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Taylor Sheridan’s conspicuously veiled ode to the oil industry continues, as Landman makes a return for its third installment of the season, with “Hell has a front yard.”  The episode opens in true Sheridan fashion with the gratuitously dramatic drone flyover of the expansive West Texas landscape at sunlight, as Cooper Norris (played by Jacob Lofland) wakes at camp to an unexpected initiation when the Medina crew cousins come to avenge the death of their family members during the recent oil rig fire, where Cooper found himself as the only survivor. Cooper holds his own in the dust up, invoking some rather impressive wrestling skills honed, he later admits, during his brief stint “at Tech.” That would be THE Texas Tech for those who know. Wreck ‘Em. C ooper’s skills in the dirt ring impress “Boss,” a brute of man who could bench press two Coopers with one hand, who offers to take the novice roughneck on as the worm (read, “newbie”) on his crew.  Across town, Billy Bob Thornton’s weathered landman Tommy Norris (Cooper’s dad) is at the Midland airport, with daughter, Aynsley (Michelle Randolph), in tow, to begrudgingly welcome his ex-wife, Angela, (Ali Larter) who has come out west to check up on their children.  Eager to escape the hell that is time spent with his ex-wife and her many assets, Tommy leaves Angela and Aynsley in the company of the country club staff to meet the bull dog of an attorney sent from Fort Worth to assess the recent plane/tanker crash that gave us the explosive opening to the Paramount+ series’ debut episode.  Away from the patch (as the oil field is affectionately known), Cooper must confront the loss of his former crew on a deeper level when he goes to the home of Luis’ (former crew boss) widow to pay his respects to the Medina family. Inside, he finds himself in an unexpected tender moment with Ariana Medina and her newborn, when the young widow literally cries on Cooper’s shoulder bemoaning her life ahead, living without her husband. Cooper’s piercing blue eyes, always on the verge of tears, himself, reflect the anguish of the survivor’s guilt forever stained on his oil-singed face.  Out in the oilfield with the Gen Z, top-of-her-class law school standout who arrived onscreen at the end of episode 2, Tommy must school the legal whiz kid, played by Kayla Wallace, on both the legal ramifications and red tape nightmare that would come if he reported to authorities every piece of equipment that went missing in his line of work while not necessarily solving the problem. When the young attorney asks about the wind turbines dotting the landscape she spies off in the distance, and her supposed rush-to-extinction they must create for the oil industry, Tommy sets her straight with an encyclopedic readout about wind as an alternative energy, not the oft-thought of green energy held by popular opinion. Tommy emphatically tells her, “there is nothing ‘green’” about wind production, given the significant amount of oil energy needed to actually design and develop the massive, 450-foot tall modern-day windmills, themselves. While impressive with the breath and depth of the knowledge Thornton’s character seems to spew forth at a moment’s notice, the entire scene reads more like a powerpoint presentation better suited for an energy convention than a plausible conversation held on the dusty back roads of West Texas. In short, it’s too contrived.  And, the slap-you-upside your head messaging leaves one to question whether or not every episode will ultimately devolve into a 54-minute uninterrupted commercial for big oil. The thought would be unfortunate with the amount of compelling story that would go untold through the lens of the characters that have been carefully curated for the canvas, as a result.  Nevertheless, the episode ends with an impressive five-minute time lapse photography video package that unfolds like another industry documentary as Cooper and his new crew get to work erecting a new oil well. From the ground below “the worm” marvels at the work of his fellow roughnecks carving out their place in the annals of progress, doing what many would, arguably, considered to be one the most dangerous jobs in the world. Tommy says as much in his dissertation.  To this point, unfortunately, it seems the only characters you can come to care about are Father Norris and son - Tommy and Cooper — who seem to be the only two, thus far, allowed to be introspective and understanding of their place in the microcosm of their industry. What has become even more apparent and most disappointing to note as each episode of the 10-episode season for the oil drama unfolds is the constant portrayal of the women who appear only to be one canvas as widow dressing. Their dialogue, at times, is both immature and forced, playing disappointingly on every Texas blonde girl trope imaginable. And, one should also really start to question the budget afforded the show’s wardrobe department, as there seems to be a strange shortage of fabric for the clothes the ladies are asked to wear as their onscreen attire.  In this episode alone, four of the five women wear nothing more than a bathing suit onscreen for the entire episode. And, the only female character to appear fully clothed is the hot shot corporate attorney, but, even she quickly becomes the damsel in distress as she finds herself paralyzed with fear when she stumbles upon a West Texas rattlesnake while inspecting the oilfield accident sites. This leaves Tommy to swoop as some sort of pseudo-white knight with his shovel in-hand to take out the offending rattler. It is a contradiction of sorts, when, not two scenes before, the character was chastising Tommy the Landman on his violation of age and gender bias in the workplace.  Starring Billy Bob Thornton, Ali Larter, and Jon Hamm, Landman returns with another installment every Sunday on the Paramount+ streaming platform.

From the opening scene — a darkly hued foreshadow to reveal the beginning of the end, you know what you are about to watch, is going to Popular, that’s right, I said Pop-u-lar! How could it not be as the highly anticipated cinematic adaption of that decidedly popular Broadway hit finally arrives to mark yet another iteration of one of THE greatest stories of all time. Let us all be rejoicefied! You read that right.  For the better part of a year, the news and hype surrounding the critically acclaimed stage production of Wicked making its way to the silver screen has ignited imaginations worldwide from the very moment promotion of its forthcoming release dropped in late March. At the time, the two leads slated to star, British actress and singer/songwriter Cynthia Erivo and American pop star and actress Ariana Grande (credited for the film as Ariana Grande-Butera) were the first to stoke the Ozdust when the duo presented at the Academy Awards together, wearing green and pink gowns representing their respective roles for what is sure to become an instant Turner Classic. Nevertheless, to say I was skeptical that the film could live up to the genius of its stage predecessor would be an understatement. Remember, 2014’s “Annie?” Yeah, I do, too, and tried to forget it. It is a slippery slope to attempt to reimagine such a beloved production, like Wicked, that has already solidified its popularity dominance with theater audiences the world over. There’s the script that was genius, the music that was peak, and a story the way we want to know it, already in place. Surely, they could not improve upon that. And, yet, the 2024 epic fantasy film adaptation, promised to be a visual and musical spectacle, makes a brave and bold attempt to do just that, arguably, to much initial success. Hey, I can admit when I am wrong.  Exploring the origins of the witches of Oz, this newest version succeeds in capturing the magic and emotional complexity of the stage production while bringing a fresh cinematic interpretation to the beloved story. And, what is most heartening, the musical film retains the memorable songs from the stage that we all know and love, such as " Popular,” “I’m Not That Girl,” and “Defying Gravity.”  The production value alone is worth the price of admission. From the moment the opening musical notes waft off the screen, you are immediately thrust back into the magic and majesty of the golden age of Hollywood — the way films used to be made. It is evident no expense was spared with the film’s production design. With brilliantly vibrant costuming, gorgeous and vivid sets, and elaborate backdrops, CGI notwithstanding, this larger-than-life film is a visually stunning experience, reminiscent of the beloved movie musicals of the 1950s. Released November 22, Wicked, Part 1, directed by Jon M. Chu, and written by Winnie Holzman and Dana Fox, is the first of a two-part film adaption of the stage musical of the same name, by Stephen Schwartz and Holzman, which, itself, was loosely based on Gregory Maguire's novel "Wicked: The Life and Times of the Wicked Witch of the West." Serving as a prequel to L. Frank Baum's, “The Wizard of Oz,” the story for both the film and stage musical explores the backstory of two iconic characters from the turn-of-the-20th-century novel: Elphaba Thropp, the Wicked Witch of the West, and Glinda (née Galinda) Upland, the Good Witch.  All begats aside, the prequel, set in the fantastical Land of Oz, focuses on the unlikely friendship between the two young women: Elphaba (Erivo) who is born with green skin and possesses extraordinary magical abilities, and Glinda (Grande) as the fair-haired, bubbly and popular IT girl. Initially, their diametrically opposed personalities lead to tension and misunderstandings when they first meet at Shiz University.  As the odd couple story unfolds, themes of friendship, love, prejudice, and even ambition and the classic notions of good and evil quickly emerge. Much of the film centers on Elphaba’s experiences grappling with her identity, social expectations, conventional ideas of beauty, and the injustices faced by those who are thought to be different. As the unlikely friends’ lives become intertwined under the backdrop of the politics of Oz, Elphaba is made to face an unexpected path to become the “Wicked Witch.”  Reprising her starring role from the London stage production, Erivo portrays the titular character with such emotional depth, using the power of her enigmatic voice to convey moments of vulnerability being different, to the strength and moral fortitude of standing up for what she believes in, even if it means standing alone. Known for her versatile performances, Erivo commands such attention onscreen. With wide expressive eyes, tinted green to match her character’s emerald skin, Erivo’s performance reminds you of the unspoken power of the human gaze in revealing a complex set of emotions - from fears and desires, to love and hope, and the strength to forge your own path.  Admittedly, in what I found to be a surprise turn, Grande, herself, is also a force onscreen as she masterfully holds her own opposite not only Erivo, but other noted veteran performers, the likes of Michelle Yeoh (as Madame Morrible) and Jeff Goldblum (as the Wizard, himself). No stranger to the stage and screen, Grande’s portrayal of the beautiful Glinda is Ariana Grande as you have never seen her before. Stripped down to the raw beauty of her voice, you finally get to truly appreciate her dynamic vocal performance that is stunning both for its range and impressive control. From the moment she floats onscreen, Grande is a standout among her peers, not only for her singing, but also for her refreshing and natural comedic timing.  The dynamic between Elphaba and Glinda remains key for the story. Marked by a blend of humor, emotion, and musicality, it works because Erivo’s and Grande’s dynamic does. The generous way the two leads allow space for each other’s performances in bringing that captivating chemistry to life underscores the heart of the film, and leaves a lasting impact long after the credits roll. Why it works speaks directly to the genuine friendship the two accomplished actresses appear to have forged offscreen.  With a star-studded supporting cast featuring Jonathan Bailey, Ethan Slater, Bowen Yang, Kaela Settle, and Peter Dinklage, Wicked, is out in theaters now in wide release, just in time for the Thanksgiving holiday.

The Sheriff’s Office Kenny and Boyd strategize to cover more ground in their search for Fatima. Just then, Ellis arrives with news: he believes Elgin knows where she is. He recounts his recent conversation with Elgin, and when Kenny asks where he is, Ellis tells them that Elgin is at Colony House. The Cellar Fatima is alone in the bunker, and her pregnancy is progressing rapidly. We see the baby moving inside her, a subtle yet eerie reminder of the danger and mystery surrounding her. The Town At Tabitha's, Jim and Tabitha have an intense conversation. She reveals that she felt Miranda’s presence—not as a vision, but as if Miranda was trying to communicate something. Seeming to believe her, Jim leaves to apologize to Jade and to tell him about his family’s turmoil. He confides in Jade, explaining that he needs help—and that Jade may be the key. Back at Tabitha’s, Jade reveals that his visions were different, prompting a discussion on thermodynamics, Jade suggests that energy lingers. He wonders if the little girl in Tabitha's vision wanted her to see something important. Meanwhile, Victor’s father notices his son sulking and attempts to connect with him. He apologizes for not being more supportive, but Victor insists he needs to show him something—something that will make him despise him. Colony House Boyd finds Sara in the church and asks her to accompany him to Colony House. He shares Ellis’ belief that Elgin may know where Fatima is, and given Sara's own experiences with the voices, Boyd hopes she can reach Elgin. As Boyd and Sara arrive, Elgin tries to leave—presumably to check on Fatima—but is surprised to find them waiting. They ask to talk, and he reluctantly agrees. Inside a room, Boyd, Sara, Ellis, Kenny, and Donna surround him. They search his bag and find supplies that suggest he’s preparing for an extended stay as he has enough for days. Boyd doesn’t waste time, asking if Elgin knows where Fatima is. Elgin begins rambling about how the baby will save them all. Ellis, frustrated and enraged, loses his temper with Elgin, prompting Boyd to intervene and lead him out of the room. Sara calmly tells Boyd there's nothing they can do—Elgin believes what he’s saying and won’t be swayed from his plan. Boyd, resolute, decides to lock Elgin in. Conclusion This episode is packed with revelations that will leave fans eager for more. I love to give recaps during my reviews, but so much happened that it would lead to spoilers. I will share one revelation that many viewers have already speculated so it is more of a confirmation, time travel is real in Fromville. We also get answers to a number of season-long mysteries: Fatima’s fate, the true connection between Jade, Tabitha, and the town (which, let’s be honest, most viewers predicted), the meaning of "Ankoohey," and more about why the children continue to show themselves to certain people. In From fashion, the episode still leaves us with new mysteries to unravel next season. What will happen to Boyd? Can the town recover from the drastic actions taken in the pursuit of Fatima? This was a gripping and thrilling episode, one that ramps up the intensity with every passing moment. Just when episode nine left us wanting, episode ten delivers in full force, making it impossible not to anticipate what comes next. A solid 10 out of 10—this episode exceeded expectations and has set the stage for an even more electrifying continuation.

It is every mother’s worst fear — the thought of her only child out in the world, on his own, lost and alone. A thought made all the more harrowing when the circumstances under which it is playing out is set against the backdrop of war. To live that nightmare is to step into the very premise of British screenwriter-director Steve McQueen’s latest historical fiction feature film, Blitz, streaming now on Apple+ TV. Blitz follows the journey of George Handway, (played by newcomer Elliott Heffernan), as a nine-year-old biracial boy during World War II who is separated from his mother, Rita (Saoirse Ronan), when she reluctantly places him on a train to be evacuated from war-torn London for his own safety. The year is 1940, during the months-long German Blitz, short for Blitzkrieg — the Nazis’ brutal lightning war of nightly air raids against Great Britain.  During the relentless siege, the Luftwaffe destroyed more than two million homes and buildings in relentless air assaults, most often carried out over night. More than 40,000 British civilians were killed, while others were forced into the London Underground’s (aka train tunnels) makeshift bomb shelters. To preserve the next generation, thousands of children were sent to the English countryside for their own protection.  While the film is set within the context of historical happenings, it is neither based on real events nor true-to-life characters. The story of George is said to be merely the figment of McQueen’s imagination after discovering an old war photograph of a young black boy standing alone in a train station with only a suitcase during the director’s research of the Blitz campaigns. Whether the film is meant to be a poignant story of a mother’s love and sacrifice, or a sweeping commentary on the devastating effects of war, is unclear, given that, at times, it does not allow itself space to take a deeper dive into either, effectively.  The film jumps back and forth from the present to the past to show George’s sweet and nostalgic relationship with his mother and live-in maternal grandfather. However, the film unfolds more like a scrapbook of lost memories piece-mealed together rather than a complete and fluid story. With very little nuanced character arcs, the war drama invites more questions than it truly answers — Who was George’s father? Where is Rita’s mother? How has George’s mother helped her son, with the caramel-colored skin, navigate his identity through a decidedly monochromatic upbringing? Though, it is obvious that George is different from all the other children of his southeast London neighborhood, the racial undertones and struggles of identity themes of the film are only hinted at (and, once again, never fully explored) through a pair of flashback scenes of George and his mother being harassed on the street, and his father, a black man, being hauled away after a run-in with a group of white men after a night of drinking and dancing with Rita. Though unclear if the couple were ever married, we are left to assume a deep love existed between them in a throw-away scene meant to build a bridge to the past.  By all estimates, the Handways lived rather staid lives in their corner of the world before the war. Conflict for the mother-son seems to come only for the first time when Rita must acquiesce to sending her son away for his own safety during the Blitz. Angered and hurt by his mother’s decision, George refuses to say goodbye or even acknowledge her when she takes him to the train station. As the train carrying the hundreds of children barrels through the English countryside making its way to safety, George immediately settles into regret at being angry with his mother. With determination and defiance etched on his face and his suitcase in-hand, the young lad jumps from the locomotive to the dewy mountain grass below to make his way back to his mother. With nary a scratch nor broken bone, George, armed with only a sandwich and some schilling, begins his long walk home only to find himself immediately thrust into a series of perilous circumstances.  For most of his journey, George’s mother does not even know he is missing. When she is pulled aside during her shift at the factory and given the news of his disappearance, Rita, with her heart in her throat, sets out to find George on her own. During his time afoot, George finds himself in the company of a rather eclectic slew of interesting people — some helpful, some nefarious, all drifting quickly on and off canvas during his experiences. And, just as we, the audience, are about to get invested in these side character stories, George’s journey takes a turn and he is pushed on to the next distressing situation.  Back home, life in the midst of war becomes robotic for those left behind to make sense of it and find a sense of purpose living through it. By day, Rita, the proverbial wartime riveter, works at the local munitions plant making weapons for the troops on the front line — welding, painting, sanding, and stenciling the bombs. For the women like Rita, it is the only way to keep up a sense of normalcy and keep her wits about her as she frets over having sent her son away.  We learn the backstory of George’s father in only one scene and one mention when George’s mother slips a weathered St. Christopher (patron saint of travelers) pendant around George’s neck for protection. We learn of the pendant’s history in flashback as George’s father bestows it upon Rita on the very night he is taken away from her. And, while the George’s grandfather (Paul Weller) is presented as a constant of calm in the daily chaos, we never learn any more about him than he is gifted pianist for the family.  The heart of the film remains George. Despite having only a handful of actual lines throughout the film, Heffernan’s ability to convey a spectrum of emotions for the character through his often pensive, chocolate-drop eyes and stoic facial expressions is remarkable for a debut performance of one so young. In moments of anger, Heffernan’s brows furrow and his eyes flash with intensity, allowing us to feel the turmoil mixed with fear and uncertainty brewing just beneath his surface as he confronts each new, an unexpected experience. What’s more impressive is how the young actor balances these heavy emotions with moments of vulnerability and tenderness. In scenes where he recalls memories of happier times with his onscreen family, a flicker of hope dances in his eyes, only to be quickly overshadowed by the weight of his current reality.  The seesaw of the mother-and-son trauma is balanced by Ronan and her own strong performance as the factory-working, amateur songstress single mother, with the alabaster skin and golden hair coifed beautifully by soft pin curls. Her character serves as a symbol, of sorts, as she is often seen in scenes of anguish — saying goodbye to her son, walking amongst the rubble of a recent air raid, wearing a beautifully tailored, but out-of-place attire in blood red. Coincidence? Or, perhaps, a subtle foreshadowing of the danger always simmering around her in the wake of her decision. It is difficult for audiences to truly know for sure, as the whys of who the maternal character is are never given the opportunity to fully form. Nevertheless, what Blitz lacks in fully realized character development it often makes up for in stunning cinematography and even sound editing, showcasing the devastating aftermath of the nightly bombings punctuated by an eerie dead silence onscreen for what feels like full minutes at a time. The effect highlights the profound emptiness that comes with brutal and calculated loss.  The wide, often panoramic aerial camera shots of death and destruction complement the emotional landscape the characters must navigate on the ground in the after-effects of war. The haunting score by Hans Zimmer, enhances the cinematic visuals, echoing the themes of loss, devastation, and heartache that underscore both George and Rita’s respective journeys to reunite.  Harrison Dickinson, Benjamin Clementine, Kathy Burke, Stephen Graham, and Leigh Gill round out the supporting cast.  Debuting at the BFI London Film Festival in early October, Blitz, premiered on the Apple+ streaming platform on November 22.

The Piano Lesson  (2024) marks Denzel Washington's third film adaptation of an August Wilson play. This time, the family gets involved. Malcolm Washington directed the film, which stars David Washington as Boy Willie. Katia and Olivia Washington contribute in both producing and acting roles. The story opens on Independence Day, 1905, with white landowners celebrating outdoors as fireworks light up the sky. Amid this backdrop, we meet Boy Charles, who leads a bold break-in to steal a piano — but this is no ordinary instrument. The piano holds deep significance for the Charles family, with the history of their ancestors carefully etched into its wood. The film primarily unfolds in Pittsburgh, where Boy Willie arrives at his sister Berniece’s home after traveling 1,200 miles with a truck full of watermelons. His plan is twofold: to sell the watermelons and use the money to buy the land of the recently deceased slave of their ancestors, Sutter. Sutter’s land is up for sale after his untimely death—he fell into his well. With a plan in hand, Boy Willie plans to sell the family heirloom without the family's input. He shows up out of nowhere and just plans to sell the piano. He sees the piano as a means to an end. He doesn't consider its rich history. He only thinks of himself, but there are lessons he will learn along the way. Berniece, his sister, sees the piano as a priceless heirloom, representing her family's legacy. It is a deep, rich history that is rooted in pain, but for as much as it is rooted in pain, it has its victory and is something that Berniece is not willing to part with. This creates a conflict between the siblings. This leads to a deep exploration of the piano's journey and heritage. How does one honor their heritage yet reconcile the sacrifices and pain that come with it? This is a powerful theme of the movie that gets deeper when we learn that the arrival of Boy Willie brings with him the demon of Sutter's ghost. The family has to fight to be rid of the ghost, which is a powerful parallel to confronting the past and healing from it. David Washington’s portrayal of Boy Willie seems to come off as an impression of his father, Denzel, though it doesn’t quite land as strongly as hoped. On the other hand, Danielle Deadwyler’s performance as Berniece is remarkable. She shines in the role. She brings emotional depth and power in her performance. Samuel L. Jackson, in a quieter but still commanding supporting role as Charles' family’s patriarch, performs a performance that adds depth to the family’s dynamic. The screenplay stays true to Wilson’s original work, preserving its rich, layered dialogue and sense of history. Cinematically, Washington does a remarkable job of capturing the feel of a stage play while expanding the setting to provide lush, atmospheric visuals that enhance the emotional weight of the narrative. The film expertly addresses themes of generational trauma, the tension between material gain and spiritual value, and the complex relationships within the Black family. The piano, both a work of art and a symbol of struggle, is a powerful metaphor for the characters' internal battles. It’s a film that will resonate deeply with those familiar with Wilson’s work. It offers a compelling and emotional experience for new audiences and highlights the enduring relevance of his storytelling.

Doctor Odyssey’s Fall Finale provided twists on the year’s final voyage and an insane amount of small rubber duckies. Avery is left navigating how to break the news about her bundle of joy on the way.  The episode titled “Quackers” opened with a giant duckie sailing behind the Odyssey, where Captain Massey, Max, Avery, and Tristan already looked exasperated before the week had even begun.  Lenore explains the importance of Quackers week in the industry to Massey and advises him to take on the role of the “cheery host.” Rosie and Cory also instruct their fellow crew members to paint a “quacker” that represents each of them and hide it on the ship. There will also be a hunt for the golden quacker. Whoever wins will receive a $5,000 cash prize.   Tristan and Vivian are attached at the hip, bonding over Quackers Week, while Max and Avery are equally inseparable, united in their hatred of Quackers Week. Vivian opens up to Tristan about the inspiration behind her Van Gogh duckie, revealing that her dad used to be a guard at a museum in New York. Max admits to Avery that he’s against animals having to ingest the plastic from the toys. Hints begin to drop about Avery’s pregnancy when the paint smell starts to make her feel nauseous, leading to her taking a test.  Jill and Jerry Manafort, the founders of Quackers United, also come aboard the ship. Jerry picks up a penny on the table, which initially seems innocent but is later revealed to be anything but.  Avery confides in her two best friends, who have arrived on the Odyssey, sharing that she got into medical school and is also pregnant, and they engage in some girl talk. She expresses her worry about a baby changing her plans for medical school.  The race to find everyone’s duckies begins as they get hidden everywhere like towels, desk drawers, liquor shelves, and more.  In the pool where Vivian and Tristan lay together, there are hundreds of rubber ducks which the two joke about. Vivian questions Tristan about where they stand, and he says he wants the two of them to get to know each other slowly. He also opens up about his childhood and the boarding school he attended. Max tries to warn the two about the bacteria the duckies hold, but they don’t listen and end up getting bacterial conjunctivitis. This keeps them from doing their jobs for the rest of Quackers Week.  At dinner, things get a bit strange when Jerry picks up a gold coin and eats it. It’s discovered that he also ate the penny he picked up earlier. It turns out that this wouldn’t be the first or second time he has done this. Mr. Manafort is later diagnosed with Pica which is a disorder that makes people eat non-food things. 18 objects are removed from Jerry’s body when Max and Avery perform his surgery.  Just when things start to stabilize, Max wakes Avery up because he feels something is wrong. They find that a large area of Jerry’s bowels is necrotic and jump into action to save his life. The chemistry between Max and Avery is clear when they comfort each other after the surgery.  The big three tell Jill that her husband is being transferred to a hospital on the shore, but she’s hesitant to leave the Odyssey. They all talk through it, and Avery helps Jill pack her items.  In the thrilling finale’s climax, Avery summons Max and Tristan to the infirmary, where she drops her bombshell: she’s pregnant, symbolized by pink and blue duckies. Max tries to assure her that she can still do medical school and have a baby, but she’s not ready to hear that. Tristan vocalizes that this must be Avery’s decision and that they’ll be there to figure it out.  Avery has a lot to think about and has shaky waters ahead to cross. It will be interesting to see how she handles it all and how it will impact Max, Tristan, and the ship as a whole. Ryan Murphy’s hit medical drama will return on Thursday March 6, 2025. The first half of the series is now streaming on Hulu.

The latest romantic comedy, Sweethearts , has hit Max just in time for the holidays. In her feature directorial debut, Jordan Weiss, brings to life this coming-of-age rom-com centered on two college freshmen, Ben and Jamie, as best friends who have been struggling to enjoy their college experience due to their ongoing long distance relationships with their high school sweethearts. The decidedly co-dependent besties (played by Nico Hirago and Kiernan Shipka) make a pact to tag team their breakups with their respective partners while home on Thanksgiving break.  Who doesn’t love a little vinegar with that cornbread stuffing? Or, is it dressing? Nevertheless, despite their careful workshopping of their breakup speeches on a cross country trip back home, Ben and Jamie’s carefully plotted operation turkey drop, of sorts, dissolves into chaos when everything that could go wrong for the night does. Would it even be comedy if everything stayed on plan? From the awkwardness and unpredictability of the characters’ new experiences to the half-baked hijinks, the film falls short of bringing anything substantially new to the rom-com genre. In moments that are often reminiscent of teen angst movies from the ‘80s, the comedic elements in the ensuing story stem from a series of mishaps, missteps, and miscommunication between the leads and their love interests. The jokes almost write themselves.  The film does pivot at times to allow its archetypal supporting characters, from the socially hip parents to the wise counseling teacher/coach, to explore and share their own vulnerabilities, serving as poignant reminders that love comes in many forms. Case in point, to add to the emotionally charged Thanksgiving holiday, Ben and Jamie’s larger-than-life, rather flamboyant hometown friend, Palmer (played by comedian Caleb Heron), who has been living out his gap year working at EuroDisney, is also returning home, complete with a new accent, a new lease on life, and a not-so-surprising life choices big reveal at his own carefully planned le petite soirée. Translation, epic house party. While the film tries to do too much, flame-broiled turkey on the lawn notwithstanding, Sweethearts does succeed in capturing the essence of friendship, taking you through a heartwarming exploration of choices, identity, and even the beauty of simply being there for one another. Through a handful of entertaining and relatable experiences, the film emphasizes that the most fulfilling relationships are those where people involved are honest with who they are and what truly makes them happy.  With a host of quirky side characters, played by Christine Taylor, Ava DeMary, Charlie Hall, and a cameo by Jake Bongiovi to round out the cast, Sweethearts and all of its holiday goodness is streaming now on Max.                                                                  ### On the KP Scale = 7 out of 10

Heartbreak. If I had to choose one word for this episode, it would be heartbreak. I must admit, the Found writers have been all gas this season. The weekly cases have been engaging while bringing the audience into the process – a rare treat you don’t find in a lot in shows anymore. They also have done a beautiful job with the series arcs for each character. I anticipated learning more about each M&A team member as well as Sir being on the run. I didn’t anticipate each person’s reaction to Gabi’s lies. This has been an enjoyable unraveling and Season two has not disappoint. As the M&A team continues to grapple with the secret Gabi kept from them, each person is not the same anymore. And though they don’t completely forgive Gabi, they are still protective of her. [SPOILERS]   Especially Dhan. His marriage shifted from strained to crumbled apart due to the secret Dhan kept from his husband – Ethan.  Ethan has officially moved out of their home. Hopeful for reconciliation, Ethan is cautious. It was refreshing to see Ethan give Gabi good insight into Dhan and the impact his loyalty to her has caused their marriage.  Which also makes me wonder – what is this “debt” Dhan feels owed? How did Gabi help him? One thing Dhan does not take lightly, is Gabi’s safety. And he made it known to Christian (Sir’s brother) whatever is going on, if he is working with Sir and Gabi is hurt - Dhan will kill him. With a restraining order looming over her, Margaret is eager to get back to the bus station to continue her nightly routine. Unfortunately, the bus depot manager said she can no longer come there. Permanently. To lighten the blow, Gabi and Zeke provide Maragaret access through surveillance cameras at the bus depot. But just as she was getting settled in for the night, the connection was lost and then Margaret lost it. I must admit – I got frustrated for Margaret too. The despair on her face must also hold tight onto her heart. And when she said, “why can’t you find my son” to Gabi, I was completely undone. As Gabi held Margaret on the floor in her arms, I wondered - will we get an episode of her son’s disappearance? More bad news descends on the team when the police raids Zeke’s apartment. Lacey is with him, but Zeke is unconsolable as Trent and his team unplugs everything. His connection to the outside world was severed, which does not help his Agoraphobia (an anxiety disorder). Another great scene by the writers and actors as you can feel the ground pull beneath you. How will Zeke move forward? Will he need to go back to the hospital if he can’t control his anxiety attack? Gabi’s world is blurring together as she tries to make amends and prepare for her inevitable imprisonment for holding Sir. The media has taken interest in her case again, adding twists and color to Gabi’s history with Sir. But her main objective is laser focused – find Sir.  Even if that means working with Christian – Sir’s brother. But who is working with Sir? How did he get the case file? One thing Gabi did not need was Sir posting a video about their relationship. Their intellectual relationship. Did no one tell him saying less is more impactful than fanning the flames? And boy was Gabi in flames! So where do we go from here? Will Gabi end up in jail? Will Dhan and Ethan repair their marriage? Will Margaret, Zeke and Lacey ever get back the life they worked so hard to build? Will we find out who is working with Sir? Bring your support blankie for another new episode next Thursday, streaming on Peacock next day.

This week on Doctor Odyssey, it’s Gay Week, providing some joy after Wedding Week’s heartbreaking conclusion. Captain Massey’s brother, Craig, comes aboard with his partners and the relationship between Max, Avery, and Tristan ends before it even begins.  Episode 7 titled “Oh, Daddy” starts with an amusing meeting between the crew, quizzing Massey on the lingo he may hear during Gay Week. Captain also boasts about how proud he is of his brother for getting sober and finding a good partner. Little does he know Craig has not only one partner but two!  Massey informs Max about his growing up with Craig and how there was a 10-year age gap, leading to him practically raising his brother because their mom and dad weren’t around. Massey and Avery then talk about how accepting he is of his brother’s throuple because he keeps an open mind to what makes people happy.  Craig, played by John Stamos, finally comes aboard with his partner Brian. Massey gets a bit of a surprise when Riley, Craig and Brian’s third, comes aboard. Unsurprisingly, given last week’s threesome, Avery seems quite interested in Craig, Bryan, and Riley’s relationship.  At dinner Captain can sense something is wrong with his brother and asks him if he’s been drinking. Angered by this accusation, Craig accuses Massey of not accepting his throuple, but quickly gets excited when Marcia, Craig’s favorite drag queen, performs to ‘Hot to Go’ by Chappell Roan, which Massey organized.  Max jumps into action when Marcia’s wig catches fire, resulting in no lung damage, but a burnt head. In a vulnerable state, Marcia opens up about the appearance she has to keep up as a drag queen.  The big three ponder the idea of actually being a throuple, Avery leading the conversation and admitting that their threesome was fun.  Tensions flare when Max and Tristan bicker about a diagnosis for a couple experiencing a medical emergency after a Zumba class. They bring Massey into it, where he demands that they get a diagnosis as soon as possible, which Max is clearly unhappy about because he wanted to do everything by the books.  It turned out that Max was correct; the condition was not Marburg, as Tristan thought, but rather Carotenosis and Mononucleosis. When Captain senses the agitation in the room, he urges the big three to get back in sync. Afterwards, Max admits that he doesn’t want to be in a throuple because it’s not him. He wants to be in a relationship with one woman and to have a marriage and kids. However, Avery refuses to accept no for an answer and convinces Tristan to talk to Max about reconsidering their throuple.  Later on, Brian tries to convince Craig to go to rehab, but Craig once again says no. Things take a disastrous turn when Craig bumps his head on the pool slide stairs, with blood flowing from his head.  Craig promises Massey, Brian, and Riley that he hasn’t been drinking, but Max’s drug test says otherwise. Craig tells his brother that something is wrong, because once again, he has not been drinking. It’s soon revealed that he has indeed not been drinking but has Auto Brewery Syndrome due to his acid reflux medicine. Tristan makes a confession to Avery, telling her that he is in love with her and can’t share her. He doesn’t want to be in a throuple with Max either, and it has to be all or nothing between them.  At the end of the episode, arguably the best part, a couple who mistakenly booked their cruise during Gay Week gets a little bundle of joy when the wife gives birth to a beautiful and healthy baby girl.  The Odyssey cruise ship is about to be rocked, with Avery revealing that she’s pregnant. Who is the father? Is it Max or Tristan? The fall finale will air November 21 on ABC. It will stream on Hulu the next day.

Boyd and Ellis’ Search for Fatima   Boyd and Ellis comb the woods for Fatima, but a troubling new development hints that something is seriously wrong with Boyd. His health seems to be deteriorating, adding another layer of urgency to the situation. Meanwhile, Elgin is still holding Fatima captive in a dungeon-like room. Attempting to make her “comfortable,” he brings her supplies and informs her that the baby is angry with her for not eating. Fatima confesses she also sees the Kimono Woman but warns Elgin that the figure is deceiving him. Elgin dismisses her concerns and offers her blood he’s been draining from his own veins, insisting it will strengthen the baby. The scene turns macabre as Fatima reluctantly drinks, with the blood unnecessarily dripping down her mouth in a theatrical, Dracula-like display. Fatima attempts to escape by cutting Elgin, but her effort fails. The next morning, Boyd and Ellis argue over Fatima’s disappearance. Sara interrupts, revealing she knows Fatima is missing—the voices in her head are laughing, claiming the group won’t find Fatima in time.  Back in the dungeon, Fatima discovers a mysterious door in the ground, setting up what could be a pivotal reveal. Victor and His Memories   Victor experiences another emotional breakdown during a conversation with Tabitha and Sara. He laments that he doesn’t want to remember anymore, retreating further into his fragile mental state. When Tabitha tries to stop him from leaving, something inexplicable happens when she touches him—but viewers are left in the dark about what it is. When Sara presses Tabitha for answers, she claims she doesn’t know what occurred. This cryptic moment adds intrigue but feels like another tease in an already slow-burning episode. The Clinic, Julie, the Ruins, and Randall   Julie is examined by Marielle, though she lies about her experiences, attributing them to a strange dream. Later, Julie opens up to her mother, mentioning her time in the woods with Randall—a revelation that immediately sets Jim off. Unsurprisingly, he confronts Randall. In a display of calm, Jim approaches Randall with understanding, acknowledging their shared trauma. He asks about the ruins, but Randall quickly reverts to his abrasive demeanor, offering a cynical piece of advice: teach Julie to drive and accept that no one will escape. While bleak, his words emphasize the mounting hopelessness permeating Fromville. The Voices   Sara’s unsettling calm is broken when the voices return, confirming that her temporary peace was too good to be true. The Sheriff’s Office   Ellis urges Boyd to visit the clinic, but Boyd refuses, admitting that he already knows what’s wrong with him. His condition began even before he ventured into the woods with Sara. Ellis is understandably upset that Boyd kept such a critical secret from him. Boyd confides in Ellis about the monsters’ psychological games, including their intent to break him emotionally. He wonders if his current condition—and Fatima’s disappearance—is connected to their manipulations. Their conversation is interrupted when one of the monsters taunts them, triggering a brief loss of control in Boyd. Thankfully, Ellis steps in to calm him down, showing the strained yet resilient bond between father and son. Colony House   At Colony House, Donna reminisces about celebrating Fatima’s one-year anniversary there, hinting at the close relationship she shares with her. The atmosphere shifts when Victor throws a tantrum, tossing items out of his window before storming out with an axe, terrifying the other residents. His intent to chop down a tree adds to his unraveling psyche. Boyd visits Donna, sharing what the voices told him about Fatima. Donna insists that the town can’t handle the truth of Fatima’s disappearance, especially so close to breaking point. Boyd agrees to keep the information quiet but informs Donna that Fatima is gone. Realizing the stakes, Donna declares it’s time to ring the bell and hold a town meeting. Boyd organizes a search party, agreeing to split into pairs. Suspiciously, Elgin offers to team up with Ellis, unbeknownst to Ellis, he is teaming up with the one who has kidnapped his wife. Conclusion   This episode earns a 6/10. While there are moments of tension and hints of intrigue, much of the runtime feels like filler. Emotional beats could have been more impactful, but the slow pacing and lack of significant revelations drag the episode down—especially given that it’s the penultimate installment of the season. With only one episode left, the stakes should have been higher, and the adrenaline should have been pumping. The final twist does align with some fan speculation, but the cliffhanger ending leaves too many questions unanswered. The finale now has the unenviable task of delivering both satisfying resolutions and critical answers. Let’s hope it can rise to the occasion.

There are three realities that define what we know about life in Texas — there’s lots of land, lots of oil, and, of course, lots of football under Friday night lights. There’s a taste of all three in Landman, Paramount+’s newest offering, released on November 16. Set in the Permian Basin boomtown of Midland, Texas, the 10-episode series starring Billy Bob Thornton, Ali Larter, and Jon Hamm, is a modern-day tale of fortune seeking in the not-so-glamorous world of West Texas oil and gas. At first blush, it is not hard to imagine Landman as no more than Yellowstone-West, set on the dusty Texas plains with steel horses, aka oil pump jacks, instead of cattle horses, and land worked tirelessly by salt-of-the-earth roughnecks as opposed to their distant cousin ranch hands of Montana. But, to do so, according to the show’s creator, Taylor Sheridan, you would be wrong.  Despite its intentions to set itself apart, the not-a- Yellowstone spinoff somehow manages to still fall in line thematically with Sheridan’s previous work, right down to its haunting, sepia-toned musical opening credits sequence. Though, more specifically, the series’ unfiltered deep dive into the boots-on-the-ground life on the modern-day American frontier and the clash between individual aspirations and the broader influences of capitalism and industry unfolds in similar ways to Sheridan’s other fictional think pieces of this type. Moments of familiarity continue throughout each episode as they showcase the unique challenges facing those who work to scratch their feast-or-famine living out of the unrelenting earth. Much of the storytelling of Landman unfolds in a-day-in-the-life fashion of the titular character Tommy Norris (Thornton) as an oil company crisis executive chain-smoking his way from one all-consuming issue to another, as he faces the unpredictability of the oil industry.  The first two episodes, released during the premiere weekend, waste no time delving into the literal and figurative fires that Norris must confront each day he teeters precipitously between the boon of capital gains and the sobering catastrophic crises that, no doubt, come with this inherently dangerous work, and that’s just on Monday. In the span of five minutes, our anti-hero is at-once a negotiator, a fixer, a therapist, and a walking encyclopedia of market-driven economics, oil rig mechanics, and even cancer rate statistics of Asian populations. And, not necessarily in that order.  With his hardened-by-life exterior, Tommy serves as the brutally no-nonsense landman for M Tex Oil conglomerate headed by Monty Miller (Jon Hamm). Day-to-day, his work is varied and thankless — from negotiating a service lease agreement with Mexican drug runners while being held their captive to assessing his company’s liability in a brutal clean up of a roadway drug plane/oil tanker collision, all while balancing the needs of his broken family as the wise old patriarch, giving hard truth advice to his coming-of-age son and daughter, as he tries desperately to overlook the repressed sexual tension that remains with his bombshell ex-wife, Angela (Larter). Though, I have to really question the parental skills of any father letting his daughter throw away Whataburger fries! C’mon now. If you know, you know.  Known for bringing a sense of authenticity to his roles, Thornton portrays yet another beautifully nuanced yet flawed, complex individual, who is both relatable and genuine, despite his acerbic personality spraying over you like kerosene.  For those who may not know, Landman succeeds in painting a fairly accurate portrait of the dynamic life in a West Texas oil town, shaped by the ebb and flow of the industry, that gives its existence both purposeful stature and relevance. Played out, at times, in voiceover narration and heavy on the cinematic drone flyovers of sprawling Texas landscape and urban skylines, the oil field life montages set to country music, do their best to showcase the rugged Individualism of the region and a culture that tends to celebrate self-reliance and hard work, with many residents taking pride in their connection to the land and the oil industry.  The latter is represented onscreen in the roughneck crew Tommy’s son Cooper (Jacob Lofland of Maze Runner fame) is assigned to by his father to learn the ways of the oil industry force.  In foreshadowing detail over an impromptu barbecue of tongue-on-fire Carne Asada tacos, the young Norris is schooled by the Medina Family on the grueling work, yet impressive financial payoff, that comes with life out West “working the patch.” No sooner than Cooper hears these words does he fully comprehend their lesson when he is left as a crew “orphan” day two of his devastating indoctrination into the life of a roughneck. Nevertheless, the stark realities of the brutal life in the oil field are permentatly etched in the mind as the elder Norris tells the city slicker corporate attorney sent to handle the inevitable litigation cases stemming from the dumpster fires piling up — there’s simply  “no time to grieve; no time to mourn,” in this world. Welcome to the Patch.  Written and directed by Taylor Sheridan, Landman drops new episodes Sundays on Paramount+ through January 2025.

Dune: Prophecy , HBO's prequel to the iconic Dune  series, delves into the origins of the Bene Gesserit, exploring their rise and the political intrigue that shapes Frank Herbert’s universe. Set 10,000 years before Paul Atreides, the series traces the formation of the powerful sisterhood and their role in the aftermath of the Butlerian Jihad, a war that outlawed sentient machines. Plot & Setting The story follows sisters Valya and Tula Harkonnen, portrayed by Emily Watson and Olivia Williams, as they lead the proto-Bene Gesserit. As the sisterhood navigates the remnants of the Jihad, Valya seeks to reclaim her family’s legacy after they were dishonored by history. She discovers her true mother, Mother Superior Raquela Berto-Anirul, and together, they create a network of influence across the Imperium, using their power to shape rulers. As Mother Superior embarks on a controversial genetic project to cultivate better leaders, Valya becomes determined to fulfill a vision she believes will change the future. In a climactic moment, Raquela’s dying vision warns of the fall of the sisterhood, and Valya becomes the catalyst for its transformation, using her newfound powers to carry out her mission—no matter the cost. The series jumps forward 116 years, showing the complex state of the Imperium under the sisterhood’s rule, though the transition remains unclear. Performances & Visuals Watson and Williams deliver standout performances, capturing the nuanced dynamics between the Harkonnen sisters. The series’ production is rich in detail, with stunning set designs and costumes that bring the Dune  universe to life. From the desolate planet Wallach IX to the luxurious Salusa Secundus, the world-building is immersive, maintaining the visual style fans expect from the franchise. Conclusion Dune: Prophecy  provides a deep dive into the Bene Gesserit's origins, adding layers to the Dune  universe with its political intrigue, mysticism, and complex characters. However, the story takes time to fully engage, and while the fight sequences are well-executed, they fail to sustain interest. Those unfamiliar with the Dune  lore may struggle to follow along, so prior knowledge of the books or films is recommended for a richer viewing experience. Dune Prophecy airs Sunday nights on Max.