And how exactly do you top off a season like MURDER HOUSE? With its erratic twists and turns and indomitable power to grasp ahold of its audience and really yank them in with its atmosphere, excellent script and fantastic acting, MURDER HOUSE really began AMERICAN HORROR STORY off with a loud, deafening bang. But, it is ASYLUM which proves the show can echo on; its vociferous noise was not just a twinkle of what a great show it could have been. It simply is a good show. The second season bases itself around the tale of Briarcliff Mental Institution and the patients, doctors and nuns which occupy its dark, dank walls. The series, however, mainly concerns closeted journalist Lana Winters (Sarah Paulson), who is committed to the asylum against her will after Sister Jude (Jessica Lange, absolutely captivating as ASYLUM'S most conflicted occupant), a sly, scary woman disgusted by Lana's "sexual perversions" and the fact that she's snooping around puts her there. What follows is even more capriciously plotted than MURDER HOUSE (as unbelievable as that sounds), more tense, calculated, and much better resolved. The cast do a great job (most stepping up from recurring roles in MURDER HOUSE), the show wears its Gothic influences on its sleeve and yet remains arguably the most unique show on television, meanwhilst the use of The Singing Nun's "Dominique" is maybe the single greatest use of music on TV, ever and the brutal, graphic atmosphere is savage than last time round. It's tougher to watch than last time, but much more rewarding. I again finished it in a day. "Domi-nique -nique -nique s'en allait tout simplement, Routier, pauvre et chantant. En tous chemins, en tous lieux, Il ne parle que du Bon Dieu, Il ne parle que du Bon Dieu."
I first watched the pilot around 11:30am on 12th October 2015. Fourteen hours later, I watched the last scene of AMERICAN HORROR STORY'S first season. This show may be the single most addictive thing I've ever watched. It pulls you in with an intriguing pilot and from there comes a fantastic tale of a "MURDER HOUSE"... This is brilliantly acted, made, written - even if I was disappointed with the ending. Alas, I will be watching Asylum. It angers me how little the critics cared for this.
What it lacks in believability, it makes up for in the acting departments, the scripting stakes and the unbelievable twists and turns of the first season. Confusingly plotted and on the verge of becoming terrible, but it never does and damn, it's addictive.
Many are disappointed with the magnificent ORANGE IS THE NEW BLACK's third season, but I am definitely not one of them. OITNB is a wonderful show, overall, and this new season is decidedly smaller, more focused on intimate flashbacks and light humour than its (better) predecessors, but it is still a brilliant show, and the ensemble are terrific. If you are looking for a better show nowadays, you will struggle. Piper (Taylor Schilling)'s descent into GODFATHER-esque underwear seller is sociopathically awesome. OITNB is known for its finales, and while this is maybe the worst, it is also still a beautifully poignant scene, just like the rest of this season. Where season 4 at? Addicting, addicted, gone.
This is a brutally brilliant, increasingly satisfying TV show that (ironically) takes no prisoners in its successful campaign to further the achievements of the first, outstanding series. With every progressively impressive episode that passes, we find ourselves further and further into the story of Piper (Taylor Schilling)'s stay in a women's prison and the many prisoners who she encounters. This show has one of the best ensemble casts ever amassed - talented actors like Uzo Aduba, Yael Stone, Laverne Cox, Dascha Polanco, Taryn Manning, Kate Mulgrew, Samira Wiley, Beth Fowler, Lorraine Toussaint (as a genuinely terrifying antagonist), Matt McGorry, Constance Shulman, Barbara Rosenblat (in the series' breakout role) and Jason Biggs, all grace the screen with not a badly-delivered line between them. It's spellbinding to watch. And that finale? Oh my god, it is amazing. Let's hope season three doesn't **** it up.
At times hilarious, tear-inducing and thought-provoking, others poignant, crazy and unpredictable, Orange is the New Black is a fantastic show, brimming with great writing, meticulously detailed performances and heart. For a show set in a women's prison, this is ALL about heart. It's refreshing, it's new, it's amazing. A must watch and perhaps the first great television show of the Netflix, internet streaming era.
I wouldn't disagree if you were to knock Vicious and say it's hit and miss, but there's something appealing about it (most likely the stellar cast) and you can always grin and bear the jokes that don't stick to the wall of funny. Derek and Ian make an adorable couple.
The season begins with the crippling blow of Robert Sheehan (who played the best character, Nathan and who often gave the show some much-needed humour) leaving the show and never really recovers, stumbling along adequately but never really finding its footing, unfortunately. Regardless, Misfits' third season is a sufficiently made, enjoyable slice of science fiction comedy-drama which is always great fun to watch, albeit Joe Gilgun can't fill Sheehan's size 55 shoes and that **** episode was so **** stupid. The finale is the best out of the three until the final moments, where stuff happens and we say goodbye to Kelly (the lovable Lauren Socha), Iwan Rheon's Simon (btw, he also **** in Vicious) and Alisha, a slutty party girl with a heart of gold (Antonia Thomas), which is too much to take. I can't watch it anymore. I may watch a compilation of Nathan's best moments on YouTube to make me feel better, however.
It seems like the general consensus is that E4's excellent "superhero drama" (though that term seems to not do the show justice), Misfits, has a second season which, as a whole, is more well-rounded and overall, successful, than its astounding predecessor. While I certainly can't agree candidly that I approve of this notion, I can, however, acknowledge that Misfits is not a one-trick pony; great television is still to be found. The love for the characters (particularly Nathan and Kelly) is still here, the writing is just as strong and weirdly creative and the visuals and ideas seem more advanced than last time (you can tell E4 injected some much needed cash into everyone's favourite council estate). What I found irritating was the addition of Superhoodie and his character's love story with a certain member of the "ASBO 5". It's well-thought-through, sure, but also odd compared to the rest of the show and rather dispiriting as to the future of the show. We still have three seasons after Misfits' second season cliffhanger finale to go though, and once you've experienced this you can't stop watching - ideal then, as it's on Netflix.
Using a very familiar plot device (people finding they have inherited superpowers) and completely differentiating it from any superhero movie/TV/book out there, Misfits has a mish-mash of quotable dialogue (almost all awarded to Robert Sheehan for his career-making turn as a disarmingly witty, smart-arse Irish bastard), fantastic acting and tropes turned on their heads; making way for an excellent second season with a shocking twist - which then untwists itself. Highly recommended.
Even if it explores dark themes, Unbreakable Kimmy Schmidt always does it with such optimism (in large part due to the essentially perfect central performance from Ellie Kemper) that it doesn't feel depressing in the slightest. It's also brilliantly witty, and boasting a small but very talented web of main characters. And even if Dong (Ki Hong Lee) perpetuates Asian stereotypes, the show's so out there you can't help but love it. Unless you're actually Asian. I heard that Kim-mi does not mean ****, which is slightly disheartening. Season 2 is eagerly awaited.
I didn't expect much, I'll be honest. Sure, I knew I'd enjoy myself immensely - being the showtune-loving gay man that I am. Yet, Glee is so much more. It's one of the few modern TV shows I've seen where I each individually love a character (aside from the two-liner Matt), where I am actually hooked to the point of crying without a daily dose of it. Thank God I have Amazon Instant Prime, I'll tell you that. Also, I'm in love with Kurt Hummel (Chris Colfer) and Colfer's prominent bulge in the tight jeans he wears... Just watch it.
Focusing on the life of uber-camp Simon Doonan (Luke Ward-Wilkinson), his equally flamboyant best friend Kylie (Layton Williams), and his dysfunctional family (including a smutty sister played by Sophie Ash, with varied degrees of success, and a domineering, slightly crazy mother, played to perfection by Olivia Colman), Beautiful People is probably, in my opinion, the greatest TV show ever to grace our screens, albeit only a short time. The script is uproariously funny, and the performances are top-notch.
The cast may be ever so slightly inadequate and the plotting seems confused (like it can't decide what it is) and melodramatic. Yet, it's complaisant viewing and it has an undeniably sweet feel about it, as it really is just convivial fun perfect for a family viewing, since it has eye candy, inconsequential violence, stomach-clenching action and a witty script.
Ja'mie has joined an army of teen queen bees whose monstrous, perniciously pestiferous antics (from her deplorably racist comments - "No Asians!" - to her xenophobic mindset) has us joshing profusely, but when she turns into an antihero (The teen Walter White), has our mouths wide open thanks to her lewd tomfoolery, psycho tantrums and cruel regards of Asians, Blacks, and her lenient mother. In the writing department, Lilley's intelligent satire of modern day teenagers strikes a cord with our young folks who understand the terrifyingly pragmatical character of not only Ja'mie, but also her confidants, who follow her around like puppies, and her lovable GBF. It's sharp, often uproariously amusing, and very, VERY offensive. But, surprisingly enough, we can't get enough of her; frankly, we adore her.
It's one of those rare kids shows where an over-the-top mix of pure hilarity and some great leads mix into an actually quite enjoyable show. Lindsay Shaw particularly shines.
Despite its clearly bogus chain of events, Dance Moms remains a thoroughly and surprisingly enslaving look into the life of a scary dance teacher, the impressionable dance kids, and their pushy mothers. If it wasn't for the delightful antics of the mothers, this would remain a mediocre documentary with some fat woman screaming at blonde girls.
It's an intelligent and thought-provoking drama that you'll be instantly pulled into by its astute script and menacingly clever performances. It's a brilliant twist to the heavily clichéd zombie genre, instead focusing on the consternation and terror that most characters in any zombie film, TV show, or video game must feel, instead of impotent and inconsequential gore with lots of blood and jumpscares. It's, personally, 2013's best television show.
