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    This week, I are been mostly watching "All Of Us Are Dead" (2022 Via Netflix), the S. Korean highschool zombie series.
    It's got a pretty decent start, but starts waning by about episode 5 and there are 12 in total.
    They seem to be stuck in a room for a couple of eps work out how to escape then get stuck in another. Repeat.
    Then the virus seems to mutate a couple of characters from the zillion infected to be superhuman, including one character that seems to get thrown off higher and higher buildings with seemingly no effect.

    It's a shame as there are some interesting characters and total adrenaline-fuelled sequences, but it just drags on for too long.
    It's no Squid Game and I found Black Summer to be a brilliant zombie series, that's really about the characters than the zombies.

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      Pieces of Her is a Netflix thriller with Toni Colette. The first episode really does go from 0 - 100 with a series of quite shocking scenes that immediately turns what little was established on its head. Beyond that? It's a weak slow burn of convoluted discoveries that are often far too obviously signposted and yet still somehow confusing in their execution. Main characters, and entire plot lines both are totally unconvincing. There's some jarringly nice aerial shots as characters drive about that make you think the director might have a big one for drones, but in general it's pretty poor - watchable at best.

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        Finished off Great News. It was great anyway, but it suddenly went into overdrive during season 2. There's an awards show episode which I watched again as soon as it had finished because it was so funny.

        Also, there's an episode involving sensitivity training and this belter:

        Joyce from HR: "Say you work with a cisgender male who identifies as a homosexual. What would be an appropriate pronoun to use?"

        Carol: "...RuPaul?"

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          I saw The Batman, which is a movie, oops.

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            The first episde of the The Ipcress File on Sunday did not really grab me; felt more like a pastiche with actors playing other actors, now getting on for 60 years old, interpretations of the characters from the book.

            Joe Cole is no Michael Caine and even Tom Hollander just doesn't have the oily, self-serving, snobbish, easy public school superiority of Guy Doleman who played Harry Palmer's boss in the 60's films.

            I particularly disliked the pointless, very 60's, unusually angled shots another unnecessary continual, laboured reference to the original film when that sort of thing was considered innovative camerawork. Here it just looked contrived.

            Yesterday I rewatched for the frst time in years Funeral In Berlin, the second Michael Caine Harry Palmer film. Like the original The Ipcress File a good but not a great film but it had more class and cinematic feel than this latest TV retread has managed so far.

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              I finished season 1 of Servant last night. It's a psychological horror on Apple tv and if you love a good mystery it's well worth your time. A young girl arrives at a posh Philadelphia townhouse to be a nanny for this couple and their baby. That's the opening and all you need to know.

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                Finally got round to watching Loki and it was ****, fundamentally - and unconvincingly, in plot-terms - undermining all aspects of what made him quite entertaining as a villain and turning him into a good guy. The lad and I almost stopped at 4 but saw it through, and we're amazed it ended on a cliffhanger for second series. Owen Wilson acted his part extremely well though, himself out of Withnail and I looked embarrassed for the most part and I can't blame him. Apparently the series is very well-liked, though, according to Rotten Tomatoes?

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                  Archive 81
                  A man who restores old film reels and tapes is hired to restore a series of tapes recovered from an apartment block fire in 1994. On it a woman documents her search for her mother and the strange happenings in the block. The first few episodes set up what could have been an interesting horror series but instead it descends into stupidity and defuses all of its tension before leaping into the needlessness of a second season set up.

                  The Responder

                  I enjoyed it, it's brief so easy to digest too at five episodes. It doesn't warrant the hype it got on launch though, it's another one that sets itself up for a second season when three episodes would have easily been enough to tell the whole story well. Also descends into character dumbery to extend itself.

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                    Behind the Attractions
                    Disney's version of Defunctland, there's not really much new here to those who are familiar with the youtube series especially since it obviously never goes into anything negatively related to the company however there's lots of archive footage etc so it's still an interesting breakdown of the most historic Disney park rides.

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                      Continuing my slow trawl through Inside No 9. It’s the best thing I’ve seen in years.

                      I’m watching some episodes twice just to experience them again a second time after the denouement. A perfect example is the Diddle Diddle Dumpling episode from season 3. My reactions between first and second viewing were polar opposites. How do these writers get to be this good? Where every layer is meticulously crafted and duality reigns? Where every line and prop carries meaning? Shearsmith and Pemberton are masters of their craft and should be cherished. They aren’t enough. Anywhere near enough.

                      Sardines was a welcome start to the show. It intrigued me. A Quiet Night in held me spellbound with its creativity. The Twelve Days of Christine is one of the best pieces of television I’ve ever seen. La Couchette and Nana’s Party have a wonderful sense of unease realised by the end. The Bill and Riddle of the Sphinx - so creative. So intelligent. And I’ve just enjoyed Bernie Clifton’s Dressing Room, a beautifully-crafted homage to the past, yet also so poignant.

                      This is a truly astounding series. Even the lower quality entries are watchable and enjoyable.
                      Last edited by prinnysquad; 27-03-2022, 22:34.

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                        When Inside Number 9 is at its best, it's honestly one of the best things I've ever seen. It's so unique as anthology series go.

                        Twelve Days of Christine is simply genius. I get a lump in my throat just thinking about that one. The journey they take you on in only 30 minutes is remarkable.

                        It's patchy, of course, like all anthology series. There are episodes I don't like or that just don't really hit the mark. But when it's good, my god is it good. Diddle Diddle Dumpling is bloody brilliant.

                        One of my favourites is Cold Comfort, set in a Samaritans type call centre. Have you seen that one?

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                          I have - it’s very good indeed. I enjoyed the one location nature of it.

                          I find the episodes based on pure horror tropes, or just black humour, enjoyable, but I’m not bothered about watching them again. Like the Witchfinder one. Or the episode about the guests invited to a dead artist’s exhibition. Or the one with the Beadle-esque premise. There’s nothing wrong with them per se. The scripts still sparkle in places, and there’s a lot to enjoy. However, the episodes with the emotional twists are their finest work.

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                            The Witchfinder one is one of the weakest for me. Likewise the one set on the train carriage, and the artist’s exhibition as you say. But the misses are far fewer than the hits, for me (and even when it isn’t at its best it’s at least interesting!).

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                              Almost finished series 5.

                              1. The Referee’s… was ok. I found it amusing and farcical. The twist was predictable from a point, but that wasn’t the, erm, point. It’s the journey, not just the destination. The script was a hand grenade of smirks for a football fan.
                              2. Death Be Not Proud - a black horror comedy, more suited to their earlier work. It was ok, but I wouldn’t be bothered about seeing it again.
                              3. Love’s Great Adventure - just a straight up drama about family bonds. No twists particularly. One was implied but not confirmed. What struck me here, though, is that the character development by the writers is expert level. Totally absorbing, real people with backstories and nuances. For that reason alone, I found myself growing attached to the characters inside 28 minutes. That’s outrageous.
                              4: Misdirection - more like an earlier episode. Fast-paced, intense and multilayered, I had to watch this one twice to appreciate the depth it offers. Very cleverly put together - it’s a concise entry and there’s no flab at all.
                              5. Thinking Out Loud - the production values look slightly clumsy in places, but it’s a brilliantly-constructed payoff. I watched it twice, and the nuances of the script really floored me. Bearing what was said about Galen and Angel - and they way so many things are referenced by them both. Rabbits and pigs. This episode rewards people who look beyond the veneer of the initial view, and look deeper inside a script to discover clues and parallels. This is scriptwriting operating on several levels, and way ahead of what 99% of people can manage. Shearsmith really shows what a good actor he is in this.
                              Last edited by prinnysquad; 29-03-2022, 20:17.

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                                Just finished Cobra Kai S4.

                                Sam is a badass.

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