ridiculous acting and ghastly cast selection.

Normal People (2020)

A 'universal' love story...

[6/10 · 30 April 2020]

...about two straight, white people with a full cast of white people, with the writing attempting to weave in stories from all social, economic and intellectual backgrounds.

Middle-upper class boy and girl meet, fall romantically in love with each other, have copious amounts of lovey-dovey sex that seems impossibly tear-jerkery, and then float in and out of each other's lives. Much like a lot of books similar to this one (and, trust me, there are a LOT of them that are VERY similarly melodramatic), this show displays what relationships are 'really like' - if you don't love in the real world, that is.

The cinematography, the setting and some of the writing is good, almost great even. The music is lovely but my goodness does it make you want to blow your brains out with how dramatic it makes the show. The stories, though... I found more realism in The Handmaiden's Tale, and that show is about as realistic and believable as Star Trek Discivery.

I would recommend this for any teenager or young adult who genuinely wants to know 'what is love'. That way, they will hold this as their standard of what a relationship should look like and, with any hope, unsuccessfully compare all their real life partners to the characters in this show. I call it 'effective population control'.

10/10 for the scenes, though.