Movingmetaphor

Season 2 is lacking much of what made season 1 amazing, and sadly I don't think it stacks up. Multiple story lines with absolutely no bearing on the overall arc, and plot twists which feel like shark jumping the shark jumping the shark jumping the shark. I really wanted to like it, and philosophically, it feels like maybe we've all caught up to Brit and Zal's IQ level, to the point that what they have to say doesn't feel as fresh anymore. Whether it be 'Maniac,' 'Russian Doll,' or even your own psychedelic experience, a lot of what is presented as weird is pretty mundane by now. It's still an enjoyable watch, but nothing noteworthy.

In a lot of ways, Shrill takes the formula presented by Lena Dunham's 'Girls,' makes it more palatable, and refines it specifically to highlight fat shaming in everyday society. This alone deserves praise as so few shows dare to present anything other than a sample-size actress as the star, but it goes further by adding nuance and heart to each unique story line. The "good guys" and "bad guys" in this conflict often fight on both sides, showing support towards Annie (Aidy Bryant) when it's easy, then their true cards when times get tough. As an active user of the Gawker Media platform during Lindy West's time at Jezebel, I was also thrilled to see the commenting environment--again, both its pros and cons--given ample screen time in this limited series. What keeps the series from soaring right now, however, is the limited range of emotions Bryant provides to her character, staying pretty well entrenched in the "millennial nice" that laughs at pretty much everything, doesn't take things seriously, and always has Mommy and Daddy there to help her. The supporting cast surrounding Bryant often seem to be reacting to a character that isn't fully fleshed out by her and ends up feeling a little underbaked. I would have really liked to see more depth to her character who has genuine reason to be hurting. The Lindy West I know was loud and bombastic. I know it's only inspired by her, but I would have liked to have seen a little more of that fire and vigilante spirit. Certainly, though, Shrill has done enough to bring me back for more episodes when Hulu decides to release them.

Witty, self-deprecating, and in love with the time travel/sci fi genre, Future Man delivers a great homage to such works of the 80s/90s. Its story is understandably convoluted, but it knows better than to rely on that to keep the show moving, favoring its deadpan, zany humor to keep the audience watching. The main trio also brings an endearing charm to the series which, despite the degree of crazy antics they find themselves in, somehow makes you still root for them in the end. Definitely worth the laughs and memories of neon title screens from yesteryear.