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agentnico · 2 months ago

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Agatha All Along - season 1 (2024) review

Down down, down the road, down the Witches Road…

Plot: A spell-bound Agatha Harkness regains freedom thanks to a teen's help. Intrigued by his plea, she embarks on the Witches' Road trials to reclaim her powers and discover the teen's motivations.

I’m not going to waffle about my complaints with the current state of the Marvel Cinematic Universe. I’ve already rambled on a substantial amount in my previous reviews regarding this subject matter, so let’s leave it at the fact that my opinion and thoughts have not changed. That being said, WandaVision was one of the few enjoyable projects in the post-Endgame MCU era, as it had that original and unique flavour with messing with different television formats, and additionally was interesting in how that show explored the effects of trauma and grief. Naturally due to its success, Disney being Disney and Marvel being Marvel meant a sequel or a spin-off was inevitable. In this case it’s Agatha Harkness, who was played with a lot of funky energy by Kathryn Hahn in WandaVision. As enjoyable as she was, I never considered her to need her own show. I guess really anyone can get their own Disney+ series these days!

Kathryn Hahn is the primary reason to watch Agatha All Along. She’s as enjoyable as ever, cackling and wincing her way through each episode, and it was entertaining to constantly question her moral code, if she’s a villain or if she was turning to the good side. Hahn is great, and I am so glad she’s getting the recognition snd good roles now. As for other cast members, they are okay. Joe Locke as the teen came off a little pretentious, and Patti LuPone was the only witch I actually cared about. Aubrey Plaza as the mysterious Rio ends up being exactly what you expect her to be, and though Plaza nails the sarcasm, it’s nothing you haven’t seen her do before.

In regard to the series’ style, it’s really campy. The trailers in my opinion promised more horror aspects which were not present in the final product, but my main complaint is with the show’s look. It feels cheap. From the costumes to the sets, the whole thing is reminiscent of a CW or SyFy show, and you can tell Disney is probably tightening their budgets following the backlash of recent releases. But with something like Marvel you still expect to see something of visually interesting style, especially as they are sourcing a lot of narratives from comics and graphic novels, which one would assume would inspire more colourful and memorable set pieces. Unfortunately this show doesn’t offer any of that. The best you get is some rip-off witch costumes from other Disney projects, which I felt was more so for Disney to show-off how much Hollywood they own.

As for the narrative, for the most part this show is dull. It’s a very repetitive concept where in every episode our witches take on yet another trial, and though some trials do stand out more than others (episode 7 where a character time-jumps using tarot cards was particularly memorable) as a combined package it meant that catching up every week with a new episode was at times a chore. The other infuriating factor was the endless foreshadowing. This show consistently would bash you over the head with clues of what’s to come, but the clues were so predictable that when the reveals finally did pay-off they were not surprising even remotely. Reminded me a little of that Walk Hard segment where the kid says “ain’t nothing bad gonna happen today” only for him to get spliced in two 5 minutes later.

Superhero fatigue is real everyone! It’s happening! I’m kidding of course, I’m still holding out hope that Marvel and DC will get back to their former glory, but evidently there is still a long ways to go. Agatha All Along didn’t do it for me, however I do admit that Witches Road song is a banger and has been stuck in my head ever since!

Overall score: 4/10

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askmovieslate · 10 months ago

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There's no such thing as a wrong way to enjoy a movie.

If someone comes at you and says you shouldn't be watching this or that movie on your phone, don't pay attention to them. Anything that's well put together and good enough could be enjoyed anywhere.

There is an anecdote about the making of Aliens that comes to mind on this regard. When the movie was finished, James Cameron and Bill Paxton were coming back to the US with a copy of the film, and this copy was set up so that you could actually watch it but it had to be watched through a viewfinder, with a screen the size of a post stamp. It might've been biased on their end, but Bill Paxton (who hadn't seen the edited movie up until that point) was pretty enthusiastic about it. All from a version of a movie seen on a screen the size of a post stamp.

Be it streaming on your phone, or on a big movie screen, movies are movies and if they're good then, to quote Yoda, "Size matters not".

#ask movie slate #unicorn #movie slate #pony #mlp oc #ask pony blog #movie review #ask blog #oc #web comic #Streaming #Cinema

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edwinisms · 5 months ago

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love seeing that the tag is trending. as if it means anything

#every time this happens there’s twenty inevitable: ‘was it renewed???’ posts and every time the answer has been no. we’re just insane #it actually just kinda hit me how embarrassingly bad the show being cancelled would wreck me like oh god this is why I don’t get attached #to things. oh yeah. fuck #im not uhhh pessimistic but I am. prone to anxiety and dread #genuinely wondering what’s taking netflix so long to give a yes or a no like there’s ought to be a reason right. are they waiting to see if #the streaming rates or reviews or overall popularity go up / sustain themselves??? did they decide a while ago and just aren’t telling us #for one reason or another? are they negotiating contracts or something? im going to wither away and die #rambling #dead boy detectives #if there is a god then we will get compensated for the wait by the announcement of confirmation for at least Two more seasons #wouldn’t that be something

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rickchung · 4 months ago

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Bad Monkey (prod. Bill Lawrence).

Apple's series adaptation of novelist Carl Hiaasen's sunshine noir uses its Florida Keys backdrop to maximize its intriguing sense of lackadaisical weirdness. There's so much to the interesting setup involving severed body parts, bad real estate deals, African witchcraft, and soft-boiled detective fare starring an affable Vince Vaughn. It's a fun detective comedy series with amusing characters building to a standard but clever mystery around its shady characters with suspicious motives. Lawrence balances dark, brooding tone with Vaughn's easygoing humour.

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pocima · 19 days ago

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My seasonal music highlights: fall 2024 ☎️

Welcome to another installment of my songs of the season lists, this marks the fourth entry, which means I’ve been dedicated to this series for a year now and I’m incredibly glad about that 💪🏻 I didn’t save as much music in my library as the rest of the year, I have 105 songs in my spring playlist, 86 in my summer one and only 51 on the fall one. However, the new music I did tune into this season, I was absolutely HOOKED on most of it. You can check out the previous installment here, this playlist is not in order, * = full album/EP to be discussed in the yearly favorite project recap. 💋

❤️‍🩹 Drums of Death - FKA twigs

FKA twigs' Eusexua is rightfully one of the most anticipated (including by me) 2025 albums, with a gradual rollout involving three singles accompanied by visuals and worldbuilding of unprecedented quality, along with a couple of performances that unveil more of the album's offerings. (In fact, here’s one where she performed 7 out of 11 of its songs. 😋🍽️) The most recent of the three singles, Drums of Death, is a rather blunter approach to the sound she's crafted, compared to the trance infuenced quiet waters of Eusexua or the welcoming alternative pop land of Perfect Stranger. Drums of Death leans on a backbone of diced up vocals, kicks and claps, while the pre-chorus and chorus bring in the harmonies and melodicity. To some fans, it feels rather like an interlude, and is a let down compared to its snippet feature in the MV of Eusexua. Personally, tasteful repetitiveness is something I've been appreciating in music and literature lately. When artists who have a firm grasp on musical and literary techniques do it, instead of being told, "well here's a song that I didn't put all that thought into but I hope it stays on your mind and your Tiktok page", to me it feels like I'm masterfully being serenaded or trapped, invited to experience the worldview of the track either way. That’s part of the reason why I prefer the build-up in the studio version, it leaves more room for the intro to shine and gives an opportunity to a more major drop and conclusion. Besides, you know how big of a fan I am of this specific type of glitchy production; and combined with twigs’ elegance, talent and self-expression, you have no choice but to fall for her offerings and stay seated for her entire project to be unleashed (in January!).

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❤️‍🩹 second demise - 4s4ki (co-prod. NUU$HI & The Back Horn’s Eizumi Kannami)*

Miss 4s4ki hasn’t appeared in the long reviews sections of these lists in the past 2 entries, not because the music was bad in any way but because she dropped singles instead of projects and I couldn’t find much to say about them despite them being incredible as always, however know her crown remains untouched. Collective Obsession was her first body of work in a while, since June 2023 album Code Ge4ss to be exact, and second demise specifically was revealed first in a live performance. I basically heard the entire song previously and that didn’t stop me from hyperventilating at night when listening to the studio version. second demise offers the drum & bass mastery offered in multiple past projects of 4s4ki’s, as well as electric guitars being part of the base for the instrumentals and a drill section for the second verse, which is a first time entry for her genre versatility record. What makes this track so so special isn’t even what I listed above, it’s the way all of this is executed in such a siren-like, haunting way. The synth that appears in the intro and the (pre-)choruses, her hypnotic processed vocals and adlibs, the key switches (I’m not even usually a fan of key changes but this is an excellent example of one), the lyricism… yeah, this is exactly the type of 4s4ki songs I’m the most drawn to. I’m still so impressed at the fact that she’s physically unable to miss with her releases AND she keeps taking her game to the next level. If you’re not tuned in for her releases like I am, you’re missing out severely, on unimaginable levels. Oh, and I knew NUU$HI was goated since I heard his production on echo’s no scars, and I will be getting into The Back Horn as well.

❤️‍🩹 Whiplash - aespa

If HYBE truly wanted to outdo aespa, they would’ve leaked information on what they’ve been eating this year, because whatever it is, it’s made them cook up an unseen before smash hit run. I’ve been consistently talking about their music in this series and on my blog overall, and talking about some “omg NOW this might be their best title/song” and whatnot, and this time they decided to put an end to my dilemmas. Whiplash is my favorite aespa song ever, let alone title tracks. It’s exactly the sound that I’ve been begging aespa to incorporate into their discovery for all the three years that I’ve been a fan of them, it’s effortlessly catchy, it’s not dedicated to mainstream audiences but catches their attention because of how well-defined it is, it’s gritty, it’s mature. (If you grabbed my head during its release week and shook it you’d hear “one look give ‘em whiplash” echoing.) It’s futuristic tech house highly reminiscent of Boys Noize or Gesaffelstein (@timetravellingkitty gets me on this one), with techno synths and a classy drum pattern perfect for voguing or catwalking printed all over. Despite the relative monotony of the track; the verses, chorus and vocal performances remain top-tier. No member feels like they didn’t get what they deserved (which has been an issue on multiple previous title tracks), they’re now all at the forefront both in the song and the choreography, their parts are designed for them to shine individually while being harmonious with each other. Whiplash is currently peak aespa, perfectly pop, perfectly experimental, perfect in all aspects from production to creative direction to the aespa girls glowing with confidence, knowing their improvement, skills, artistic achievements and that they all truly outdid themselves in all areas with this release.

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❤️‍🩹 Puchica - Isabella Lovestory

Neoperreo pop princess Isabella Lovestory is back with her consistency, her signature synth-heavy reggaeton and unique, campy in the best was possible art direction. Púchica, the title being Central American lingo roughly meaning “damn!”, had been teased for quite some time before its release (including that May 11 livestream where she teased VIP and some currently unreleased gems), and the single cover alone, consisting of a self-made collage, reflects the track’s expected flashiness. (Heavy on the self-made as well as her also directing and editing the MV herself, we love a true audiovisual artist. ❤️‍🔥 Oh, and calling all 5 neoperreo fans on this site: Taichu is featured in the video!) What I probably enjoyed most about this single is that the beloved 8-bit synths from Tacón were brought back because those never fail to scratch an itch in my brain, accompanied by slot machine spinning sounds to match the lottery win theme of the track (an explicit “damn, I hit the jackpot!” 👀). If you listen to Isabella, you already know she has an ear for a permanently infectious chorus, and this is one that lived in my head rent free for one of the longest amounts of time. And those slight switch-ups for the last four bars of the second verse and the last post-chorus? Satisfying 8-bit excellence. Well, that’s an immaculate continuation of a skipless discography, and even though she postponed IL2 (2025 🙏🏻), we were well fed with this year’s singles nevertheless. The independent popstar scene really hit the lotto with her. Ay vos, como púchica, púchica 💃🏻

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❤️‍🩹 UFO - f5ve

On the previous entry for my seasonal recaps, I talked somewhat lengthily about f5ve’s come-up in girl group fans’ eyes and them finding their group identity, and since then, my love and appreciation for their music and skills and everything they have going on has only grown. The biggest reason for this is their successful follow-up to their summer release Underground, which has truly proven they’re one of the most intriguing and artistically polished acts in the pop game right now. A major attention grabber for UFO was the A.G. Cook and Nömak co-production, largely thanks to executive producer Bloodpop’s connections (and it’s kind of hilarious to observe people who are less familiar with PCMus get shocked at this). The hype surrounding this paid off immensely as the production of the track is absolutely otherworldly: UFO claw whirring noises start reverberating and builds up into synth-filled electropop heaven. Oh boy THE SYNTHS ON THIS… I have yet to recover from how they rewired my brain. With the unforgettable verses, chorus and the “gacha, gacha, gacha find out”, you too will find yourself replaying and singing along to the whole song nonstop. A sick double entendre at the core of this song that I believe needs to be mentioned more is how the usual usage of the term “UFO” intertwines with its Japanese meaning, which is the claw machine you come across in arcades, and you can probably tell the simile comes from their claws and how they grab objects. The track and MV tell a story of a schoolgirl with supernatural powers (ESPER SHOGAKUSEI, that’s that collective consciousness) who puts them to use in said claw machines, and while it’s lighthearted and incredibly entertaining, it’s also another incredible example of f5ve bringing in Japanese culture to the Western originated hyperpop scene and the whole world. (Two amazing articles where the girls discuss this, highly recommend giving them a read. And please start talking about how talented and well-spoken the members are because that’s not brought up enough either.) f5ve members and the team behind them have made it clear they’re here to press their stamp on contemporary pop, and they’re heading nearer towards cult classic status with every comeback.

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❤️‍🩹 BLACK LIGHT - LSDXOXO*

LSDXOXO has been an icon in the underground club scene for over a decade now, and though his debut album DOGMA swerves into a slightly different direction of alternative R&B, cloud rap and breakbeats, what Black Light offers may be his most addictive yet. At least to me personally: I’ve been hyping up a good number of gritty bass and pluck dense songs released this year, including TAN’s Hypertonic (the successor to FEMM’s L.C.S. and yes I will die on this hill) and echo’s GAME. I’m kind of seeing a pattern of Yasutaka Nakata produced 2000s J-pop having a full circle moment, as well as Black musicians pioneering techno and house, with this J-pop subgenre drawing from both making this moment go deeper in history. I am not complaining about it in the slightest because the artists who have taken that path have amended the style to work for them so far, therefore letting the tracks stand strong regardless of said nostalgia factor. In LSDXOXO’s case, the tone of his take on the style is unlike the aforementioned songs. Techno and house have been at the heart of his work for throughout his whole career, so this experience and the melancholic-ish tone of the album amount for a more mellow but really memorable synth pop/alternative R&B track. If you’re simultaneously a 2000s J-pop and contemporary EDM enjoyer and you’re seeking those dance pop highs but maybe with a colder twist, you’re the target audience for this.

❤️‍🩹 Viola - Yves

The beloved LOONA members bouncing back from everything they’ve put through and finding their own callings whether in groups or as soloists is something I find immensely commendable. Out of the girls’ post-BBC (keep pirating the BBC music btw) releases, Viola became an instant favorite with its 2010s-20s Hannah Diamond and A.G. Cook coded OG hyperpop realness, immaculate sound design and refined (especially by K-pop standards) creative direction. My liking for this track is representative of my K-pop and non K-pop tastes blending into each other, as it pushes the boundaries of K-pop and possesses some of my favorite characteristics of my most played music from the alternative pop scene. The vocals are distorted, the synths are pitched, everything is processed and multi-layered, the MV isn’t too show-offish and instead relies on the wonders of cinematography and video editing. (I am strongly against Paix Per Mil’s use of generative AI though, and so is Yves herself.) Just like that, the rules of mainstream K-pop are tastefully bent. Something I truly appreciate about Yves and her team is that they’re successfully building a niche. Rather than trying to find that hit or predict what the GP or different fanbases will support, they’re forming a community that is truly here for her very own music and artistry, as well as giving a handful of long-time Orbits the experimentation they were anticipating for years. I’ve been pleading for K-pop labels to follow this tactic for ages and stop pandering to just about anybody, so seeing such a refreshing release is like a dream come true. No matter your familiarity with K-pop or LOONA, Yves is a full-fledged solo artist worth following.

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❤️‍🩹 BACK2BACK - STARKIDS*

First things first, Starkids will pay for that heinous disbandment prank of theirs. That’s a line you simply don’t cross with a veteran K-popper that has been traumatized from some of her favorite groups being mistreated and disbanding, one of the worst incidents happening THIS SUMMER. My heart dropped to the 10th circle of hell when I saw that letter on their page with the “translation” and all. In my gut I sensed that they were trolling, but I was also mentally unprepared to lose this unmatched Japanese hyperpop band that continued to cook up hits. Anyway, that really did turn out to be a gimmick for a surprise FULL album drop so they’re forgiven. The most accurate description I can give about Starkids is that they’re the life of the party in the Japanese music scene, and honestly music overall. They know how to have fun to the fullest and reflect that dopamine rush in every aspect of their work. Their new album is no exception to this, and each one of the songs feels injectable, but currently I’m the most stuck on Back2Back. I’m a sucker for both 2-step and 4/4 club beats, so the combination of both (and especially that first switch-up) spoke to me. “Prod. BENXNI” says everything you need about the production quality (hint: that means it’s top-tier). And once again, they don’t take themselves too seriously with their bars or attitudes, but what distinguishes them from low quality so-called “satire” is that they put their souls into it. Yes, they’re unserious and lean into irony at times, but it’s all authentic, hearty and expertly executed. The members have talked about being purely themselves and how that’s a huge priority for them, and they’re surely achieving that and therefore getting love from me and fellow listeners. They’ve proven that they won’t change their mind on staying true to themselves, so there’s nothing to worry about in relation to the music or the group. I just need them to never scare me with that type of prank ever again.

❤️‍🩹 Shoulda Woulda Coulda - FLO*

Beautiful vocals, no-skip catalogue, charisma and chemistry: the ingredients for the UK’s it group FLO. I’ve been a huge FLOlifer since their debut EP The Lead, and they finally have their anticipated debut album Access All Areas out; seeing them grow so much and do their thing on this project makes me proud as an almost day 1 fan. 🥹 The album plays around with different sides of R&B and showcases the girls’ improved skills, and naturally I didn’t have an easy time picking a definite favorite track, but my dice ended up rolling on Shoulda Woulda Coulda. It’s one of the most 2000s callback type songs on the LP, marking a return to The Lead and 3 of Us’ sound which is my favorite musical style from them and a large part of the appeal of this song particularly. However, just like true musical it girls and innovative artists, they don’t entirely rely on nostalgia. I’ve talked about this in both in this post and probably many previous posts, but as tempting it is to market directly through the past, it immediately turns cheap if you don’t have your own spin to it, you just end up with ripoffs in the name of “bringing the good old music back”. Thankfully that’s a trap FLO avoid, curating their work surrounding their own identity and what suits them. The harmonizing right off the bat tells you about the vocal strength of the track (and what they have in store in general), the structure is full but never overwhelming (length is 3:47 too so we’re eating 🙏🏻), the violins at the back add depth to the instrumentals. The bridge is one of their best, and that says a lot because catching up to their bridge building is on the bucket list of future architects. Congratulations to FLO for coming through with girl group excellence like they always do, and I’m sure their future endeavors will take them places even further.

Mini-reviews

🍁 Midnight Cowboy - JADE: Mesmerizing voice, gritty-leaning production. Currently 3 singles in, with this being the second one, and Jade is already a cutting-edge popstar.

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🍁 UNHHH - Lolo Zouaï: Yet another dancey R&B smash from Lolo, impressed but not surprised. Yeah you know I’m tryna unhhh, unhhhh

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🍁 f5ve - Underground (DJ Chari, French Cries, STARKIDS Remix): It would be criminal of me to write so much about two of my favorite hyperpop bands and not mention their very real COLLABORATION. It’s everything I could ask from a f5ve x Starkids collab and more. The breakbeats are too scrumptious, French Cries/Spaceboy you’re so loved.

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🍁 2BADGYALZ - Bree Runway: Another one of my favorite UK it girls on some of the nastiest bass I’ve heard in my entire life. So worth having my brains blown off.

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🍁 6plus9 - HYRA: When am I not up for more textured ‘00s inspired electropop, another top-notch example at that?

🍁 take it offff - horsegiirL: So thankful to @lilamala for putting me onto her because I’ve received nothing but bangers, whether they remain in the usual happy hardcore zone or slide onto some Eurodance.

🍁 NATSUMELO - Shaka Bose: Last but never least. Kind of resembles his earlier work such as In My Space but shows his advancement in producing and rapping. I don’t know how many times this man has talked about finishing the album, but he needs to know I cannot wait for it.

Thank you for reading another one of my yap sessions, and if you’ve been sticking around since the beginning of the series, thank you once again and I hope it’s a fun experience for you 🫶🏻 Let’s hope I’m somewhat on time like this entry and that the series remains active!

#keyboard.com #music reviews #okay so hi. I don’t have to say anything else in the tags this time idk. no actually stream 4s4ki’s newer EP Jiai equal Jiai #fka twigs #4s4ki #aespa #isabella lovestory #f5ve #lsdxoxo #yves #starkids #flo #me when 2024

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bibleofficial · 7 months ago

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bath is such a tourist trap 😭😭 the roman baths were neat but that’s literally all there is

#stream #skip sally lunn’s house unless u want to sit around for 15 minutes waiting to have ur drink order taken only to sit around for an hour to #have to go out and FIND THE WAITER bc we been sittin for an HOUR waitin for the damn FOOD TO SHOW UP #man didn’t show up once 🙄#literally i’m still so annoyed that im going to leave a review like bro what the fuck we were the ONLY people in the entire ROOM & we were #just ??? looking around ???? like what the fuck #i hate all non american restaurants unless they’re like #UPPITY UPPITY restaurants or like a PUB #anything in between is trash & i would rather kill myself than go to them #either give me bugs in my drink or a Real Server that’s IT !!!!!#😭😭😭😭😭#i wouldn’t have been dramatic if i wasn’t just drinking fucking BLACK TEA on an EMPTY STOMACH like BRO i was going to VOMIT #i got so annoyed i was like i’m just going into the kitchen bc what the fuck is this like guess i gotta cook this trash myself ?#then they just comped the drinks like … lol #omar covered bc i was going to argue bc the ORHER SERVER SAID SHES COMPING EVERUTHING BC AN HOUR IS BULLSHIT #THATS AN H O U R #FOR FUCKING 2 SLICES OF HAM W MUSTARD ON A BUN #I’m soooooo ANNOYED #like what pisses me off the most is slow service #be RUDE just don’t be fuckin SLOW #IF UR TABLE IS BORED UR DOING A BAD JOB

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litcityblues · 2 months ago

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I'll Never Forgive Netflix For This

They canceled Kaos after one season.

Now, to be fair, we had been evaluating the number of streaming services we paid for and were planning on canceling Netflix already, so I can't honestly tell you, dear reader, that our decision to cancel Netflix was solely based on the fact that they canceled Kaos after one season, but it sure as shit didn't convince me to stay.

I get that people have feelings about Joss Whedon these days, but not since Fox canceled Firefly have I been this outraged at a decision to cancel a show. I don't know- as it seems like streaming services cancel shows left and right these days, but man when Hollywood is struggling and the firehouse of streaming content is delivering way more quantity than quality, I don't get how you dump a show this damn good!

It doesn't help that I am a mythology nerd. I devoured old Penguin classics on 'Heroes and Legends of Greek Mythology', and I read The Illiad and The Odyssey (multiple versions, but the Emily Wilson translation of The Odyssey is gorgeous-- her translation of The Illiad is on my shelf now) at an absurdly young age. This shit is my jam. I love this. If you are making a movie or a television show about mythology, I'm going to judge the fuck out of it.

(Parenthetical Time: Disney's Hercules is an abomination and I loathe it. Hades was never the bad guy. Troy with Brad Pitt was god-awful, but Troy: Fall of A City on Netflix was an incredibly good adaptation of The Illiad. I know everyone just loves Hercules The Legendary Journeys and Kevin Sorbo these days, but that show also did a really great job with the mythology of it all. Also, shout out to Madeline Miller for The Song of Achilles and Circe, both incredible, amazing books.)

All of that being said: Kaos was the best modern adaptation of Greek mythology that I have ever seen and unforgivably, they ended this show on one hell of a cliffhanger.

The story opens with Zeus (Jeff Goldblum in a bit of serendipitously perfect casting) ruling over a modern Greek world, where mortals are expected to pay frequent homage to him. An Olympia Day monument is vandalized in Krete and he becomes convinced that people are not paying him sufficient respect. He notices a small wrinkle and suspects that's aging (something that shouldn't happen to an immortal) and worries that it represents a line from a prophecy he was given by the Fates.

Dionysus (Nabhaan Rizwan) visits, hoping for more divine responsibilities, and when Zeus rebuffs him and Hera (Janet McTeer) sneers at him, he leaves, but not before stealing Zeus' watch. Zeus goes so far as to summon Prometheus (Stephen Dillane) to seek assurance that his prophecy will not come to pass.

Meanwhile, the mortal Eurydice (Aurora Perrineau) meets Cassandra (Billie Piper) who tells her that today is the day she will leave her husband Orpheus (Killian Scott) because she has fallen out of love with him. She goes to visit her mother, a Tacita Priestess of Hera's (Michelle Greenidge) who reminds her of her prophecy. It's the same as Zeus', which shouldn't be possible, but on her way home, she's hit by a semi and killed. A heartbroken Orpheus tries to commit suicide to follow her to the underworld, but Dionysus tells him there's a way for the two of them to be reunited again.

And from there, this show takes off! We find out about Ari and King Minos, and what happened to her brother Glaucus. The Trojans are here too-- refugees from the fall of their city. Riddy thinks she can pass through The Frame in the underworld, only to find that she can't, because Orpheus stole her coin and she's got to work 200 years before she can pass through and be Renewed. She meets Caeneus who, as it turns out, has the same prophecy as her and Zeus, and little by little, we find out that Prometheus has waited patiently for a chance to take down Zeus and he's not the only one then just when we're setting up for one hell of a cliff hanger with Zeus bleeding, the Meander fountain, the source of the Gods' immortality stops flowing and Hera leaves for an unknown destination, telling one of her children to 'gather the troops' and Ari strikes a deal with the Trojans against the Gods themselves.

And then, Netflix canceled the show.

I cannot tell you how awesome this show turned out to be. Joe McGann shows up as a one-eyed bartender named Polyphemus-- the name of his bar? The Cave. Suzy Eddie Izzard shows up as one of the Fates, Lachesis. Debi Mazar is an excellent Medusa. David Thewlis is Hardes, Cliff Curtis is Poseidon this cast is awesome! From Jeff Goldblum on down it's all just so goddamn amazing. The storylines, adapted from the original myths are updated so intelligently for a modern setting. But it's really the bickering, back-biting, scheming Deities themselves that this show absolutely nails. Hera is mean. Zeus is a tyrant. It's just all so perfect!

Overall: This show deserves at least one more season to finish the story and the internet was rightfully outraged that it was cancelled. As am I. My Grade: **** out of ****

#kaos #netflix #streaming review

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