“Vladimir,” based on Julia May Jonas’ 2022 novel, is ultimately Weisz’s show, and she carries it capably, often by addressing the viewer through the fourth wall.
Pidgeon’s Carolyn isn’t quite an underdog; she’s more of a Cinderella who really likes nice things. Kelly’s Kennedy is, well, very handsome. These aren’t great performances, but they convey something essential about the show’s worldview, if you can call it that.
There are people who think any mention of race somehow constitutes racism. This is not the series for them. It is, rather, for those who embrace the contradictions that America’s thorny racial past presents.
Superb. .... I’ll also go to the mat for “Mel Brooks: The 99 Year Old Man!” It has a seamless flow and structure, toggling back and forth from Apatow’s conversations with Brooks to a wealth of secondary interviews, archive interviews, and clips, all in the service of telling a story, rather than massaging any egos (Apatow’s or Brooks’s).
It leaves you wanting and looking forward to more, a novel concept in our bigger-is-better TV age, and creates a base for a wider storytelling canvas going forward. It’s also just fun.
As season 2 reminds us, the secret to “The Pitt” lies in the flawless execution. Every character, from the series leads to the smallest bit player, is perfectly cast. The writing packs a world of tightly woven drama into each hour (of airtime and work day). The editing and cinematography are uncommonly crisp and expressive, even by HBO’s high standards.
Charles is not the problem here. .... [The townspeople are] caricatures, not characters, and their antics start to feel a little debasing. “Best Medicine” certainly doesn’t deify small-town life; nor does the show condemn it. Instead, it amps up the quirk factor as high as it can go. Charles, as the straight man, looks on with dismay. So did I.
