Erik Adams

President Andre Curtis is just a man with a powerful title, surrounded by characters who are just trying to be people in spite of their extraordinary abilities and abnormal jobs. It’s a big part of what makes President Curtis ridiculous, relatable, and eminently watchable.

Nobody loves a lopsided sports comedy like Ferrell, either. The man’s IMDB page contains more Semi-Pro airballs than Talladega Nights triumphs; his new one lands somewhere in the mid-to-upper tier of the standings. With these projects, it comes down to the supporting cast as much as the material they’re performing, and The Hawk is an all-star affair.

The dialogue of Life, Larry And The Pursuit Of Unhappiness has the shaggy, off-the-cuff feel of Curb, or Schaffer’s fantasy-football comedy The League—but within the confines of a sketch, there’s no time to meander toward the type of explosive conclusions that those shows could sometimes reach.

We’re introduced to a lot of characters with a lot of things going on, and it’ll be interesting to see how the remainder of season one balances all of their storylines.

There’s no mistaking who created this show, and I have to imagine that your mileage with it will vary with your tolerance for Robinson’s onscreen persona and his and Kanin’s knack for digging that persona into deep, deep, deep holes.

As a goofy comedy with some of the sharpest visual style you’ll see on any TV show, it’s a good use of one streaming platform’s money. And while the crew at the fictional Continental Studios lacks some chops on an individual basis, as a team, they’re a laugh riot.

Thanks to the first three episodes of season 6, What We Do in the Shadows starts its final run in fine form.

While showrunner Ian McCulloch’s decision to not draw that mystery out too long is refreshing – as refreshing as the number of Teacup episodes that clock in at under 35 minutes – once there’s an explanation, the horrors befalling the Chenoweth family and friends start to feel a little more hidebound.

The mob drama being built around Oz requires something grander and more operatic to succeed. Unfortunately, The Penguin lacks the chops, the wit, and the wings to reach those heights.

You’ll find fewer operatic origin stories for supervillains here, but in their place are some captivating whodunits and the occasional visitor from worlds beyond.