It’s genuine and human and real, and millions of people are going to watch it and that’s quite cool. It’s moments like that which make it easy to forgive those plotting issues.
This might be the best pandemic-related art we’ve gotten yet, because it comes at those themes from the most unexpected of angles, prying open the lingering trauma from those years to explore the deeper ways that time hurt us all.
The Chair Company proves that his [Tim Robinson's] style of comedy can sustain a full season of a TV show, creating something special and weird that could only have come from him.
A nice reminder that while HBO has found both popular and critical success with its dragons and fungus zombies, it’s also still one of the few places you can see a story like this being told: Smart, powerful, and worthy of your full attention.
A show that doesn’t just inspire laughs — it can actually feel pretty inspiring. Because yeah, everyone’s gotta work for a living. It’s nice, though, to see people living for work they believe in.
Yet it all works well enough to prove that Gunn is capable of operating within somewhat different tones, even within the same universe. And no matter what the angle, he’s prioritizing comic book fun. Which, after years of dreary muted tones and moody heroes, is a true relief.
The best aspect of these 10 episodes is that they do lean hard into the way society has evolved, even while Hank’s core values haven’t — seeing the way his dedication to those core values run up against concepts like “men’s rights” is where some of the show’s best jokes and most interesting tension comes from.
