Many of these allegations are addressed in Sean Combs: The Reckoning. And while this means that the series isn’t a pleasant watch, it does feel like a grimly necessary one. Over the course of four episodes, the director, Alexandria Stapleton, paints a pattern of behaviour that starts to feel horribly inevitable.
If you saw the original series on television in 1995, or on YouTube at any point since, you’ll know what you’re in for. It is almost the exact same thing, only the images are sharper and the sound is better. If you’re coming to it fresh, however, it remains utterly authoritative. .... Almost all the footage from the [new] episode has been online for years, so the thrill of the new isn’t quite as pronounced as you would have hoped.
The first few episodes are rich and packed with information, but we’re still stuck in the 1990s by the end of the fourth episode. That leaves just a single hour to clatter through a quarter-century of his work. .... In other words, the definitive Martin Scorsese documentary remains unmade. But if you have a love of film and five spare hours, you could do much worse.
It’s a mutant redemption story with a satisfyingly chewy moral core: can you truly be redeemed if it involves lying to every single person on the planet? All this, plus it manages to be funny and charming. Chad Powers is a rare feat.
On a minute-by-minute basis, Long Story Short is fantastically funny. .... The magic trick is the slow build of melancholy that gradually amasses beneath all this.
So, Million Dollar Secret is The Traitors. But guess what? The Traitors is great, and so is this, too. If you liked The Traitors, I’m afraid that this will be your new obsession. Turns out originality is overrated.
True, there is something weirdly compelling about Beast Games, but it is compelling in the same way that picking a scab is. It exists solely to show us the worst of the human condition, as obnoxiously as possible.
Like Slow Horses, it is also set in London. But it is an incurious, touristy version of London that lacks authenticity. And unlike in Slow Horses, nobody here has any discernible personality. This goes double for Fassbender’s character.
