Kathryn Porter

Diehard Zack Snyder fans will love Twilight of the Gods, animation lovers will be able to appreciate the craft that went into making it, and as long as you make sure to not think while watching it, there is a chance you will end up liking most of its eight episodes.

On top of the excellent writing and performances, A Good Girl’s Guide to Murder is given a backdrop with a well-rounded, potentially timeless aesthetic that relies on being soft instead of flashy.

Truly, the show tries to be as Thrones-ian as possible and fails in all the important ways at every turn. Those About to Die attempts to weave a complex political tale with characters coming from all walks of life—and immediately trips over all of the threads used to make it.

Everything that it offers can be found somewhere more interesting, and we are all better off putting ourselves in front of those pieces of media instead of something that feels uninspired in the way that this show unfortunately does.

From the casting to the writing to the production design, we get the adaptation of The Lightning Thief that we have been wanting for over a decade to see, and there is nowhere to go but up.

The ending that serves as the finale for Part 1 of Season 2 doesn’t feel like a finale or a midseason finale in any way. In the long run, that is probably for the best, but for now? The back half of this season deserved to be released hand in hand with the amazing opening four episodes.

The casting is incredible, the lead characters are two very complex Black women, and when the show is funny, it’s really funny. Even if there is no second season to be had, things wrap up well, and these days, nothing is more satisfying than an ending that can either sit as it is or be expanded upon later.

To put it simply, this season of Only Murders in the Building manages to keep the parts of the show we love locked down without being a carbon copy of the seasons that came before it.

A more focused set of scripts would have undoubtedly helped the actors out with their performances but instead, we got a limited series that is the poster child for why ensemble casts are a hit-or-miss kind of asset.

It’s an easy watch, it doesn’t make you use your brain an unreasonable amount, and it has a good premise that is easy to follow and care about. It isn’t trying to reinvent the wheel, and it should not aim to. The best part about it is that it’s exactly what someone should expect if they flip to Syfy.