Pluribus the si fi series which recently finished airing its first season on Apple tv, is simply put the greatest and most thought-provoking dramatic writing to ever grace a screen. At its core it is about what it is to be human, but its tragedies the failures to communicate properly. The "collective” consciousness evolves, but all the greatest minds of the world couldn’t stop Carol, efficiently played by Rhea Seehorn from failing to warn Manousos, stoically played by Carlos-Manuel Vesga of the dangers involved in disruption. It’s a shockingly realistic view, painting a grim picture for humanity. If the entire world’s conscious as one cannot communicate safeguards properly then do the leaders of the world have it worse off? Carol asked Manousos, “do you know how many people you just killed?” at first the ambiguity of Manousos with his back to the camera, seemed like a mistake, the only flaw I could find in the writing but that is life, that is the essential challenge, to communicate warnings preventing the loss of life or freedom. The series is working to find a balance exhausting all cross connections between want and need, free will and harmony, science and spirituality. How connected is the soul to the frequency of the universe as opposed to the mind's connection will other humans? (are they the same?) Perhaps the collective will see a different method or way to bond with each other, one that communicates with individual perspectives, to act like a child as opposed to reacting like one. There are many perspectives yet to explore and I hope it all leads to a more triumphant humanity that communicates differently, perhaps at a level that can actually be achieved in real life just as the collective needs to evolve in order to survive. Pluribus strips us of heroes and villains squeezing the essence of life and the importance of being into a divinity that empowers with free will. All are vulnerable and the entertainment value of this epic timeless series rests in how 12 characters, the last of which is the entire population of earth, figure out how to create utopia or extinction. How many world leaders do we have in real life that can save us this way? Writer and creator Vince Gilligan is one. ****/2025/12/pluribus-our-only-hope.html
It is with absolute giddy admiration and excitement to present a review of one of the most satisfying dramatic comedy series ever created in the Lowdown, currently on Hulu. One of Ethan Hawks’ most important works touching upon his western sentiments as a Texan himself in Tulsa. The story checks all the most intriguing boxes like corruption, racism, predatory capitalism, classism, redemption, friendship, loneliness, parenting, literature, gender equality, cultural appropriation, empathy, charity, and political vigor but most of all it tackles personal substance and how it’s effected by society. Hawke brings his usual gritty muckraking intellectual Greenwich Village hippy to a small town making a mountain out of careless corruption as so beautifully shot in the final scene; his failing bookstore in the shadows **** city in the backdrop. Tulsa, as the series touched on, was once a booming black city, a triumph of post-civil war reconstruction until mass murderous race riots filled the streets with blood and despair. Hawke’s character as if an afterthought is there to pick up the pieces in a modern era bent on forgetting its roots and respect for Native Americans. Hawke’s, Lee Raybon, is a comical Don Quixote of journalists touting a new brand of “truthstorian"-ism he holds on to and cherishes as his own identity, one the new world of alternate realities should instill. His acting as always entrenched in nervous thrill and bravery is surpassed in one scene by the teenager, Ryan Kiera Armstrong, who plays his daughter, Francis. “Don't patronize me by saying I’m not old enough to know you are good" a hero for the people as Lee wrestles with his indulgent dangerous passions wanting desperately to be a good example for his daughter but perhaps from a far not so close that she would see his warts and constant pot smoking I’d add. Perhaps the only flaw in the writing was neglecting to point out how he deals with stress as a reporter that lays it all on the line for the Lowdown nature of ultimate justice and equity. The acting overall aims for the heavy heart. A bevy of great performances like a final tearful swansong by a regretful, Jeanne Tripplehorn, the poetically stringent acts by Keith David, and Peter Dinklage, all relating to a masterful reconciliatory grace from the echoes of Tim Blake Nelson. Where are the Lee Raybons’ today? How soon we forget the massive corruption and insider trading that’s setting up a massive economic crash, turning cities on hills into tear gassed trenches for powershifting whims. The cruelty of public policy lost in headline news pushing talking points that entertain. The tattered notions of justice crumbling and decaying without repetition. The action-packed thrilling Lowdown climaxes with the importance of sensitivity as the strongest proponent of democracy. Bravo, Sterlin Harjo, whose timeless heart graced us with this series and others like Reservation Dogs, always striving to help us understand our reality, which can never change despite the greed and corruption that enslaves us all.
Ramy, the dramatic comedy series on Hulu featuring the life of a young Muslim American man in Jersey, is a good metaphor for languishing political situations currently unraveling around the world and in the US of A. Ramy astonishingly brought forth a vision manifesting the most important question for any individual and indeed for mankind itself. Do we live and maintain a spiritual divine state of peace and safety, or do we dwell in desire rift with guilt distortion and ambivalence that divides not merely into mammoth delusionary unequal dichotomies but into a spiral of divisive thought. Ramy loses his sense of self and reality searching for the ultimate love energy to guide us. His uncle comes out manifesting a so-called right wing conservative anger that’s openly discriminatory as Ramy manages to treat him with residual compassion, his soul still lingering from the time he dangerously lied to help a war PTSD suffering individual who begged for redemption. Ramy contrasts his uncle’s dysfunction with an ex American vet’s psychotic tendency. The series treats violence just as it does the sins of lust and distorted outcomes, outlining how kindness and sincerity rule the day even while other more rigid actions cause massive chaos and pain. A Palestinian boy is left to languish in prison from an act of extreme desire albeit distorted passion. He stole the bike and deserved to have his jacket taken from him forcefully, but one suffers much more than the other because society is built on extreme discernment which has replaced reasoned thinking. Politics now uses a pulpit of distorted realities based on false conspiracies spread by social media algorithms which exists to sell ads. Its fine to sell ads, ill give my data for better cheeseburgers gladly but don’t keep fooling my family and friends into clicking on outlandish trails of video clips all serving mendacities upon mendacities for coupons. My favorite scene in the masterful series was when Ramy got his brain compared to that of a heroin addict with the same pleasure reward zones. Ramy, his doctor friend tells him, is overstimulated and needs to calm his mind down in order to get erect. You guessed it. Its all about sex and erections. Like good sex you got to be in love with what you’re doing, its got to be real, and based on whats good for you. What does science say about our emotions and where those thoughts lead us and how can we implement the proper reaction?
Of the three western series beginning with the story of pioneer James Dutton and his family’s legacy, “Yellowstone” is the weakest in terms of structure and acting, despite a few great performances. The prequel “1883” was more pure drama, depicting pioneering settlers with an astonishing reality, the heroine in the limited series, a daringly brave lady carving a way of life, and a way to live in nature for what’s best in man, Isabel Day playing Elsa Dutton preserved the tactile subtleness of substantive living, even through sacrifices and danger, where all is equitable and free - the show’s main characters adhering to a moral structure and tradition of modesty. In my past review of the limited series 2nd prequel “1923”, I write about the superb realism bent on a just order, the cowboy order of things, free spaces and wild nature in harmony with a dream, to rest among the stars and the land whole. Perhaps inspired by Native Americans, the new cowboy, like Ted Williams, John Wayne, Roy Rogers and Clint Eastwood was duty-bound by honor to put the word brave in home of the brave. It’s what we all aspire to if we live with nature and do what’s right, even if not technically legal. He is at once against authorities that gather for profit without catering to the ramifications. The “Yellowstone” series set in the 21th century began with acts of brutality which in the end comes close to heading in the right direction before death with only several characters adhering to what is right - a break from the cowboy ethic to the good ole boys’ rule of reckless brashness. The lead role in the 5 season Yellowstone series, John Dutton comes off as a cowboy mafia soap opera committing atrocities to keep the biggest ranch in Montana building a legacy to keep his promise to his father, to never let the ranch go. Yellowstone entertains from start to finish despite adding several unrealistic plot points, and denying common sense approaches and occurrences although it stays true to a realistic approach. The acting in this series, topped by Kelly Reilly playing Beth Dutton, was not enough overall, and towards the end suffered some sluggish directions, showcasing horse sales got in the way of a thrilling ending scenes instead used to show how important being a cowboy is, working the land to feed people. The biggest dilemma of the series, a pipeline headed under a reservation’s water was left with unresolved after criminal vigilante action; its consequences ignored. The ending of the series set forth a definition of good-natured living, the cowboy as a citizen, middle class empowered rancher. Beth choosing a home where she could visit the local pub on horseback away from tourists. Her legacy’s giant 140-year-old Dutton ranch was too much to hold against the might of development without affordable housing or inclusionary zones, **** the resources of the state’s modest cowboys. Gentrification without inclusion leaves us divided and angry, poor or worse, incapable of living. John Dutton’s son Kayce, played modestly by Luke Grimes, at one point when estranged he suffered on the reservation struggling to make ends meet on his small piece of land he rented with his distractingly beautiful wife, Monica, acted with delight and enchantment, by Kelsey Asbille. Kayce Dutton almost loses his identity crossing the line slightly, but through and through Kayce is the consummate role, carrying the banner for our true American identity as a fearless super soldier who would die for what is right. He could have been rich but instead chose the American Dream, a neglected American identity. One that is fair and yet sacrificing for the greater good of things. Yellowstone as a whole could have been much better. John Dutton’s American dream was that of conquest, his son Kayce’s, that of a regular cowboy that just wants to love his immediate family, something his father could not hold together because of his tormented acts. His daughter Beth turning the drama to stage level for a show of absurd truths, her tongue constantly looking to change people’s mind with ridiculing sarcasm. Beth’s American dream is the most refreshing climax of the series, abandoning millions not just for her on a modest ranch in the coldest parts of Montana away from the ill effects of corruption and greed, but in spite of it, yet we don’t know how much she has tucked away with that Bentley in the barn; the righteous American is not cruelly gluttonous over excess and luxury, especially the kind that exploits. I can’t wait for the next limited series, “1944” but there is so much more Yellowstone could delve into, this time hopefully with a proper perspective, never losing its grip on what’s right.
The most important scene in the epic western limited series 1923 isn’t fighting off a big cat, shooting through 3 bad guys, leaping from a train into infinite love, or even Helen Mirren shouting courage and resilience into existence with piercing eyes and mammoth stance no, those among many others are all ethereal amazements worthy of your eternal awe but no, it’s a moment of grandiose confidence and ego that temped God that steals the show. Some of the finest soul catching acting since Meryl’s Streep’s tiny part in the Homesman, Julia Schlaepfer stole this series with a depth and power defining everything she felt with an added effervescence to force it down our throats into our bowels, leaving us completely and madly in love with her spirit. Who is this British aristocrat who throws everything away and risks everything not just for love but for her divine energy, which we learn from her subtle expressions like a mirror not just to her soul but to ours as we peer into the ultimate triumph of humanity. The sheer terror of being **** and humiliated, seen as if for the first time, from a giant Godlike angel that cries not for herself but for the fate of humanity’s promise. It is with this serene convenience that she abandons reality, perhaps after having once again bonded with fellow aristocrats, feeling invulnerable, and alas unresponsive to God’s plain warning. You cannot make it there. There is no fuel in the treacherous storm to which the once again entitled princess blindly declares, “we have gone this far”. That’s the scene where 1923 makes its mark from exorbitant thrill to political testament; from all consuming action filled adventure to a realistic tragedy. Ignore God at your own peril. Taylor Sheridan writing sets this series, much like his pioneering prequel 1883, as must watch American classics. Apart from Schlaepfer, Mirren and Harrison Ford’s work Sheridan is the star here despite several commonsense flaws he should get a pass on. He finds any chance he can get to lead up to moments that define society and justice, exposing corruption and malfeasance at its essence. In one scene Harrison Ford, with his easily accessible honorable grit found only in a hand full of actors, casually reveals the scheme of washing machines or predatory capitalism and Timothy Dalton’s overly and unnecessarily sadistic robber baron, exposes the ultimate sense of adrenal distractions. His gun for hire, shepherd turned henchmen played by Jerome Flynn brings an exasperating redemptive angst to life with surly acceptance likewise capturing a fear for oligarchy like few if any TV series’ have shown but its Sheridan’s lines that give Flynn’s continence weight, he doesn’t layer it on like Ford would with a shrug or sigh nor does he serve the dialogue with every inch of his being like Julia Schlaepfer did. Beyond the important dialogue, 1923 gives us a roller coaster of unique action no one looking for sheer entertainment should miss. Every episode is riveting and edge of your seat satisfying except for the aforementioned most important scene which tore out my heart in order to examine or perhaps plead with us, to listen to God’s warnings because, “Woe to those who are wise in their own eyes, and shrewd in their own sight”. For more political rants coupled with reviews check out my blog: ****/
Who knew Ben Stiller was this good a director. A slow churning examination of identity. The sci fi-ish thriller drama makes a case for the pace of awareness. I know where I am and I know the truth, the truth is what is needed now and even the next five steps to the door can reveal whatever peace or grace is needed to live. Dan Erickson’s scripts and vision of the close up featuring a doorknob opening, Severance encapsulates time within the present thought, from there it shares everything: the story, the rhythm, and the need. It’s so hard to figure out, yet so easy when you understand. It’s as if I was angry the story was such a mystery and that the plot was even left for us to figure out. The main character played a bit too reserved by Adan Scott and Britt Lower was even more intentionally vague because the script is a conundrum of competing beliefs. At one point involved in satisfying work, and easy existence that reflects and cherishes art or a simple philosophy that drives peace from sheer ignorance. Scott and Lowers eyes met the task but I didn’t feel the layers needed to examine safely like I did with Zach Cherry, Christopher Walken, Patricia Arquette and John Turturro who all felt more authentic in their portrayals believing in the moments whereas Scott and Lower saw many different outcomes as if an abstract painter we need to figure out. Perhaps that decision to play a cynical sadness consumed their skills in convening plot and story. It’s fine for the script, one of the most unique things about Severance is this vague line dividing decisions and identity. The whole give in to your feelings to know who you are crowd is too existentialist. You are not what you want. You are what you need. This is perhaps the best lesson from Severance, but the direction that Erikson takes defines an ill-fated freedom into living in a false reality, a new one that’s distorted from the current one, taking self-duality to a level of defeat; but it’s almost as if the Zen like compliance of raw emotion supplants need for want. How can someone pick what they want if they know it’s not what they need clearly. It feels somewhat unbelievable in Severance, yet not so much in life when someone that sounds intelligent and charmingly kind stoops to shill for corruption to get whatever perverse issue, they believe in based on want and desires. Some are so obsessed with ending violence that they let insane notions harbor unanchored to the facts that surround what is happening, in Severance we don’t have the facts, the foreground is missing and all we are left with is a background to gleam reality from. The story presents an absurd population, distracted from all the facts focused on their scheme to entertain a false narrative that serves the corrupt. What is Lumon’s corruption? Why are they creating new identities to serve their seemingly diabolical needs yet the extent of which, the details of which, we do not know. All we know is a cocreator wanted to separate their minds to create a separate existence. And it appears somewhere down the line, her vision was stolen, going from science to something unknown in Severance but in real life that reality is clear, even though the task of undoing it is absent as if the minority cannot understand what is happening or is just incapable of overcoming it or stopping it. The symbolism and thought-provoking dialogue are enough to make Severance a timeless classic to adore despite the challenging harshness that hides reason in the face of deception.
