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Lego Star Wars: Terrifying Tales – Scared Silly

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Hallowe’en has come early.

To kick off its ‘Hallowstream’ Event, Disney+ offers its latest gift in the form of Lego Star Wars: Terrifying Tales, it’s latest entry into the long-running animated franchise. Following last year’s Lego Star Wars Holiday Special, Tales continues to lean into the holiday-themed material with an episode devoted to the Dark Side and its minions.

Terrifying Tales takes place after the events of The Rise of Skywalker as Poe Dameron and BB-8 are forced to make a sudden landing on the volcanic planet of Mustafar. Standing at the base of Darth Vader’s iconic hideaway, they soon discover that Graballa the Hutt has bought the castle so that he can repurpose it into a luxury hotel. While they wait for their ship to be repaired, they are intrigued by the mysterious Vanee (Tony Hale). Once working as Vader’s loyal servant, Vanee spins three eerie tales that are linked to the past and leads them deep within the castle’s walls. As his sinister plan is revealed, Poe, BB-8 and young mechanic Dean must face their fears and defeat an ancient evil from taking hold once again.

Taking a page from Marvel’s What If…? series, Terrifying Tales spins its own web of Jedi stories that may (or may not) have happened amidst the Star Wars canon. True to other Lego Star Wars animated fare, the series pops with silliness and fun, even as the proverbial ‘terrifying tales’ themselves focus on the more villainous characters in the universe. Just like it’s Marvel cousin, the show frees up its storytellers to tell stories without the burden of overarching storylines and continuity. As a result, there’s a gleeful freedom within this particular episode that sets it apart from other entries into the Lego franchise. (I mean, how much fun is it to see the story of impetuous farmboy Luke joining the Empire so he can live his dream as a great pilot?)

Concerned parents may find it important to know that these ‘terrifying tales’ hardly live up to their name. Although there are a few minutes of shadows and spookiness, ‘terrifying’ is hardly the word to describe these lighthearted adventures. (Although, it’s worth noting that these particular animators clearly love The Shining as it influences some of the better jokes within the episode.)

Since it’s leaning into the Dark Side of its stories, the show puts a heavy emphasis on stories about fear and power. (Again, lightly and playfully, of course.) However, Disney does admittedly surprise here by taking the opportunity to talk about the nature of courage as well. As Dean is exposed to Vanee’s ‘terrifying tales’ of the past, so too is he tempted to fall into their fear. Even so, Poe uses the moment to speak into Dean’s life.  Acknowledging his own fear, the pilot let’s Dean know that everyone experiences it but what matters most is what you do with that fear. To him, fear can be overcome when you lean into it and believe that you are stronger than it says. (“Without fear, you can’t have courage,” Poe says.) In this way, Terrifying Tales does a good job of helping kids recognize that fear is a normal part of their experience and empowering them when it strikes.

Goofy and entertaining, Lego Star Wars: Terrifying Tales is a suitable addition to the Lego Star Wars universe. Featuring fun side stories about some of the franchises favourite villains (Kylo Ren origin!), the episode is lighthearted enough to kickstart a month of Hallowe’en specials and spooks. But the best part is the fact that Disney doesn’t leave its kids wallowing in fear but shows them the path to courage along the way.

Lego Star Wars: Terrifying Tales is available on Disney+ on Friday, October 1st, 2021.

Only Murders in the Building: Killer Fun While Embracing the Mess

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From podcasts to true crime stories, the mystery genre has never been hotter and, thankfully, the sheer joy within Only Murders in the Building keeps that trend alive and well. Tightly written and executed, the series pops with fun amidst the murderous mayhem. As unlikely sleuths, Martin, Short and Gomez are simply delightful together onscreen. Backed by some wonderfully fun supporting cast like Tina Fey, Nathan Lane, Amy Ryan and a dog-hating Sting, the three sleuths bound around the hotel looking for clues to the murder of the mysterious Tim Kono with a youthful energy and enthusiasm in their performances that we haven’t seen in a very long time. 

Set in a restless condo in New York City, Only Murders in the Building follows three strangers whose lives are turned upside down after a young man they know as Tim Kono is suddenly killed. Labelled a suicide by the police, the ruling doesn’t sit well with wannabe sleuths Mable (Selina Gomez), Charles (Steve Martin) and Oliver (Martin Short) who immediately set out to uncover the truth about Tim Kono’s demise. Although they know nothing about each other, their love of true crime podcasts and mystery fuels their passion for the case. However, the greatest lies may in fact be the ones that they tell each other as they keep their own secrets hidden on their quest for the truth.

Despite the age gap between the leads, the team may be unlikely but never seems out of place together. Having found a bit of a career boost in recent years, Short and Martin have worked together for so long that their banter stems out of their very real friendship but even they seem rejuvenated here. In addition, while she may seem like an odd choice at first, Gomez is a suitable addition to the team and she bridges the generation gap, making the series more accessible to younger viewers. 

As with all stories of this nature, Only Murders deals with the impact that the secrets and lies we keep have upon our daily lives. What may set it apart however is its interest in ‘embracing our mess’, rather than simply hide from it. Without giving any spoilers, for Mable, Charles and Oliver the appearance of success and happiness have become just as much of a priority as actually experiencing it for themselves. In each case, these broken souls seem to have everything together on the outside, even as they waste away within. Oliver refuses to let go of his apartment, despite his own financial setbacks. Charles happily reminds people of his career long ago as television detective Brazzos. Mable lives in luxury but keeps her emotional traumas close to her vest. To them, anonymity is power and image is everything.

As they hide their stories from one another, they play a sort of emotional poker with one another (and themselves). However, as their shadows begin to emerge, they become forced to accept the dark corners of their lives that they despise most. (“Embrace the mess. That’s where the best stuff happens,” they’re told.) For Oliver, Mable and Charlie, embracing the mess means being willing to address their brokenness and acknowledge it as a part of who they are. While this is never an easy task, the three characters begin to experience a personal wholeness that has eluded them for some time as they open themselves up to the flaws in their journey. Their stories are as intricate as that of Tim Kono and just as important to reconcile.

Lively and hilarious, Only Murders in the Building has all the makings of a hit. Led by its eager cast and anchored by a solid script, the series is easily one of the most fun surprises of the summer and well worth investigating. Like the podcasts that the characters adore, these Murders are killer fun and should keep people tuning in. 

The first 3 episodes of Only Murders in the Building are available on Hulu and Disney+ on Tuesday, August 31st, 2021, with new episodes weekly.

This Way Up: Nowhere to Go But…

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It’s always hard to go home again. But it’s even more difficult when you’re bringing your own emotional baggage along with you.

Returning for its second season on Hulu, This Way Up is a comedy series about Aine (Aisling Bea), a sharp English-as-a-Second Language (TESL) teacher who has recently finished some recovery time in a rehab facility. After suffering a nervous breakdown, Aine returns home to reconnect with her loving but protective sister, Shona (Sharon Horgan) and attempt to pull things together. As she returns to work (and her old life), Aine rediscovers the challenges and pressures that caused her such stresses before and attempts to move forward with a new determination to survive.

Written by Bea, This Way Up is an engaging and hilarious form of coming-of-age story. Oftentimes, when a series is written by its star, the series can either feel self-indulgent or garner a sense of authenticity. Thankfully, Up falls into the latter category as Bea continues to create a character that feels real. In virtually every scene, Bea feels present and sincere in her performance. Whether she’s bantering with her sister or frustrated by those around her, Bea allows Aine to feel her feelings with strength and courage.

What’s most refreshing about Up though is the way that it tackles mental health issues with earnestness and honesty. Unlike other projects that simply portray their main characters as having to ‘get their life together’, Aine is allowed the freedom to break down at times. Coping with her own anxieties and the shame associated with her time in rehab, Aine is a work in progress. For her, health may not a straight line yet she continues to move towards it. Though she may have her daily struggles, she bravely remains determined to come out on the other side of her depression. In this way, the series offers a balance between the daily challenges of mental health and the courage that it takes to work through them. 

This sort of emotional processing was especially visible in Season One as Aine attempted to rebuild the live that she had left behind. With the release of Season Two, however, we do find Aine in a better place. With her life somewhat sorted out, she has finally regained some stability which has allowed her to become more emotionally healthy. With her relationship with Richard beginning to bloom and the offer of a new and exciting role at work, she has started to take some positive steps towards moving forward in her life. However, while Aine’s life feels less chaotic, Shona’s is beginning to unravel. Torn between two lovers, Shona is finding it difficult to balance the life she has and the one she potentially may want.

By putting a greater emphasis on Shona’s journey, Up effectively balances the fact that everyone is broken to some capacity. While Aine may have been the one to go to rehab, characters like Shona and Richard demonstrate their own inability to cope with the stresses of life and relationships as well. However, in each case, the series also paints its characters with a brush of understanding that recognizes their brokenness but also allows for grace. In Up, everyone may have baggage but, at the same time, there is also hope for all.

Funny and sharply written, the second season of This Way Up continues to give Bea the opportunity to shine but she is not the highlight of the series. Instead, in a rare matter of praise, the most noteworthy aspect of Up is its sensitivity towards those who struggle with daily mental health issues. Like Aine, this is a daily struggle for many. But, also like Aine’s journey, the series reminds the viewer that there is always the potential for Up.

The second season of This Way Up is available on Hulu on Friday, July 9th, 2021.

Loki: ReWriting Our Future

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Is anybody better at bringing people back from the dead better than Marvel?

Whether its Phil Coulson reappearing in Agents of S.H.I.E.L.D. or Natasha Romanoff receiving her first solo film posthumously (albeit as a prequel), Marvel knows how to maximize the characters that fans have grown to love, even after their apparent deaths. Now, after his ‘no more tricks’ fate in Endgame, Loki returns in his own series which promises to have a major impact on the future of the MCU. 

Directed by Kate Herron, Loki begins during the events of Avengers: Endgame and sets the beloved anti-hero off on his own adventure. After escaping from the Avengers and crashing down in Mongolia, Loki (Tom Hiddleston) is arrested by the Time Variant Authority (TVA), a bureaucratic organization tasked with maintaining the consistency of time itself. Because of his actions, Loki is charged with disrupting the primary timeline and sentenced to being ‘erased’ from time itself… that is, unless he helps Agent Mobius (Owen Wilson) to capture an even greater threat to the universal timeline.

After The Falcon and the Winter Soldier sought to challenge their audience, so too did they also lose the ‘appointment television’ vibe that made WandaVision such a success. Loki should change that. Instead of focussing on the weight of social issues or effects of grief, Loki provides a much-needed dose of levity back into the MCU. With an emphasis on fun and humour, Herron has created a series with a tone far closer to the wildness of Guardians of the Galaxy than the gravitas of The Falcon and the Winter Soldier. Fueled by wit and silliness, Loki has a comedic energy to it that is sure to excite fans of the franchise. (Though, it’s worth noting that the first episode is exposition-heavy as the series must explain the existence of an entirely different layer of reality that’s been added to the Marvel canon.)

Without question though, the centre of the show remains Hiddleston. After all these years, Hiddleston is more than ready to step into the limelight as his charisma has elevated the role from standard villain to one of Marvel’s most adored characters. (Has it really been 10 years since he first put on the horns?) Due to the time travel element to Loki, Hiddleston brings the character back to his more mischievous origins and clearly relishes the opportunity to bring back Loki’s shades of grey. What’s more, the casting of Wilson as Agent Mobius also provides a suitable foil for Hiddleston. Known for his more innocent charm, Wilson uses his likeability to balance out Loki’s more menacing humour and the two are instantly one of Marvel’s more likeable duos.

With the inclusion of the TVA, the Marvel universe has changed drastically. With the multiverse beginning to come into play, a realm such as the timestream has huge implications for the franchise moving forward. This is a place where ‘time moves differently’, superhuman abilities are rendered useless and Infinity Stones are literally used as paperweights. (The TVA is also the first official mention of the ‘Nexus’ after WandaVision’s famed commercial segments.) 

Of course, this sort of environment is both stunning and enticing to Loki himself. As he marvels (see what I did there?) at their unbelievable power, Loki is forced to realize how small he may truly be. In this world, time is sacred and the TVA are sworn to protect it from those who would dare to change it. As such, Loki is arrested because his escape was not ‘supposed to happen’, even if the Avengers can seem to pull it off without prosecution. (After all, their transgressions were supposed to take place…) In doing so, the series suggests that every character or person has a lane by which they much adhere. Villains are going to be villains. Heroes will save the world. For the TVA, there is little room for improvisation and everyone must behave as they’re expected to behave. 

However, at the same time, the series offers somewhat of a paradox. (That’s shocking for any time travel series, I know.) While Loki is branded a criminal for his decision to break the timestream, he is also offered the chance to make it right. Instead of seeing him solely as a villain, Mobius sees him as something more and suggests there may be another way. (“I can’t offer you salvation but maybe I can offer you something better,” Mobius says cryptically.) To Mobius, Loki’s criminal history does not negate him but instead highlights his craftiness and ingenuity and could provide a new direction for his life.

For Mobius, Loki’s future is not bound by his past.

With a return to its more mischievous tone, Loki is a welcome return to form for the MCU. With Loki, Herron, Hiddleston and Wilson have created a world of limitless potential that should be an instant hit with fans. It’s always most fun when Marvel takes risks and, while Loki doesn’t exactly stray from the style that has made them a juggernaut, it does provide its most unique character with a whole new box of toys to play with. 

Loki is available on Disney+ on Wednesday, June 9th, 2021.

Marvel’s M.O.D.O.K.: Mutant Mid-Life Crisis Makes M.O.D.O.K. Marvellous

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I mean, who doesn’t think a mutated head bent on murder and ruling the world is adorable?

Wait. Maybe I should rewind a little bit.

Marvel’s M.O.D.O.K. follows Marvel supervillain MODOK (voiced by Patton Oswalt) who has come to major crossroads in his life. After years of failure in his attempts to defeat the Avengers and take over the world, MODOK (which stands for Mobilized Organism Designed Only for Killing) has broken his villainous tech company AIM financially and it falls into bankruptcy. When AIM is sold to tech rival GRUMBL, MODOK is displaced as CEO and left in somewhat of a mid-life crisis. Things become even more challenging when his frustrated wife asks him for a divorce. Frustrated and hurt, the criminal mastermind must suddenly navigate a new chapter of his life and pick up the pieces with his family.

Created by the team behind Robot Chicken, Marvel’s M.O.D.O.K. is wild, hilarious and (somehow) charming. Offering a behind-the-scenes look into the life of AIM’s brilliant super-mutant, MODOK is a sharp and silly satire of the dark side of superhero films. Consistently having his plans thwarted by the Avengers, MODOK nevertheless remains undeterred and continues to look for ways to prove to the other supervillains that he belongs among their ranks. In this world, superheroes are beloved by all yet, from MODOK’s perspective, remain nothing but a nuisance. While the series is not related to the current Marvel Cinematic Universe, MODOK has the keys to the Kingdom with the Marvel characters and manages to create something new and different with familiar characters. (Jon Hamm’s appearances as Iron Man and Nathan Fillion as Wonder Man are particularly hilarious.)

M.O.D.O.K — “O, WERE BLOOD THICKER THAN ROBOT JUICE!” – Episode 108 — The time travelling Young M.O.D.O.K. finally exacts his revenge by kidnapping the family and replacing them with robots. M.O.D.O.K. goes to save his them, and they all end up in a twisted family therapy / battle to the death in Murderworld. (Photo Courtesy of Marvel)

Make no mistake though. Despite its Marvel roots and animated look, MODOK is not for kids. Like parent series Robot Chicken, MODOK uses its stop-motion style to go dark with his humour. From severing limbs to blood splatters to sexual humour, MODOK gives its writers the freedom to laugh at its evil acts and dives in with enthusiasm.

Although it’s popping with energy and dark humour, MODOK has a surprising amount of heart. Because of its serialized story-telling, MODOK has the opportunity to explore more than the maniacal machinations of a mad machine/human hybrid. With Loki and Thanos as the exceptions, the Marvel Cinematic Universe seems to rarely take time with their villains to properly flesh them out, creating a ‘monster-of-the-week’ vibe to the majority of their films. However, backed by some wonderful work by Patton Oswalt, Modok becomes more than a mutated floating head. In fact, MODOK manages to humanize its villain. (Not an easy feat for one of Marvel’s strangest villains.) While the entire cast are a joy to watch (especially Melissa Fumero and Ben Schwartz), it’s Oswalt who gives MODOK his soul.

In this way, the funniest part of M.O.D.O.K. isn’t the bizarre shenanigans. Instead, it’s how relatable he becomes. Despite his appearance and motives, MODOK is simply having a mid-life crisis. Though taking over the world remains his ‘job’, his day-to-day issues are relevant to us all. After a major tech company takes over his own, MODOK fears that his job is in peril. Moreover, he has also finally become aware that his over-emphasis on work has been causing problems at home and in his marriage. Realizing that his family is slipping away, his real hope is to make things right with his estranged wife and kids. In MODOK, we see a villain who wants to have it all… but simply cannot find balance within his family/work life. 

M.O.D.O.K — “O, WERE BLOOD THICKER THAN ROBOT JUICE!” – Episode 108 — The time travelling Young M.O.D.O.K. finally exacts his revenge by kidnapping the family and replacing them with robots. M.O.D.O.K. goes to save his them, and they all end up in a twisted family therapy / battle to the death in Murderworld. (Photo Courtesy of Marvel)

As such, M.O.D.O.K. empathizes with its lead character in such a way that he becomes relatable and strangely lovable. In Modok, we see glimmers of hope that he can turn things around in his life. This evil genius is not only relatable but also redeemable. In fact, we even root for him. (Honestly, I didn’t see that coming.) While the circumstances are vastly different, MODOK’s story could be many of ours and we want him to be able to make it work.

Violent, hilarious and touching, Marvel’s M.O.D.O.K. is a wonderful expansion for Marvel into the world of adult animation. However, while the writing works on its own, it’s Oswalt who makes MODOK so likable. His affability gives his supervillain a murderous innocence that makes him into someone you’d be willing to bring into your home.

Because, after all, who doesn’t think a mutated head bent on murder and ruling the world is adorable?

M.O.D.O.K — “IF BUREAUCRACY BE THY DEATH!” – Episode 105 — M.O.D.O.K. and Monica reluctantly team up to overthrow GRUMBL’s control of AIM. Their “complicated” history threatens their mutual goals as they work through their grievances the only way they know how… a mad-scientist fight! (Photo Courtesy of Marvel)

Marvel’s M.O.D.O.K. is available on Hulu on Friday, May 21st, 2021.

The Bad Batch: Bad Batch, Good Series

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(L-R): Crosshair, Echo, Hunter, Tech and Wrecker in a scene from “STAR WARS: THE BAD BATCH”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved.

It’s hardly a secret that May the 4th has taken on a life of its own.

Though it began as an internet joke by fans, Disney has leaned into this unofficial Star Wars holiday to release new content and celebrate the galaxy far, far away. Now, with the day upon us, Disney+ has taken the opportunity to begin their next chapter of the Wars world with The Bad Batch, the latest animated series from hit-maker Dave Filoni.

Admiral Tarkin in a scene from “STAR WARS: THE BAD BATCH”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved.

As the creator of the original Clone Wars and Mandalorian series, Filoni has become one of the founders of modern Warsstory-telling. With an emphasis on character development and long-form narrative arcs, his style has served them well, especially with the company’s increasing emphasis on Disney+. With The Bad Batch, Filoni returns to the Clone Wars era but, rather than simply continue the franchise (again), the story now focuses on a rogue squadron (pun intended) of faulty clones. Similar to the way in which Mandalorian offers a twist on the familiar, The Bad Batch also takes the world created by Lucas and creates something exciting and new(ish).

Picking up immediately after the clone troops have executed the now-infamous Order 66, the elite troop of soldiers Clone Force 99 are left shocked and confused by what has just taken place. After having followed their Jedi generals for years in the heat of battle, suddenly they have been commanded to wipe them out. (“All of them,” growls Palpatine.) However, as members of a bad batch of clones who have been genetically enhanced above their brothers-in-arms, Hunter, Wrecker, Tech, Crosshair and Echo seem immune to the Emperor’s orders. Lost and confused in the post-Clone Wars era, the Bad Batch must attempt to find their place in a much darker world than they could have imagined.

Emperor Palpatine in a scene from “STAR WARS: THE BAD BATCH”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved.

With a slightly darker edge than its animated predecessor, Bad Batch has genuine potential to be the next great Star Warsseries. Featuring solid story-telling and interesting characters, The Bad Batch is entertaining and engaging from the first episode. Filoni and his crew have yet again [re]created a world that’s worth our attention. Although this set up of a rag-tag band of freedom fighters may feel familiar within the Wars universe, the fact that the group consists of Imperial troopers somehow makes it seem fresh. 

What’s more, the timing of the story feels like it actually fleshes out part of Lucas’ original vision. (Admittedly, the poor writing of the prequels leaves ample space for this to happen.) By continuing the story post-Order 66 from the perspective from anyone outside the Jedi Order, Filoni opens up the importance of that moment to those who aren’t normally featured. This is yet again another example of how Disney+ has allowed Star Wars to give smaller characters not named Skywalker their moment in the sun. (Who knew that I’d be glad to see the Kimino cloners again?) Though formulaic, it is still working… and fun to watch.

Omega in a scene from “STAR WARS: THE BAD BATCH”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved.

Admittedly, the story doesn’t need the addition of a ‘kid’ to the group. (At least, not from the first episode.) With the inclusion of ‘Omega’, the Batch has someone else to protect and provide the necessary childlike innocence that they will need. This seems to be the trend for more mature Wars stories in order to ‘soften’ the groups for younger viewers (read: Yoda, Baby) but it isn’t always necessary. 

What makes this Bad Batch interesting is that, as ‘faulty’ clones, they have a unique flaw that sets them apart from other troopers: free will. Because of their genetic modifications, this crew of misfits are able to avoid the power of the Emperor’s viral commands and make their own decisions. In other words, despite their Clone DNA, this batch has the ability to make moral decisions instead of following orders blindly.

(L-R): Echo, Tech, Hunter, Crosshair and Wrecker in a scene from “STAR WARS: THE BAD BATCH”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved.

This squadron has a conscience.

Usually viewed as mindless drones who execute the Empire’s wishes at will, this group of troopers with the ability to reason for themselves creates some interesting tensions. In the pilot episode alone, the frictions within the unit mount as they attempt to wrestle with the implications of disobeying orders for the first time. Having been told what to think their entire lives, their circumstances have forced them to decide the nature of their duty for themselves. On the one hand, they value the military chain of command and accomplishing their mission.

On the other, they have begun to question what’s right and wrong.

Admiral Tarkin in a scene from “STAR WARS: THE BAD BATCH”, exclusively on Disney+. © 2021 Lucasfilm Ltd. & ™. All Rights Reserved.

For this group, morality is a new experience and offers solid potential as the story unfolds. As they process their way through a new world, Hunter and his crew are literally blank slates in search of their own identity and ethics. As a result, these new toys appear to have given Filoni and his team the opportunity to explore what makes something good or evil.

It’s also what appears to make watching this Bad Batch a good choice.

Star Wars: The Bad Batch premieres on Disney+ on Tuesday, May 4th, 2021 with new episodes airing on Fridays.

Secrets of the Whales: Narwhals, Orcas and Belugas! Oh My!

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Happy Earth Day, everyone.

With the arrival of April 22nd, National Geographic launched their latest series celebrating the creatures of our planet. Available now on Disney+, Secrets of the Whales takes a deep dive (get it?) into the wonderful world of whales. Narrated by Sigourney Weaver, the series focuses on five different species (orcas, humpbacks, belugas, narwhals and sperm whales), the limited series plunges viewers into their incredibly complex systems of communication and social structures, revealing the intricacies of a culture that remains a mystery to those of us who live on land.

Produced by James Cameron, Secrets of the Whales is yet another marvellous journey into the deep blue yonder. Though documentaries about ocean life have become commonplace, Secrets sets itself apart by focusing its lens on several species who feel somehow underrepresented onscreen. (Seriously, when was the last time you saw such gorgeous footage of narwhals, belugas or orcas?) With each episode, the viewer is treated to learn how these creatures navigate the dangers of the wild, migrate instinctively around the world in massive numbers and co-ordinate organized attacks while they hunt. 

Though cousins to the Mouse House’s DisneyNature projects, National Geographic opts to take a different approach to their content in the way that they construct their narrative. Whereas Disney’s ‘true life adventures’ give personalities to their subjects by naming them, NatGeo instead takes a more ‘third person’ approach to the narrative. As a result, while the series doesn’t quite feel as personal as its Disney counterparts, it somehow carries a more educational feel to them.

However, that’s not to say that the series feels like a university lecture. Far from it. In fact, through series like this, NatGeo continues to show how far the ‘nature documentary’ has come over the years. Visually stunning and spanning around the globe, every episode of Secrets feels like an engaging journey into the unknown social relationships of these magnificent creatures. Led by Brian Skerry, the series does an excellent job of bringing the viewer into these parts unknown with awe. Without trivializing the unfolding beauty of nature, Weaver’s peaceful narration helps make these creatures become more relatable. By focusing on their family structures, Secrets makes these beasts feel both familiar and new, as we are treated to watching orcas teach their children how to feed and belugas and narwhals protect their groups from invaders. 

In this way, Secrets continues the tradition of creating a sense of wonder about the natural world. NatGeo has always done a beautiful job of helping the viewer understand the relevance (and importance) of what they’re seeing and this remains true in this series as well. Featuring stunning footage of these creatures roaming freely within their own habitat, NatGeo recognizes the sheer magnificence of creation. In remarkable moments such as orcas stealing a meal from the beach or humpbacks expressing themselves through song, Secrets sits back and marvels at the artistry and wisdom of these charming beasts. (Even Skerry seems to show a boyish glee when he gets particularly up and close with his subjects, especially the massive number of migrating belugas.) 

As it follows these (mostly) gentle giants through the deep, Secrets of the Whales proves to be yet another successful entry into the National Geographic library. With each new discovery, Skerry and his team exhibit the power and beauty of nature that lies before them. Inspiring and beautiful, this series reveals that there are many secrets of our oceans worth uncovering and that we have only just begun to scratch (below) the surface.

Secrets of the Whales is available on Disney+ on Thursday, April 22, 2021.

The Falcon and the Winter Soldier: Battle Scars and Bank Loans

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Next one up.

With seven series and five films (!) on tap for 2021, it’s fair to say that Marvel wants to keep their schedule moving along. As a result, even though we’re only two weeks out from the finale of WandaVision (don’t you kind of miss Agatha already?), the House that Stan Lee Built has already moved on to their latest Disney+ entry with The Falcon and the Winter Soldier, a series which explores what it means to be a hero when you’re stuck living in the shadow of another legend.

The Falcon and the Winter Soldier picks up shortly after the events of Avengers: Endgame. (With no direct ties to WandaVision, there’s no obvious indication from the series where they fall in the timeline with one another.) Living from military contract to contract, Sam ‘The Falcon’ Wilson (Antony Mackie) has passed on the opportunity to take on the mantle of Captain America, opting instead to go home and help his sister deal with their family’s fishing business. Meanwhile, Bucky “The Winter Soldier” Barnes (Sebastian Stan) continues to live a life of solitude as he attempts to make amends for his past crimes. However, as a new evil lurks in the shadows, Sam and Bucky must work together to expose their plan and save the world once again.

With the global success of WandaVision and today’s release of the first episode of Falcon, Marvel (and Disney) have seamlessly moved from an (almost) exclusively MCU to the M-TV-U. But, so far at least, the most unexpected element has been the quality of the series thus far.

In some ways, it should not a shock that the Marvel product has been translating so well onto the small screen. While the MCU is known for its big budget special effects and larger than life battle sequence, the material has never forgotten its roots in comic books and long-form storytelling. (Besides, what is the Marvel Cinematic Universe if not the modern equivalent of the Saturday morning serials with a larger budget?) 

Even so, it does come as a bit startling how patient Marvel has been with their storytelling with this new venture into television. For example, in WandaVision, it wasn’t until the 3rd or 4th episode before the Marvel connections really began to take shape. With Falcon, Marvel again shows their confidence in their storytelling (and their fan base) by adopting this patient approach. Though this series will ultimately be only six episodes long, the introduction to the series primarily focuses on the challenges in the lives of our two protagonists. (Seriously, when did you ever think you’d see an Avenger struggle to get a bank loan? Doesn’t S.H.I.E.L.D. take care of their own?) While the series opens with a solid action scene, the rest of the episode focuses almost exclusively on character development, grappling with issues of PTSD and systemic racism.

It instantly impressed me.

Marvel has always been at its most interesting when they take risks. Whereas WandaVision leaned in exclusively into television history, Falcon (so far) seems committed to telling a story that focuses on what happens when the war [seems to be] over. With Sam working from contract to contract and Bucky grappling with the sins of his past, the two men are attempting to reintegrate their lives with everyone else. Though known as heroes for their time with the Avengers, they are now struggling to get by. Whether it’s trying to pay the bills or simply living with extreme anxiety, both Sam and Bucky are coming to grips with life after the shield. 

Now, of course, we know that the story is not going to end there. Teases of a new evil organization point to a more traditional MCU series of large-scale military battles on the horizon. But, for now at least, their greatest battle is understanding the legacy they leave behind. In this way, Sam’s story feels the most relevant. After having passed on the mantle of Captain America, he’s wrestling with his own worthiness as a hero and the missed opportunity to follow in the footsteps of an American icon. Sam understands that the world ‘needs a new hero [that’s] suited for the times we’re in.’ But he doesn’t believe that he can be that person…yet, anyways. (Certainly, the prospect of an African American lead taking on the role of Captain America would be an important opportunity that Disney needs to take—but that remains to be seen at this time.) For Sam (and Bucky as well), the mantle of ‘hero’ simply feels overwhelming. They know who they are and what they’ve done and, because of it, the standard of heroism simply feels too high for them to apply. 

While I’m certain that, eventually, the men will reconcile their past with their role as heroes, it is always interesting when Marvel challenges their characters emotionally. In Falcon and the Winter Soldier, there is a recognition that the mantle of responsibility must be taken seriously. At the same time though, the series also hints at the fact that all leaders are imperfect at some level, meaning true worthiness stems from some other aspect of their character.

But we’ll have to wait for the show to unravel to tell us what that is.

The first episode of Falcon and the Winter Soldier is available to stream on Disney+ on Friday, March 18th, 2021, with new episodes every Friday.

Murder Amongst the Mormons: Truth, Lies and Videotape

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Murder Among the Mormons, episode 1. c. Courtesy of Netflix © 2021

Set in 1985, Murder Among the Mormons untangles the web of intrigue surrounding a series of shocking events in Salt Lake City, Utah that shook the foundation of the LDS Church. After a series of pipe bombs kill two people and hospitalize another, the Mormon community was left mourning the loss of their own. What’s more, they were also stunned to discover that a number of early Mormon letters were destroyed in the trunk of the third victim, Mark Hofman. As a collector of rare documents, Hofman had long been known for his ability to find antiquities of incredible value. As a result, investigators immediately believe that there may be some link between these newly uncovered letters and the attacks themselves. As Hofman fights for his life in hospital, the police fight for the truth as they relentlessly search for the identity of the killer.

While true crime stories have become particularly popular during this pandemic, this is one that must be seen to be believed. Directed by Jared Hess (Napoleon Dynamite) and Tyler Measom (An Honest Liar), Murder Among the Mormons is a stunning documentary that unravels like the best of mysteries. Though Murder feels like an attack on Mormon beliefs at first, the serie’s exploration of the bomber quickly reveals that these assaults have little to do about systems of faith. As they delve more deeply into the events that took place, Hess and Measom unravel a conspiracy that is utterly unbelievable (yet remains absolutely true).

Murder Among the Mormons, episode 1. c. Courtesy of Netflix © 2021

What’s more, Murder is not a story that leaves any ambiguity as the final credits roll. This is not a series that attempts to uncover an unsolved mystery that leaves the viewer with questions regarding the bomber’s identity. Instead, this series becomes more of an exploration of the psychology of a madman and the circumstances that created him.

Without giving away any potential spoilers, one of the more fascinating aspects about Murder is its conversation about what it means to be true. When finally questioned by his captors about his actions, the bomber blurs the lines between reality and fiction when he states that “It’s not so much what’s genuine and what isn’t, but what people believe to be genuine.” To the bomber, truth gains it power not from fact but from belief. In other words, though their life was an endless stream of lies and deception to the people that they love, he justified his actions simply by the fact that people trusted them. 

Murder Among the Mormons, episode 1. c. Courtesy of Netflix © 2021

To him, lies are as good as truth as long as they’re worth believing in.

In many ways, it’s a fascinating psychological argument. Although the bomber is definitely crazy, the suggestion that people believe whatever they want without really asking the hard questions is difficult to argue. While faith remains an essential component of our lives, it must go hand-in-hand with truth and reality. As such, what the bomber fails to understand is that the value of truth does not lie in belief but rather the opposite. Faith and belief get their power from truth.

Compelling and borderline crazy, Murder Among the Mormons may be one of the most gripping true crime stories on television right now. Though absolutely true, the series has all the elements of the best pulp fiction novels, including tragedy, mystery and a villainous madman. However, the most shocking revelation within Murder may be the lies that we tell ourselves in order to hide from the truth itself.

Murder Among the Mormons, episode 3. c. Courtesy of Netflix © 2021

Murder Among the Mormons is available on Netflix on Wednesday, March 3rd, 2021.

You can see the trailer for Murder Among the Mormons here.

The Flash: Saviours, Sacrifice and the Speed Force

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By Seun Olowo-Ake

Like many shows, The Flash hadn’t completed its season before production shut down because of the pandemic. This means that us Flash fans were left without closure to the Mirror Master storyline of Season 6 and had to wait a whole 10 months before the Scarlet Speedster graced our screens again. So, to tide myself over, I resorted to re-watching old episodes.

Even though I would identify as a binge watcher, I had never actually binge-watched The Flash before. Watching all the episodes so close together like that made some character traits more obvious to me. For instance, Cisco (Carlos Valdes) is not afraid to call his friends out, Iris (Candice Patton) is always ready for combat and Barry Allen (Grant Gustin)–the Flash himself–has a saviour complex.

There are a few examples of this throughout the show. In every episode, it seems like Barry says some version of “I’m not fast enough to stop them”/ “this is all my fault”/ “I should have been there”/ “I can’t save them”. He also has to be told repeatedly by his friends that, “you are not God, Barry”. However, it’s the first half of Season 6 that really puts his complex on display.

The season opens with the Crisis where it was foretold that “the Flash must die”, which looms over Team Flash’s heads. At first, they think they can stop it from changing their lives, but after Barry pulls a Doctor Strange and sees billions of possible futures, he develops the conviction himself that he must die to save everyone. He spends a portion of the show trying to prepare his friends for a world without the Flash, training them so they can be heroes without his leadership and picking out who should lead the team when he’s gone. In this season particularly, I find that the show positions Barry almost as a Jesus-figure. He becomes a ‘paragon of love’ who is willing to sacrifice himself to save all of humanity.

My favourite episode of the season (and possibly of the entire show) is episode 7 “The Last Temptation of Barry Allen Pt. 1”. It plays with the choice between good and evil and, as the name implies, Barry is presented with the possibilities that his life holds if he chooses evil in an “all this could be yours if you bow down to me” type of situation. Aside from Grant’s phenomenal acting, the reason I love it is that we finally see that our hero has a dent in his armour. Still, even though he’s argued with his friends and family about the reasons for his conviction and has been preparing his team for his demise, Barry outrightly says to the Speed Force here that, “I don’t want to die.”

The Speed Force is a sentient, infinite source of energy that I like to think about as the speedsters’ God. It chose Barry to be the Flash and he only maintains his speed because of his connection to it (as of right now) and it frequently tells him of the sacrifices he must make as a hero. It even has laws that he must abide by, with repercussions for breaking them. The Speed Force shows up in this episode to help our hero make the right decision and Barry speaks to it about the trajectory of his life as a hero and as a man.

Since we’ve known him, Barry has developed close friendships with his co-workers (the aforementioned Team Flash), married the girl that he has had a crush on for over a decade, and even met his daughter from the future. He loves his life. So, even though he has always willingly adhered to the laws of the Speed Force and accepted its consequences when he broke them, Barry snaps when it states that it is just here to guide him on the path he has chosen. “A lightning bolt shot down from the sky and struck me!,” he cries out. “I didn’t choose this; this was done to me! … Why do I always have to suffer for you?”

I low-key relate to that resentment, feeling like I have to be strong for everyone–my family, my friends, even God–and then sitting in my bed going ‘I can’t do this’/’Can I just have a minute?’. Maybe you feel that way too as a parent, a guardian, a sibling, or a friend. It’s hard not to try to be strong when you have people who are depending on you. I mean the lives of millions of people rest on Barry’s shoulders! Yet, in this episode, he finally sees something his friends have been trying to teach him. Something we must all learn at some point in our lives:

We weren’t made to carry our burdens alone.

No matter how good or smart we are, we’re all flawed people who need help from our own Team Flash and from our Infinite Source.

The Flash returns on the CW on Tuesday, March 2nd, 2021.