Times staffers chew on the pop culture of the moment - love it, hate it or somewhere in between I challenge you to make it to the Post-It note sequence at the midway point of Season 2 - you’ll know it when you see it - without falling as deeply, tragically in love with Kim and Jimmy/Saul as they did with each other. Perhaps the last vestige of the aesthetic movement that came to be called TV’s latest “Golden Age,” worthy of comparison not only with its predecessor but also with “The Americans,” “The Leftovers” and “Halt and Catch Fire,” “Saul” is one of the most finely tuned, audaciously made, brilliantly acted dramas of its (or any) era, a witty, slow-burn chamber piece of thwarted ambition and rigged systems both reminiscent of “Breaking Bad” and utterly distinct from it.
Vampire survivors stages series#
(Don’t miss our earlier stories from this season either, including conversations with Giancarlo Esposito and Tony Dalton.)Īnd if you haven’t yet hopped on the “Better Call Saul” bandwagon? Close this tab, open your Netflix or AMC+ account, and fire up the series premiere. If you’ve already devoured every minute of “Saul,” and might even be preparing for an immediate rewatch, be sure to read Braxton’s interview with star Bob Odenkirk about why the series’ conclusion left him “a little shattered,” and listen to staff writer Yvonne Villarreal interview Odenkirk’s co-star Rhea Seehorn about Kim Wexler’s future on a special episode of “The Envelope” podcast.
Vampire survivors stages tv#
If you’re a regular reader of The Times’ TV coverage, you may already be aware that we’re a little obsessed with “Breaking Bad” prequel “Better Call Saul” (AMC), which concluded its sixth and final season Monday with a courtroom scene, and prison visit, for the ages - an ending, as senior writer Greg Braxton put it, that affirmed the series was a tragic love story all along. (Greg Lewis / AMC/Sony Pictures Television ) Matt BrennanĮverything you need to know about the film or TV series everyone’s talking about Still, in between, it’s mostly a lens flare of good weather, soluble problems and no email. And though it appears, at first, utterly ridiculous in every particular, it ultimately does surprisingly well by both its memories of the first World War and its battle against the rise of fascism. If you’re already missing your summer break as much as I am, immerse yourself in “Hotel Portofino” (PBS Passport), a series filmed like a tourism advertisement and plotted like a beach read that goes down as easy as s’mores from the fire pit. American nouveau riche posing for gawkers. The working title for the series, created by Estrada with “Corporate” creators Pat Bishop, Jake Weisman and Matt Ingebretson, was “Punk Ass Bitch,” which reflects the way the characters speak to each other, but “This Fool” captures its affectionate spirit. Neither is grown up both are prone to childish power struggles on their way to increased, if not total, mutual understanding.
Luis, whom Julio installs at Hugs and Thugs making cupcakes and participating in “group hug” sessions, is stuck in a time that the present keeps reminding him has passed. Julio is relatively upright, and uptight he works at Hugs Not Thugs - “the fifth-largest gang-rehabilitation center in L.A.,” run by a not-unwise old white radical, played by Michael Imperioli - and is in a comically codependent relationship with spunky ex-girlfriend Maggie (Michelle Ortiz, the smartest of them all). Into the household comes Luis ( Frankie Quiñones), an older cousin who has just spent eight years in prison. A sweet, funny, sometimes rowdy comedy set in South L.A., “This Fool” (Hulu) stars comedian Chris Estrada as Julio, 30 (with, as will be noted, the face of a much older man), who lives at home with his mother (Laura Patalano) and grandmother (Julia Vera).