There aren’t that many movies specifically set on New Year’s Eve, but one of the best is The Hudsucker Proxy (1994), Joel and Ethan Coen’s visually striking, affectionate homage to classic Hollywood screwball comedies. The film turned 30 this year, so it’s the perfect opportunity for a rewatch.
(WARNING: Spoilers below.)
The Coen brothers started writing the script for The Hudsucker Proxy when Joel was working as an assistant editor on Sam Raimi’s The Evil Dead (1981). Raimi ended up co-writing the script, as well as making a cameo appearance as a brainstorming marketing executive. The Coen brothers took their inspiration from the films of Preston Sturgess and Frank Capra, among others, but the intent was never to satirize or parody those films. “It’s the case where, having seen those movies, we say ‘They’re really fun—let’s do one!’; as opposed to “They’re really fun—let’s comment upon them,'” Ethan Coen has said.
They finished the script in 1985, but at the time they were small indie film directors. It wasn’t until the critical and commercial success of 1991’s Barton Fink that the Coen brothers had the juice in Hollywood to finally make The Hudsucker Proxy. Warner Bros. greenlit the project and producer Joel Silver gave the brothers complete creative control, particularly over the final cut.
Norville Barnes (Tim Robbins) is an ambitious, idealistic recent graduate of a business college in Muncie, Indiana, who takes a job as a mailroom clerk at Hudsucker Industries in New York, intent on working his way to the top. That ascent happens much sooner than expected. On the same December day in 1958, the company’s founder and president, Waring Hudsucker (Charles Durning), leaps to his death from the boardroom on the 44th floor (not counting the mezzanine).
A meteoric rise
Norville Barnes (Tim Robbins) gets a job at Hudsucker Industries Warner Bros.
To keep the company’s stock from going public as the bylaws dictate, board member Sidney Mussburger (Paul Newman) proposes they elect a patsy as the next president—someone so incompetent it will spook investors and temporarily depress the stock so the board can buy up controlling shares on the cheap. Enter Norville, who takes the opportunity of delivering a Blue Letter to Mussburger to pitch a new product, represented by a simple circle drawn on a piece of paper: “You know… for kids!” Thinking he’s found his imbecilic patsy, Mussburger names Norville the new president.
Everyone has their favorite film that serves as alternative Christmas movie fare, with Die Hard (1988) and Lethal Weapon (1987) typically topping the list—at least when all you want for Christmas is buddy-cop banter, car chases, shootouts, and glorious explosions. (Massive gratuitous property damage is a given.) I love me some Lethal Weapon but it’s high time to give some holiday love to another great action flick set during the Christmas season: The Long Kiss Goodnight (1996), starring Geena Davis as an amnesiac school teacher who turns out to have been a government assassin in her former life.
(Spoilers below for this nearly 30-year-old film.)
At the time, Davis was married to director Renny Harlin, coming off a disastrous showing for their previous collaboration, Cutthroat Island (1995), which remains one of the biggest box office bombs of all time. (It is indeed a pretty bad movie.) But Shane Black’s smart, savvy script for The Long Kiss Goodnight seemed like the perfect next project for them; it was promising enough that New Line Cinema bought it for what was then a record $4 million.
Davis plays Samantha Caine, a small-town school teacher in Honesdale, PA, who has no memory since washing up on a beach eight years earlier with a head injury. Since then, she’s given birth to a daughter, Caitlin (Yvonne Zima) and moved in with a kind-hearted fellow teacher named Hal (Tom Amandes). She’s hired various private investigators to find out her true identity, but only the low-rent Mitch Henessey (Samuel L. Jackson) is still on the case. Then Mitch’s assistant, Trin (Meloina Kanakaredes), finally finds some useful information—just in time, too, since Sam is attacked at home by a criminal named One-Eyed Jack (Joseph McKenna), who broke out of prison to exact revenge after recognizing Sam during her appearance as Mrs. Claus in the town’s annual Christmas parade.
From wacky crime capers and dystopian video game adaptions to sweeping historical epics, 2024 had a little of everything
Credit: Aurich Lawson | Getty Images
Editor’s note: Warning: Although we’ve done our best to avoid spoiling anything major, please note this list does include a few specific references to several of the listed shows that some might consider spoiler-y.
This was another good year for television, with established favorites sharing space on our list with some intriguing new shows. Really, 2024 had a little of everything, from wacky crime capers (Bad Monkey) and Satanic Panic (Hysteria) to dystopian video game adaptations (Fallout) and sweeping historical epics (Shōgun), with plenty of genre-mashup delights in between. While streaming platforms continue to dominate, the selection is more evenly distributed across them this year, with only Hulu and Netflix snagging more than two slots (depending on whether or not you lump Hulu together with Disney+ after the merger).
As always, we’re opting for an unranked list, with the exception of our “year’s best” vote at the very end, so you might look over the variety of genres and options and possibly add surprises to your eventual watchlist. We invite you to head to the comments and add your own favorite TV shows released in 2024.
Interior Chinatown (Hulu)
Credit: Hulu
This meta action comedy is showrunner Charles Yu’s adaption of his own 2020 satirical novel of the same name, which employed the screenplay format as a narrative structure. Interior Chinatown keeps that concept; here, the characters are, in turn, characters in a police procedural called Black and White, clearly modeled on the Law and Order franchise.
Jimmy O. Yang plays Willis Wu, a waiter in a Chinese restaurant who is initially unaware that he is just a background character on the show within the show. Then he witnesses a kidnapping and detectives Sarah Green (Lisa Gilroy) and Miles Turner (Sullivan Jones) are called in to investigate. They actually can’t see or hear Willis—or any background character, for that matter—unless he happens to have a purpose to the spotlight action. So Willis and Chinatown’s residents are just going about their business and every now and then the spotlight flashes on and Green and Turner saunter through for a “scene.”
As Willis tries to solve the case of his missing older brother with the help of supporting character Detective Lana Lee (Chloe Bennet), he uncovers a possible criminal underground enterprise in Chinatown and some well-kept family secrets. The writing is clever, the plot twists abound, the characters are fully drawn, and there are plenty of humorous and heartfelt moments to break up the main action. Special shout-out to Ronny Chieng as Willis’ best friend Fatty, who has to take over Willis’ waiter duties and inadvertently becomes a viral sensation with his rude outbursts directed at non-Asian customers. White people actually start flocking to the restaurant to be verbally abused by “Mean Waiter,” much to Fatty’s exasperation. It’s those kinds of unexpected twists that make Interior Chinatown unique.
—Jennifer Ouellette
The Penguin (Max)
Credit: HBO/Max
My pick for the best television show in 2024 is a limited series based on the Batman universe character: The Penguin. It’s a sequel of sorts to The Batman film released in March 2022. The best way to describe the series, I believe, is The Sopranos comes to Gotham, but with even more grit and atmosphere. Batman is not involved at all. Colin Farrell plays the Penguin, whose real name is Oz Cobb, and who is struggling to rise to power in the fictional city’s criminal underworld. Viewers have to struggle to recognize Farrell, who is acting a tour de force beneath some pretty involved prosthetics and makeup.
The other standout performer is Cristin Milioti, who plays a presumed psychopathic serial killer but, well, I don’t want to spoil it. She’s fabulous. The whole show is amazing, actually, and I’m not normally one for comic book movies or television. I don’t recommend binging it but rather sipping each of the eight episodes as if it were fine wine.
—Eric Berger
Sweetpea (Starz)
Credit: Starz
Are killer psychopaths born or made? One might ponder that question after watching Sweetpea, the story of a shy young woman who has been bullied or ignored much of her life and finally snaps, with fatal consequences. Based on the novel by CJ Skuse, the series stars Ella Purnell (of Yellowjackets fame) as Rhiannon, an administrative assistant at her local newspaper who lives with her ailing dad and dog. But then everything goes wrong at once: her father dies, her dog is run over, and her sister insists on selling the family home, forcing Rhiannon to find a new place—and the estate agent is Rhiannon’s high school nemesis, Julia (Nicole Lecky).
Sweetpea is essentially a revenge fantasy. It would be so easy for the viewer to just become exasperated with Rhiannon’s passivity and occasional self-pitying rants, but Purnell’s intense performance brings out the rage and violence simmering underneath that quiet surface. Rhiannon really is invisible to most people, brought home when she takes refuge from the rain at an underpass and a passing drunk guy ends up peeing all over her. “Oh, sorry, didn’t see you there,” he shrugs. It’s a powerful moment when an enraged Rhiannon stabs this complete stranger over and over, screaming, “Can you see me now?” Along with the guilt and fear come increased confidence and strength, and maybe even a love interest—but can Rhiannon really get away with murder?
—Jennifer Ouellette
Matlock (CBS)
Credit: CBS
Children of the late ’80s/early ’90s will no doubt have fond memories of the popular mystery series/legal drama Matlock, starring Andy Griffith in the title role of Andy Matlock, criminal defense attorney. We now have a gender-flipped version starring Kathy Bates, but it’s not a remake. Rather, Bates plays a wealthy retired lawyer named Madeleine Kingston who goes undercover as a legal assistant at a large law firm, taking on the alias surname of Matlock because the show was one of her deceased daughter’s favorites.
Matty’s objective: to find evidence that the firm covered up the fact that an opioid manufactured by one of their pharmaceutical giant clients was highly addictive, thereby contributing to her daughter’s death by opioid overdose. But first she has to prove herself by helping win several smaller cases, all while juggling a dual identity and nosing around the firm’s files on the sly. Honestly, it’s refreshing to see a simple, case-of-the-week (with a longer season arc) network series with likable characters, good writing, and strong performances throughout the cast. It’s a winning combination that makes Matlock the perfect comfort watch.
—Jennifer Ouellette
Star Trek: Lower Decks S5 (Paramount+)
Credit: Paramount+
The animated adventures of the crew of the USSCerritos had its fifth and final season this year. Set in a post-Voyager, pre-Picard timeframe, which for many is Starfleet in its golden era, it was initially dismissed by some as “Rick and Morty in space” due to previous work from its creators. But over the past five seasons, Lower Decks has proven to be Star Trek through and through—just animated and also funny. And quite bawdy.
It’s fair to say that there’s a lot of fan service in Lower Decks, but also that this fan likes what he’s being served. Deep cuts abound, from across decades of Trek canon, and like previous seasons, a number of guest stars show up in episodes, including Brent Spiner (Data in The Next Generation), Alfre Woodard (Lily Sloan in First Contact), Andrew Robinson (Elim Garak in Deep Space 9), Alexander Siddig (Julian Bashir in DS9), Jolene Blalock (T’Pol in Enterprise), and Garrett Wang (Harry Kim in Voyager). But perhaps not entirely as you might expect them—the overarching plot this season involves rifts being opened to parallel universes in the multiverse, potentially destroying them all.
At the time of writing the final episode has yet to air, but the one that precedes it (“Fissure Quest”) is Lower Decks at its very finest. It paints Starfleet at its optimistic best, pokes a whole bunch of nostalgia buttons, and makes me laugh repeatedly. Not every episode in season 5 has been quite as good, but it wouldn’t be real Trek if there wasn’t the occasional miss.
It is within the realms of possibility that Paramount+’s cancellation will not be the end for the show, with fans hoping another streaming network could pick it up, the way that Netflix took over showing the second season of Star Trek: Prodigy that Paramount wanted to shelve. Right now, the odds of that happening are pretty remote, though, and in the spirit of optimism best embodied by Mariner and her gang, let’s not be sad it’s over, let’s be happy it happened.
—Jonathan Gitlin
The Cowboy Channel’s “Texas Swing”
Credit: Steve Wrubel/The Cowboy Channel
My personal end-of-year TV list would never be complete without a nod to The Cowboy Channel, i.e., the only place where you can follow your favorite cowboys and cowgirls throughout the rodeo season as they compete to rack up enough wins to qualify for the Wrangler National Finals Rodeo (NFR) in Las Vegas in December. Seven years after its founding, The Cowboy Channel has clearly had a significant impact on boosting the visibility of the sport, as well as attendance at live rodeo events.
This year, we’re focusing on the so-called “Texas Swing”: five major rodeos in the Lone Star state running from the end of January through mid-April, in Fort Worth, San Antonio, Houston, Austin, and San Angelo. The rodeo season runs year-round, officially from October 1 through September 30. But the Texas Swing collectively pays out several million dollars, giving athletes a chance to take an early lead in the rankings. (Most event winners at the Houston rodeo in particular typically end up qualifying for the NFR.) So there’s a lot at stake, and The Cowboy Channel’s extensive coverage and commentary is essential viewing for following those stakes.
—Jennifer Ouellette
The Lincoln Lawyer S3 (Netflix)
Credit: Netflix
Crime novel publishing juggernaut Michael Connelly already had one great TV series to his name, based on fictional detective Harry Bosch (the eponymous Bosch). Then Netflix developed The Lincoln Lawyer, based on Connelly’s criminal defense attorney Mickey Haller, starring Manuel Garcia-Rulfo in the title role. The nickname comes from the fact that Mickey often works out of his Lincoln Navigator. (There was also a 2011 film adaption, The Lincoln Lawyer, starring Matthew McConaughey, but the two projects are very different.)
Season 3 was based on Connelly’s 2013 novel, The Gods of Guilt, and it’s adapted exceptionally well for television. As always, Garcia-Rulfo is terrific as Haller, surrounded by a top-notch supporting cast, notably Mickey’s legal aide and ex-wife, Lorna (Becki Newton), freelance investigator Cisco (Angus Sampson), and Izzy (Jazz Raycole), a former client who becomes Mickey’s personal driver (and later the office manager). But as with Bosch, it’s the city of Los Angeles that truly shines, a character in its own right, always lurking in the background.
—Jennifer Ouellette
True Detective: Night Country (HBO)
Credit: HBO
HBO’s True Detective, created by Nic Pizzolatto, was a pop-culture sensation when it debuted in 2014. (Remember “time is a flat circle”?) Its sophomore outing lacked the original’s surreal magic, but S3 was a solid return to form, mixing elements of noir and procedural drama to weave a haunting tale of fractured time and memory. Pizzolatto wasn’t involved in this year’s even stronger fourth season, subtitled Night Country, with Issa Lopez taking over as showrunner. Lopez has reinvented the series, creating what she viewed as a “dark mirror” to Pizzolatto’s three seasons that stands on its own.
Night Country is set in the fictional town of Ennis, Alaska, where eight scientists at a research station mysteriously go missing one night with no trace, leaving a severed tongue at the scene. They are found soon after out on the ice, naked bodies tangled and frozen together in a pile, with their clothes neatly folded on the snow. It’s up to Detectives Liz Danvers (Jodie Foster) and Evangeline Navarro (Kali Reis) to crack the case. Night Country only tangentially evokes the Yellow King mythology of the prior three seasons, but it does capture the anthology series’ essential spookiness and supernatural undertones despite the all-too-human solution to the case.
—Jennifer Ouellette
Only Murders in the Building S4 (Hulu)
Credit: Hulu
This charming Emmy-nominated comedy series has made our “Best of TV” list every season, and 2024 is no exception. Only Murders in the Building stars Steve Martin, Martin Short, and Selena Gomez as Charles, Oliver, and Mabel, all residents of the same Manhattan apartment complex, the Arconia. The unlikely trio teamed up to launch their own true crime podcast whenever someone died in the building under suspicious circumstances, chronicling their independent investigation to solve the murder. There’s no shortage of podcast fodder since this single building has a shockingly high murder rate.
This time around, the trio investigates the death of Charles’ longtime stunt double Sazz (Jane Lynch), who was shot dead in his apartment while he and his pals were celebrating wrapping the prior podcast season. It’s a complicated mystery involving the strange residents of the Arcadia’s West Tower, a bar specifically for stunt performers, and a film adaption of the trio’s first-season podcast. Eugene Levy, Zach Galifianakis, and Eva Longoria play fictional versions of themselves cast as Charles, Oliver, and Mabel, respectively, and naturally get into the sleuthing spirit. And Meryl Streep makes a welcome return as Oliver’s actress girlfriend Loretta.
This season was a bit more meta than the prior three, largely because so much of the action shifts to Hollywood for several episodes—every episode title is a reference to an actual film—as well as a foray to Long Island to hide out with Charles’ sister Doreen (Melissa McCarthy). That served to keep things fresh after four seasons; S5 will focus on the death of the building’s doorman, found floating in the Arcadia’s fountain in the season finale. OMITB will eventually run out of fresh takes on its clever concept, but it hasn’t done so yet.
—Jennifer Ouellette
The Sticky (Prime Video)
Credit: Prime Video
Perhaps you’ve heard of the infamous Great Canadian Maple Syrup Heist of 2011–2012, in which a group of thieves managed to steal over $18 million worth of maple syrup from a strategic reserve storage facility in Quebec. If not, you’ll probably find yourself googling it after watching The Sticky, a delightfully dark comic series very (very!) loosely based on the heist.
Margo Martindale plays Ruth Landry, a struggling maple syrup farmer who is about to lose her farm to the greedy head of the collective, Leonard (Guy Nadon). So she conspires with shady businessman Mike (Chris Diamantopoulos) and security guard Remy (Guillaume Cyr) to steal millions of dollars of maple syrup in revenge. Their elaborate plan soon hits all kinds of darkly hilarious snags that lead to more serious repercussions. With its flinty, morbid humor and collection of eccentric characters—including a star turn by Jamie Lee Curtis as a tough mafia enforcer named Bo Shea—The Sticky is definitely channeling the Cohn brothers’ Fargo. But series creators Brian Donovan and Ed Herro have added their unique stamp to make it very much their own.
—Jennifer Ouellette
St. Denis Medical (NBC)
Credit: NBC
Just when we thought smart, sophisticated network sitcoms were a disappearing relic from the golden age of broadcast television, NBC comes out with St. Denis Medical, a thoroughly enjoyable mockumentary in the style of The Office and Parks and Recreation. Here the setting is the chronically underfunded ER of an Oregon hospital, and the camera crew follows the overworked doctors and nurses as they go about their daily duties.
You’ve got Joyce (Wendi McLendon-Covey), the ambitious executive director; Alex (Allison Tolman), the workaholic supervising nurse; Bruce (Josh Lawson), a cocky trauma surgeon; burnt-out emergency physician Ron (David Alan Grier); newly hired nurse Matt (Mekki Leeper), who hails from a strict religious group in Montana; and his crush, the cool and capable nurse, Serena (Kahyun Kim). The format may be familiar, but the show nonetheless feels fresh, thanks to top-notch writing and performances from its talented cast.
—Jennifer Ouellette
Yellowstone (Paramount+)
Credit: Paramount+
Series creator Taylor Sheridan first pitched this neo-Western drama as “The Godfather in Montana”; one might also think of it as Succession on a ranch. It follows the members of the Dutton family, led by patriarch John Dutton III (Kevin Costner), as they struggle to preserve their massive Montana cattle ranch: the titular Yellowstone. One source of tension is that the ranch shares borders with the Broken Rock Indian Reservation. But the biggest threats come from billionaire corporate land developers and scheming local government officials, eager to get their greedy hands on all that gorgeous acreage to build casinos, resort hotels, golf courses, and the like.
Yellowstone is basically a nighttime soap and a particularly good one, thanks to strong, complex characters and their interrelationships/intense personal conflicts. The Duttons are not good people, but nor are they entirely evil, despite doing many evil deeds—often for a good cause but not always. (The body count at the “train station” alone would get them multiple life sentences.) Seasons 2–4 represent the series at its peak. Alas, Costner left after the first part of S5; the second half unceremoniously kills off his character at the start of the first episode, with the remaining season dealing with the messy aftermath of what turns out to be an assassination.
I’ll be frank: Without Costner as an anchor, the second part of S5 just wasn’t as strong as prior seasons or even the first half of S5. There are several plot holes, extra scenes clearly included just to boost Sheridan’s ego, and the dialogue has become overly preachy and didactic—almost as annoying as Aaron Sorkin’s mini-sermons in later seasons of The West Wing, which is saying something.
Still, the show gave us one heck of a full-blown revenge fantasy finale. Yellowstone makes this year’s list because the series as a whole—and its supremely talented cast—deserves a fitting farewell for the top-notch entertainment it’s provided since 2018. Sure, there are spinoffs, including one in development featuring fan favorites Beth Dutton (Kelly Reilly) and Rip Wheeler (Cole Hauser). But there will never be anything quite like the OG.
—Jennifer Ouellette
Interview with the Vampire S2 (AMC)
Credit: AMC
Anne Rice’s bestselling 1976 gothic horror novel gets a fresh adaptation for television that is markedly different in many ways from the 1994 film adaptation. The main character, Louis (Jacob Anderson), is reimagined as a mixed-race Creole pimp in New Orleans’ red light district rather than a white plantation owner. And child vampire Claudia (Delainey Haines in S2) is now 14 instead of a 5-year-old. The first season covered the novel’s first half, in which Louis shares, in flashbacks, what happened between him and the enigmatic vampire Lestat (Sam Reid) with journalist Daniel Molloy (Eric Bogosian).
That proved to be a toxic relationship that ended badly, with Louis and Claudia nearly killing Lestat and running away to Europe. In S2, they join up with a vampire coven in Paris led by the vampire Armand (Assad Zaman), hoping they have found a stable home. But it turns out the coven’s founder was none other than Lestat, putting that newfound family at risk. It’s hard to go wrong with Rice’s captivating storyline and unforgettable characters, especially with such strong performances from the main cast and evocative settings, bringing the written page to vivid life.
—Jennifer Ouellette
Bodkin (Netflix)
Credit: Netflix
This British satirical dark comedy features an American podcaster named Gilbert (Will Forte), who travels to a small Irish coastal town called Bodkin to record an investigative podcast about the disappearance of three people decades earlier during a Samhain festival. He’s aided by his assistant, aspiring journalist Emmy (Robyn Cara), and by a veteran Irish investigative journalist, Dove (Siobhan Cullen), on assignment in exile from London after a story falls apart when her whistleblower source unexpectedly dies.
Naturally the locals are not thrilled about podcasters digging up the past, but over seven episodes, Gilbert and his team not only solve the cold case, they heal a few long-standing emotional wounds in the process. The humor is more sly and subtle than, say, Only Murders in the Building, but Bodkin is nonetheless a quirky gem of a series, with a colorful setting filled with likable, eccentric characters. It’s worth a watch.
—Jennifer Ouellette
My Lady Jane (Prime Video)
Credit: Prime Video
The tragic fate of Lady Jane Grey, aka the Nine Days’ Queen, is well-known to aficionados of English history. Named as Edward VI’s successor, she was named queen while still a teenager but quickly deposed in favor of Edward’s Catholic half-sister Mary; Jane was eventually executed. The historical fantasy series My Lady Jane offers an alternative scenario where Jane (Emily Bader) avoids that fate with the help of her eventual husband, Lord Guilford Dudley (Edward Bluemel), and humans who can take animal form known as Ethians. Ordinary humans are known as Verity, and the two sects are explicitly forbidden from mixing.
There is no sense in which My Lady Jane is intended as an accurate historical portrayal of 16th century England; the deliberate anachronisms alone are a testament to that, not to mention the constant presence of magic. Instead, showrunner Gemma Burgess has put together an irreverent engaging romp rife with witty banter, political intrigue, and a bit of derring-do—not to mention a killer soundtrack. Sadly, Amazon canceled the series after one season, much to the dismay of fans, including George R.R. Martin. So we won’t find out if Jane eventually figures out how to reclaim her throne from the scheming Mary.
—Jennifer Ouellette
Renegade Nell (Disney+)
Credit: Disney+
Award-winning British TV writer Sally Wainwright is best known for the dramatic series Happy Valley (2014–2023) and Gentleman Jack (2019–2022), the latter produced jointly by BBC and HBO. Wainwright partnered with Disney+ for her latest series, the resolutely PG-13 Renegade Nell, which is a different beast altogether: a good old-fashioned, swashbuckling comic adventure with a supernatural twist, featuring a sassy cross-dressing heroine forced to turn to highway robbery to survive.
Set in 1705 during the reign of Queen Anne, the series stars Louisa Harland (Derry Girls) as Nell Jackson, widowed and possessed of occasional supernatural skills whenever someone threatens her, courtesy of a fairy sprite named Billy Blind (Nick Mohammed). Nell runs afoul of the louche, drunken offspring of the town’s landlord, things escalate, and Nell finds herself on the run and framed for murder, along with her two sisters, Roxy (Bo Bragason) and George (Florence Keen), and the Blanchefords’ former groomsman, Rasselas (Enyi Okoronkwo). The group gets further assistance from a charming aristocratic dandy/secret highwayman named Charles Devereaux (Frank Dillane).
The writing, pacing, and production values are top-notch, and the cast is terrific across the board. Renegade Nell keeps the action flowing and wisely never takes itself too seriously. Sure, there is injustice, class warfare, and strong intelligent women chafing within the strict confines of traditional binary gender roles. But Wainwright never lets the story get bogged down in heavy-handed symbolism or didacticism. Sadly, Disney+ canceled the series, but this one season stands just fine on its own.
—Jennifer Ouellette
The Decameron (Netflix)
Credit: Netflix
Let’s get one thing straight: Netflix’s The Decameron has almost nothing to do with Boccaccio’s 14th century collection of stories, apart from the title and being set in the middle of the Black Plague in Florence. The main characters retreat to a secluded villa as bodies mount in the city, but they don’t sit around telling stories. They become the stories: mistaken identity, forbidden desires, illicit trysts, arranged marriages, and maybe even true love all factor into the plot, such that it is. And, of course, they must fend off others also fleeing the plague, including a ruthless band of mercenaries intent on taking over their villa.
Series creator Kathleen Jordan has put together a terrific cast with impeccable comic timing, well up to the task of playing into some pretty dark humor—death by Black Plague isn’t pretty, yet somehow you’ll find yourself chuckling about it. The Decameron is original, smartly silly, and quite unapologetically bawdy, making it a refreshing addition to the TV comedy landscape.
—Jennifer Ouellette
Get Millie Black (HBO)
Credit: HBO
In the mood for an edgy British crime series? HBO has you covered with Get Millie Black, starring Tamara Lawrance as a Jamaican-born detective who gets kicked out of Scotland Yard and finds herself back home, working a missing persons case with the Jamaican Police Force. That brings her and partner Curtis (Gershwyn Eustache) into conflict with the wealthy and powerful ruling family of Kingston, with a possible connection to the London case that led to Millie’s ouster from the Yard.
She’s also dealing with her estranged transgender sister, Hibiscus (Chyna McQueen), who insists on living in a slum area called the Gully, and trying to navigate her love life. Get Millie Black is a good, meaty procedural with a compelling lead, but what really makes the series is the authentic Jamaican setting, and the way the viewer is effortlessly immersed in the local dynamics and cultural/political tensions of Kingston—right down to the dialect (HBO has helpfully provided subtitles, which do come in handy at times).
Many people dream of finding lost or hidden treasure, but sometimes realizing that dream turns out to be a nightmare. Such was the case for Tommy Thompson, an American treasure hunter who famously beat the odds to discover the location of the SSCentral America shipwreck (aka the “ship of gold”) in 1988. Thompson and his team recovered significant amounts of gold and artifacts to great fanfare, but the euphoria proved short-lived. His many travails make the perfect fodder for National Geographic’s riveting three-part documentary about Thompson’s spectacular rise and precipitous fall: Cursed Gold: A Shipwreck Scandal, based on a 1998 book by Gary Kinder.
Director Sam Bedstead read Kinder’s book and wanted to tell his own version of Thompson’s story, including everything that happened after the book was published. A lot happened, including Thompson panicking and going on the run in 2012, stashing some $4 million in offshore accounts. (Thompson is currently in prison for contempt of court.) Bedstead combed through over 700 pages of court transcripts and more than 600 hours of archival footage from the original salvage expedition to make Cursed Gold, as well as conducting follow-up interviews with many of the relevant parties. The end result is a documentary that plays like a thriller, with Thompson as the semi-tragic figure at the center.
—Jennifer Ouellette
Moonflower Murders (PBS)
Credit: PBS
This is the follow-up to 2023’s delightful Magpie Murders, in which literary editor Susan Ryland (Lesley Manville) solved the murder of her bestselling author Alan Conway (Conleth Hill) and located the missing final chapter of Conway’s last manuscript—which just happened to be crucial to identifying the killer. She was helped along the way by recurring imaginary conversations with Conway’s star detective Atticus Pund (Timothy McMullan), playing out Conway’s final fictional mystery alongside Susan’s real investigation.
It was clever gimmick that made for a delightful series, and Moonflower Murders gives us more of the same story-within-a-story framework. Susan is now semi-retired and living in Crete with fiancé Andreas (Alexandros Logothetis) as they struggle to revive the fortunes of the hotel Andreas purchased. She is approached by a hotelier couple whose daughter Cecily has gone missing. Cecily called them after reading one of Conway’s Atticus Pund novels and said the wrong man had been jailed for a murder that took place at the couple’s hotel eight years earlier.
The solution is hidden somewhere in the novel, because Conway had a habit of using thinly veiled people and events from real life. Susan must track down what happened to Cecily with Imaginary Atticus by her side once again, offering helpful insights. And maybe she’ll figure out what really happened with the hotel murder and exonerate an innocent man. Moonflower Murders is the perfect comfort watch for a long, lazy weekend.
—Jennifer Ouellette
Agatha All Along (Disney+)
Credit: Disney+
The MCU’s foray into streaming television has produced mixed results, but one of my favorites is the weirdly inventive, oh-so-meta WandaVision. I’m happy to report that the spinoff sequel, Agatha All Along, taps into that same offbeat creativity, giving us a welcome reminder of just how good the MCU can be when it’s firing on all storytelling cylinders.
We find Agatha Harkness (Katherine Hahn) still under Wanda Maximoff’s original spell as a nosy neighbor in a small town. A mysterious young Teen (Joe Locke) breaks the hex and asks her to show him the way to the legendary Witches’ Road, a journey involving a series of trials. The reward: any surviving witches get what they most desire. Agatha wants her powers back—and Teen, well, his motives are murkier, as is his identity. Rounding out the coven are Lilia (Patti LuPone), a divination witch; Jennifer (Sasheer Zamata), a potions witch; Alice (Ali Ahn), a protection witch; and Sharon Davis (Debra Jo Rupp, reprising her WandaVision role) standing in for a green witch on account of her gardening skills. Agatha is also being pursued by her ex, Rio Vidal (Aubrey Plaza), a powerful green witch, as well as the Salem Seven, vengeful wraiths of Agatha’s first coven.
A large part of WandaVision‘s delight came from the various sitcom styles featured in each episode. Agatha All Along has its own take on that approach: Each trial takes on the setting and style of witches from popular culture (even the ending credits play on this). And the seventh episode, “Death’s Hand in Mine,” focusing on Lilia and a deadly tarot reading, might just be the best single episode of all the Marvel TV series to date. In my review, I questioned one creative choice in the series finale, which didn’t quite work for me. On the whole, though, Agatha All Along is marvelously entertaining, binge-able fun with just enough emotional resonance and heartbreak to give it a bit of depth.
—Jennifer Ouellette
Hysteria (Peacock)
Credit: Peacock
Hysteria is a show about a small US town in the’ 80s that descends into paranoia, fear, and a hive-mind-like frenzy after a high school boy goes missing in the ’80s. I came to the show for Bruce Campbell, hoping for another tale of horror with a dark comedy twist à la Evil Dead. But I ended up staying for a standout, memorable cast and a fascinating dive into how hive minds form amid uncertainty and danger.
Things get more interesting when a trio of outcast teens pretend to be Satanists to get people interested in their rock band. The falsehood simultaneously makes the children more popular in their school and pariahs in their town, as people suspect that they had something to do with the missing boy. Strong acting and personable deliveries from all three actors (Emjay Anthony as Dylan, Kezii Curtis as Spud, and, especially, Chiara Aurelia as Jordy) kept me pressing play as the teens toed the blurring line between their lie and their reality.
Their classmates, who Dylan desperately wants to impress, are also captivating. At times, you may actually find yourself rooting for the popular girl or jock, who turn out to have darker inclinations and more layers than their typical stereotypes. In fact, no character, including Dylan’s parents (Julie Bowen from Modern Family and voice actor and Port Charles star Nolan North) and Christian mother Tracy (Anna Camp, True Blood), are what they seem.
While maintaining a quirky and mysterious air, the show yields questions like, is a cult real if its creators are pretending but its followers aren’t? What can leave adults vulnerable to that special flavor of panic that makes them question their own families, faith leaders, and even the genre of rock and roll? And how easy is it for people to fall victim to mass hysteria when confronted with real-life peril, confusing phenomena, and a relatable desire to be part of something, which doesn’t go away after high school?
Toss in some classic rock and roll and appearances from an extraordinary entity, and you have a one-of-a-kind comedy horror that doesn’t go where you expect but brings you on a hell of a ride that’ll make you wonder if you, too, might have been part of the hysteria.
And yes, Campbell does deliver.
—Scharon Harding
Rivals (Hulu)
Credit: Hulu
This is an adaptation of a 1988 Jilly Cooper novel of the same name. It’s a contemporary spin, although the series is still set in 1980s England in the Cotswolds region, which makes for a super fun soundtrack packed with ’80s nostalgia. The central rivals are Tony, Lord Baddingham (David Tennant), a nouveau riche managing director of a TV station who married into nobility, and Rupert Campbell-Black (Alex Hassell), a retired Olympics show jumper and incorrigible womanizer who represents aristocratic class and old money. But there’s plenty of scheming and cattiness and class warfare to go around among the rest of the colorful ensemble cast.
It’s nice to see Tennant sink his teeth into such a villainous role, and he’s well-matched against Hassell, who is the perfect charming louche with just enough lingering shreds of humanity to occasionally do something decent. Rivals is a briskly paced and positively addictive British romp with plenty of scandalous twists, lusty ribald humor, and more serious notes of genuine pain lurking beneath the frothy surface. You end up really caring about the characters, even the more dastardly ones—a tribute to the stellar cast and writing.
—Jennifer Ouellette
Monsieur Spade (AMC)
Credit: AMC
Along with Raymond Chandler, Dashiell Hammet‘s legendary private detective Sam Spade pretty much defined noir crime fiction in the 1930s. But what happens when the hard-boiled detective gets old and longs for a peaceful retirement? That’s the premise behind Monsieur Spade, starring Clive Owen as a middle-aged Spade who has left his past behind for a peaceful life in the small French town of Bozouls in the 1960s.
Spade is mourning the loss of his wife, Gabrielle (Chiara Mastroianni), who thoughtfully left him her estate so he could continue his life of leisure. That quiet existence is shattered by the brutal murder of six beloved nuns in the nearby convent. They had been caring for Spade’s rebellious teenage ward, Teresa (Cara Bossom), whose life may now be in danger due to the shenanigans of her criminal biological father. Spade must find the fortitude for one last case, digging up secrets many in the town would prefer to stay buried, and face off against an old adversary. Owen makes a terrific older Spade, all craggy features and rasping voice. It’s a good, twisty thriller with great characters and a satisfying conclusion, very much in the spirit of the original.
—Jennifer Ouellette
Slow Horses S4 (Apple TV+)
Credit: Apple TV+
Four seasons in and counting, there is still no better spy thriller on TV these than this always riveting British spy thriller, based on the “Slough House” series of novels by Mick Herron, and it just keeps getting better. Slough House is basically a dead-end administrative purgatory for MI5 agents who screw up or otherwise fall short of expectations, mockingly derided as the “slow horses” of the title. Slough House is headed by the slovenly, flatulent, and frequently intoxicated Jackson Lamb (Gary Oldman), who routinely heaps verbal abuse on his staff but is nonetheless a brilliant spymaster in his own smelly way.
S4 kicks off with a suicide bomber striking a London shopping mall, whose name turns out to be that of an MI5 “cold body” (fake identity). There is also an assassination attempt against retired senior MI5 officer David Cartwright (Jonathan Pryce), grandfather to slow horse River Cartwright (Jack Lowden), and the two events might just be connected. Slow Horses has already been renewed for more seasons and why not? It’s just as taut, thrilling, sardonically humorous, and occasionally heartbreaking as ever, with no sign of flagging.
—Jennifer Ouellette
Light Shop (Hulu)
Credit: Hulu
I’m not sure I’ve ever seen anything quite like Light Shop, an eerily haunting Korean horror mystery adapted from a popular webtoon by Kang Full. Ju Ji-Hoon stars as Jung Won-Young, the enigmatic owner of the titular light shop, located at the end of a foreboding dark alley. Various strangers are drawn to the light shop, perhaps because it’s not just a place to purchase bulbs; it’s also a nexus connecting the worlds of the living and the dead. Won-Young is able to discern which is which—and which of the lost souls that wander into his shop might just be trapped between the two worlds.
There’s the young man on a bus who keeps seeing the same mysterious woman sitting on the bench at his stop, until he finally invites her home and quickly realizes she’s not what she seems. There’s a screenwriter who moves into a new house and discovers that it might be haunted; a young schoolgirl who comes by the shop every day for her mother and yet never seems to buy any bulbs; a middle-aged man who wanders aimlessly through the alley weeping while soaking wet; and a sad silent woman in red high heels who morphs into an elongated shambling zombie-like figure in the dark.
Fair warning: The first few episodes can be disorienting because it’s so challenging to figure out what’s going on. But the disparate threads of all the individual stories start to come together by the end of the fourth episode as we learn how the seemingly random strangers are connected, and the rest of the series brings it all home in a powerful finale that is equal parts horrifying and bittersweet. I don’t know if Kang Full has more stories to tell—I can see Light Shop working as an anthology series—but these eight episodes stand on their own as some truly innovative storytelling.
—Jennifer Ouellette
Bad Monkey (Apple TV+)
Credit: Apple TV+
Based on Carl Hiaasen’s 2013 novel of the same name, Bad Monkey is the perfect vehicle for Vince Vaughn’s roguish motor-mouth charm. He plays Andrew Yancy, a demoted detective who now does restaurant inspections, until his friend (another detective) tells him about a severed arm recovered by a tourist in the waters of South Florida. So begins a wild caper involving insurance fraud, real estate developers, multiple murders, at least one faked death, and a bit of spooky Obeah voodoo for good measure, courtesy of the Dragon Queen (Jodie Turner-Smith).
In other words, it’s pretty much vintage Hiaasen and Bad Monkey is a particularly good adaptation. The characters and casting are perfection, especially Meredith Harper as Eve Stripling, who seems like your average shallow, manipulative, gold-digging beauty—until you realize jut how ruthless she’s prepared to be to get what she wants. Props also to Zach Braff as Izzy, who gets caught up in the fraud scheme and pays a heavy price, as well as Scott Glenn as Yancy’s father, dishing laconic wisdom while fishing on a dock to anyone who cares to listen.
—Jennifer Ouellette
A Man on the Inside (Netflix)
Credit: Netflix
For those who miss Ted Danson’s endearing portrayal of Michael, the human-loving demon in The Good Place, we now have A Man on the Inside, created by Michael Schur (who also created The Good Place). Danson plays Charles Nieuwendyk, a very Michael-like recently widowed retired engineering professor who gets hired by a private detective to go undercover at a San Francisco retirement community. A ruby necklace has gone missing, and it’s Charles’s job to snoop around and ferret out the culprit.
Once again, Schur has assembled a stellar cast of diverse characters, with crisp, whip-smart writing. The show is alternatively funny, sweet, sour, and touching, while never lapsing into schmaltz—although we’ll risk a bit of schmaltz to observe that the real meaning is not the mystery of the ruby necklace but the relationships and personal growth that occur along the way. At its heart, the show is about coming to terms with the grief and loneliness that so often comes with aging. Netflix just renewed A Man on the Inside for a second season, so we’ll get to see what Charles gets up to on his next undercover assignment.
—Jennifer Ouellette
Fallout (Prime Video)
Credit: Prime Video
Amazon has had a rocky history with big, geeky properties making their way onto Prime Video. The Wheel of Time wasn’t for everyone, and I have almost nothing good to say about The Lord of the Rings: The Rings of Power. Falloutbroke that bad streak; as a video game adaptation, it’s right up there with The Last of Us. A specific cocktail of tongue-in-cheek humor, sci-fi campiness, strong themes, great characters, and visceral violence came together into a fantastic show.
Fallout‘s violence can be sudden, brutal, and casual. Heads explode from shotgun blasts like popped bubbles in Cronenbergian splatters. Someone’s face gets ripped right off, and another person gets a fork plunged into their eyeball. Homages to the Bethesda games’ slow-motion kills are aplenty, with gratuitous shots of bullets tearing through bodies and painting the walls red. It’s so over the top that it didn’t bother me; it’s cartoon violence, ultimately, though a couple of instances of dog-related violence didn’t feel too great. Of course, the games were like this, too. It just hits a little differently when it’s live action.
The Fallout games are hilarious—goofy, even, and that tracks right into the show. It’s not always as laugh-out-loud funny as I expected (though it sometimes is), but it’s definitely fun, and there are some strong jokes. Even the violence is hilarious if you have the stomach for it. You don’t have to have played the games to appreciate the action or comedy in Fallout, but there’s obviously a whole additional layer here for people who’ve been playing the games for years. Almost every shot includes something for fans of the games to recognize, from Nuka-Cola bottles to Assaultron robot frames to Vault Boy bobbleheads.
I love the fact that this show focuses on three different characters in equal measure, each of them embodying a type of character a player of Fallout might create. Lucy is the do-gooder vault dweller, Maximus is the aspirant warrior, and The Ghoul is the wasteland rogue. Through those characters, the show captures the full range of the Fallout experience. What we see happen in the plot seems to naturally come from the characters’ personalities, values, words, and actions.
On their own, all those elements made for entertaining viewing, but there has always been more to Fallout: It has a point of view and strong themes in its satirical take on American culture. The TV series does those themes justice. But don’t for a second think that Fallout‘s point of view relates to self-righteous moralizing. By the end of the season, you have at least one big reason to hate every faction, all of which are deeply flawed in their visions of what the world order should look like or how to achieve it.
—Samuel Axon
And now, for our top TV pick of 2024:
Shogun (FX/Hulu)
Credit: FX/Hulu
This sumptuous series is adapted from James Clavell’s hugely influential 1975 epic novel of the same name. It’s a fictionalized account of the key players and events in 17th century feudal Japan that ultimately led to the naming of a new shōgun (central ruler), Tokugawa Ieyasu, and the advent of the Edo period. Clavell’s novel also includes a fictionalized version of an English navigator named William Adams, aka Miura Anjiin (“the pilot of Miura”), who was the first of his nation to reach Japan in 1600, eventually becoming a samurai and one of Tokugawa’s key advisers.
Cosmo Jarvis (Peaky Blinders, Raised by Wolves) stars as John Blackthorne (based on Adams) while Hiroyuki Sanada plays Toranaga (based on Tokugawa). Blackthorne finds himself embroiled in this hotbed of political intrigue when Toranaga takes a shine to him, envisioning a key role for the English pilot in Toranaga’s own secret machinations. Caught between them is the alluring translator, Toda Mariko (Anna Sawai), who finds herself torn between her loyalty to Toranaga and her Catholic faith—not to mention a growing attraction to the foreign Anjin.
The storytelling, the characters, the stellar performances, the expert pacing all contribute to the show’s success. But it’s also a visually stunning achievement that brings 17th century feudal Japan to vivid life, thanks to masterful visual effects that have been woven in so seamlessly, it can be challenging to distinguish between the CGI and the real footage. It’s been described as “a Game of Thrones set in 17th century Japan,” although calling it a 17th century Japanese Godfather also captures the essence of the series. Two more seasons are in development, and we’ll be watching. But it was Clavell’s timeless story and characters that make Shōgun what it is; the showrunners have a massive challenge ahead to meet that highest of bars.
—Jennifer Ouellette
Jennifer is a senior reporter at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.
Ars chats with Dune: Prophecy lead cinematographer Pierre Gill about color palettes, lighting, and other challenges.
Credit: Attila Szvacsek/HBO
Director Denis Villeneuve’s stunning two-part film adaptation of Frank Herbert’s Dune has received many well-deserved accolades—with Dune: Part 2 being crowned Ars Technica’s top movie of 2024. The films also spawned a lavish HBO spinoff TV series, Dune: Prophecy, just renewed for a second season right before a momentous season finale.
(Some spoilers below for S1 of Dune: Prophecy, but no major plot reveals.)
Dune: Prophecy is a prequel series inspired by the novel Sisterhood of Dune, written by Brian Herbert and Kevin J. Anderson, exploring the origins of the Bene Gesserit. It’s set 10,000 years before the ascension of Paul Atreides and follows two Harkonnen sisters as they combat forces that threaten the future of humankind, establishing the fabled sect that will become the Bene Gesserit in the process.
Emily Watson stars as Mother Superior Valya Harkonnen, who leads the Sisterhood and has a close ally in her sister, Reverend Mother Tula Harkonnen. They have built up a network of Sisters serving the rulers of various worlds as “Truthsayers,” including Princess Ynez (Sarah-Sofie Boussnina), heir to the throne of her father, Imperium Emperor Javicco Corrine (Mark Strong).
Valya’s master plan to crown a Sister as head of the Imperium hits a snag, however, with the arrival of a mysterious soldier named Desmond Hart (Travis Fimmel), who claimed he survived being swallowed by a sandworm while fighting on Arrakis. Hart has a mysterious ability to literally burn people to death from the inside out with his mind, and he so impresses the Emperor that Hart replaces Valya as key advisor. So begins several episodes of political intrigue as secrets from the past begin to come out, culminating with an action-packed finale that bade farewell to a couple of key characters.
All of this takes place against a stunning visual backdrop that is reminiscent of Villeneuve’s two films but also sets the series apart, as befits a prequel. One of the people responsible for that is lead cinematographer Pierre Gill, who created distinctive looks and color palettes for the various worlds, planets, and environments, as well as tackling the lighting challenges posed by the massive built sets. Ars caught up with Gill to learn more.
Ars Technica: You also did some work on the film Dune: Part 1. How was it different working on a TV series set in the same sweeping fictional world?
Pierre Gill: It’s a different game, a different schedule, and it’s also a very different approach because the scenes are different. There’s not so many subplots. But it’s still the same scope. We had as many sets and studios and everything. So it’s a big challenge to be able to keep the style, make it look good, light the actors. It’s part of the reality of the [director of photography’s] decision-making. You have ideas in your head of what you want to do, you have a dream, but it has to be feasible, realistic. So then you make compromises and figure out the best way to keep that style. There’s also multiple directors, there’s a showrunner. So the decision-making is less centralized.
Ars Technica: How did you go about setting the series apart from Villeneuve’s films, especially since it’s a prequel?
Pierre Gill: It’s set 10,000 years before, so it could have been extremely different. But it’s not a good idea to do that. First, the audience wants to see Dune because they love Denis Villeneuve’s movie. Second, it’s a complex story and it’s better not to get lost into something. It was not a good idea to do that in our mind. So we stayed not far from the movie so the audience can just sit down and follow the story points. and at the moment, Of course, some people always complain, but most are just happy to follow the story. So I think we made the right choice.
Ars Technica: Despite the epic scope of the series, you were able to shoot as much as 75 percent of the footage in-camera. That’s quite a feat.
Pierre Gill: There’s a lot of VFX of course, but because most of the sets were so high, so big, the camera was filming people or the throne room—which is gigantic—it’s almost always in camera. For the big wide shots, there’s a set extension that is painted. So these huge sets, the Sisterhood, the library and everything, when you see all these girls wandering around in that complex of Wallach IX, that compound is pretty much on camera.
A lot of VFX is making these gorgeous shots of the world, spaceships coming down, seeing something outside the window sometimes, and then the exterior of Wallach IX, which is two big towers and a rock facade. Of course there’s the little lizard, the thinking machine, that was VFX. But otherwise it was very, very in-camera, which makes your life easier in editing and shooting—although it doesn’t make my life easier with the lighting, which would be much easier with blue screen.
Ars Technica: Tell us about the massive chandeliers you built to introduce particle light, adding extra character to the interiors.
Pierre Gill: The sets were quite monochromatic. You have Salusa Secundus, the emperor world, which is a very sandy color, very beige,. And then you have Wallach IX, which is very gray. We decided to light one of the worlds in a cold way, the other world in warmer tones. I was trying as much as I could to put very harsh sunlight into the Salusa Secondus world.
Again, the sets were very big. So I asked the production designer Tom Meyer to build me some practical lighting somewhere. There was not much in the set for me to use for night, which is a bit of a problem because he kept the mood of Dune. On a film you have three to four hours to light a scene. I was not able to do that. I needed to have practical light that is actually lighting something. So for example, in the throne room, he wanted to have glass balls. There’s three glass balls, they’re gorgeous.
I told Thomas, “But these glass balls, the problem for me is the light behind my head is going to blow away. I would love this to light the wall.” So I got my practical team, a bunch of guys who are just in charge of LEDs on set. We found an LED source that goes inside; you can dim it down and up. But behind the balls, we added another pack of LED lights that are hidden. So you have the light source and just behind it you have this extra lighting. From the camera you never see it but it was lighting the wall. And then I got them to build a very long teardrop. I again got them to build multiple layers of LEDs that were on a board that was a certain power, certain color. I was able to make them cold or warm and to change them a little bit and use them as a source. It became part of the visual style.
Ars Technica. I appreciated that Dune: Prophecy seems to buck the trend toward very, very dark night scenes that end up being nearly unwatchable for people at home.
Pierre Gill: I don’t really like when it’s pitch black and dark. I don’t understand. I don’t think it gives anything. For me, night is more figuring out silhouettes. Let’s try to feel the character, shape your character on the wall, and when you get in a close-up you get a light in his eyes or something. I like to define a room and on these big sets to do moonlight would make no sense. The throne room is gigantic, but at the end it’s just an empty place. So you’re lighting what? Just the floor. It’s not very interesting. So what I’ve done for the night in the throne room, I asked VFX, what’s the concept of the exterior? It was all work in progress. We had some artwork concept work, but the lighting, nobody really knew.
So I said, okay, so we know there’s lights, so I’m going to put orange lights from below. I’m not lighting actors, I’m not lighting anything. But when you look at windows, you can feel that the light is coming from the bottom and it creates a few shadows. When you see outside now, they put all these lights in the palace, like you would light a nice, beautiful, gorgeous big house. You light everything from under.
Ars Technica: What were some particularly challenging scenes in terms of the cinematography?
Pierre Gill: The prison was a huge challenge. It was built on a set on location in downtown Budapest, and it’s a circular room. It’s where they put Desmond and suspended him in a jail cell. There was a floor and I had one foot to light. So that was complicated. Another challenge was the exterior of the Sisterhood: a big circular room outside. It was also a location and we could not access behind with cranes, so I could not control anything, and it was very dangerous. I could not light from the ceiling from the top of this coliseum. We built a gigantic tarp on top of it. So I was closing and opening and diffusing the sun. That was very Hollywood-esque.
Ars Technica: Was there a particular scene you were especially pleased with how it turned out?
Pierre Gill: In the first episode, there’s a scene with the young sisters chanting around a gorgeous golden bowl. The director, Anna Foerster, she wanted to see the waves of the singing and all these frequencies. I was like, “Well, that’s a lighting gag. You don’t see any wave if you cannot light in reflection.” I knew I wouldn’t have time to do something so technical. Since she wanted to “do a pull-up” for the scene: starting loose up on the bowl and then moving up and out. Technically it’s complicated.
So I had a big rig that I created around the camera with soft lighting that could reflect. And I asked our department, when they built that bowl, “Could you build with a light inside, like a waterproof light, an LED? I’ll put it on my board and maybe it’s going to work. I’m not sure if it’s going to really light the water properly.” I was ready with a plan B, but they brought the bowl, they started the frequency thing, and it was gorgeous. So I didn’t have to use my plan B lighting. That was very, very nice.
Models helped with the staging and lighting of different scenes. Credit: Pierre Gill/HBO
Ars Technica: The show has been renewed for a second season and one assumes you’ll be involved. What will be different for you going into S2?
Pierre Gill: I’m very proud because I’m part of building that, a part of the creative team. I really hope I can do it. I hope my schedule will allow it. I want to be part of this for sure, because S1 was a lot of engineering, meaning it’s so big, you have to figure out stuff all the time. Now it’s done, it’s built and we know what we like. We know what we don’t like. We know what works. So S2 for me, will be a lot of fun, much more creative, meaning I’m going to be able to do much more interesting lighting. I’m going to go deeper into the thing because I know how this beast is working now.
All episodes of Dune: Prophecy‘s first season are now available for streaming on Max.
Jennifer is a senior reporter at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.
This year’s list features quite a bit of horror mixed in with the usual blockbuster fare—plus smaller hidden gems.
Credit: Aurich Lawson | Getty Images
Editor’s note: Warning: Although we’ve done our best to avoid spoiling anything too major, please note this list does include a few specific references to several of the listed films that some might consider spoiler-y.
This was the year that Marvel Studios hit the pause button on its deluge of blockbuster superhero movies, after rather saturating the market in recent years. It proved to be a smart move: the only Marvel theatrical release was the R-rated Deadpool & Wolverine, a refreshingly irreverent, very meta take on the genre that delighted audiences and lit up the global box office. Perhaps audiences aren’t so much bored with superhero movies as becoming more discriminating in their choices. Give us a fun, fresh take and we’ll flock back to theaters.
Fewer superhero franchise entries meant there was more breathing room for other fare. Horror in particular had a stellar year, with numerous noteworthy offerings, touching on body horror (The Substance), Satanic Panic (Late Night with the Devil), psychological horror (Heretic), hauntings (The Oddity), a rom-com/revenge mashup (Your Monster), an inventive reimagining of a classic silent film (Nosferatu), and one very bloodthirsty child vampire with a wicked sense of humor (Abigail). Throw in a smattering of especially strong sequels (Inside Out 2, Dune: Part 2), a solid prequel (Furiosa), and a few hidden gems, and we had one of the better years for film in recent memory.
As always, we’re opting for an unranked list, with the exception of our “year’s best” vote at the very end, so you might look over the variety of genres and options and possibly add surprises to your eventual watchlist. We invite you to head to the comments and add your favorite films released in 2024.
The Fall Guy
Credit: Universal Pictures
I love to mentally check out with a good movie when I fly. So, on a recent trip to New York City for Technicon, I settled into my narrow, definitely-not-my-couch airline seat and fell in love with The Fall Guy, a movie based on the TV show I remember watching as a teen back in the ’80s.
Directed by David Leitch (Deadpool 2, the John Wick franchise), The Fall Guy is pure entertainment—part rom-com, part action, funny as heck, and super meta. Leitch is perfectly suited to direct a film about a stuntman, having been one himself (he was Brad Pitt’s stunt-double five times). And the actors clearly are having a ton of fun roasting the industry, while also paying tribute to the invisible heroes of any movie: the stunt performers.
A year after a nearly fatal fall (yeah, pun apparently intended), stuntman Colt Seavers (Ryan Gosling) is persuaded by his former producer, Gail (Hannah Waddington), to come to the rescue for a film his ex-girlfriend, Jody (Emily Blunt), is directing after the lead actor and his stuntman disappear. Gail asks him to find them to save the film and Jody’s career. The exaggerated stunts, meta jokes (Tom Cruise, “I do my own stunts”), unicorn, callbacks to favorite films (Notting Hill etc.), and unflagging plot made for a quick flight for me. The chemistry between Blunt and Gosling makes the movie and provided an at-times hilarious-yet-believable romantic tension. (I’ll never forget the giant monster hand nor the air pistols.) And the cameo by the real fall guy left me elated.
A few years back, also on a flight, I remember watching Gosling’s comedy chops in The Nice Guys and laughing aloud several times (Always awkward. Sorry seat mates.). I did the same with The Fall Guy as well. But could my enthusiasm for the movie get anyone in my family to watch it with me on our giant COVID-purchase TV with the surround sound and subwoofer on high?? Not for a solid month. But once I did, they were sold.
—Kerry Staurseth
Hit Man
Credit: Netflix
I grew up in Richard Linklater’s Texas, and there seems to be something—the characters, the story, the setting, or the aesthetic—that resonates with my personal experience in most of his films. I can’t say the same for Hit Man, but this isn’t meant to be a criticism. Instead, Linklater’s Hit Man offers nearly two hours of pure escapism that many of us need. It’s smart, with witty dialogue, more than a few moments of side-splitting humor, and a story that is too good to be true, although the premise is based on true events.
Gary, played by Glen Powell (who also co-wrote the screenplay with Linklater), is a chameleon. Gary starts the film as a meek, somewhat nerdy college professor, but circumstances quickly force him into the uncomfortable position of becoming an undercover police informant. As we learn early in the film, this involves portraying a fake hitman to rope suspects into contract killing schemes and then prosecution. While I may question the legality or ethics of this setup, it creates a canvas for Linklater and Powell to create funny, sympathetic characters thrust into situations that, while far-fetched, somehow seem believable.
Ultimately, Hit Man provides a laboratory for character development for the audience and within the film itself. In the film, Gary’s academic background helps him craft characters to match the circumstances and attitudes of each of his targets. Gary’s hitman personas can turn up the charm, abrasiveness, or faux bravado as the situation requires it. Gary reinvents himself at every turn, showcasing Powell’s acting range. That is, until Gary runs into Madison, portrayed by Adria Arjona. Then, things become a little too real for Gary, and you’ll have to watch the film to see what happens next.
—Stephen Clark
Heretic
Credit: A24
Hugh Grant launched his career playing charmingly self-effacing rom-com heroes (cf. Four Weddings and a Funeral, Notting Hill). But in recent years, he’s embraced his darker side, playing roguish villains in films like The Gentlemen and Dungeons & Dragons: Honor Among Thieves, as well as for the BBC miniseries A Very English Scandal. Heretic gives him his most disturbing role yet.
Grant plays Mr. Reed, a reclusive man who invites the Mormon missionaries who come knocking on his door inside for some of his wife’s blueberry pie. But Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) soon realize there is no Mrs. Reed, that delicious blueberry smell is from a candle, they have no cell phone signal, and they are locked inside with a lunatic. They must figure out how to escape from the basement dungeon in which Reed traps them, a torturous environment in which to test their faith.
Heretic has its share of blood and violence, but the focus is more on the psychological trauma inflicted on the young women. And its treatment of the Mormon faith is surprisingly nuanced for the horror genre. Still, it’s Grant’s subtly sinister performance that really makes the film: He brings just a hint of his trademark rom-com charm to the role, which somehow makes everything he says and does doubly chilling.
—Jennifer Ouellette
Tuesday
Credit: A24
This quietly devastating indie fantasy drama stars Julia Louis-Dreyfus as Zora, a mother whose 15-year-old daughter Tuesday (Lola Petticrew) is confined to a wheelchair with an incurable terminal disease. The fantastical element is Death, who comes to release Tuesday from her suffering in the form of a talking macaw that can alter its size at will. But Zora isn’t ready to let her daughter go; she swallows Death to keep her daughter alive—with the added complication that now nobody can die.
At its heart, Tuesday is an unsettling fable about human mortality and learning not just to confront, but to embrace, Death. That’s a pretty heavy theme, and the film offers no pat, easy answers in its resolution. But first-time director DainaO.Pusić brings a light touch to the melancholy, bolstered by Louis-Dreyfus’ courageous performance.
—Jennifer Ouellette
The Substance
Credit: Mubi
Listen, I’m not here to convince you that The Substance changed my life, but it’s been a while since a modern sci-fi/horror movie fixated on the fear of death and aging made my skin crawl, so like many viewers in 2024, I was itching to press play. Demi Moore stars as Elizabeth Sparkle, a 50-year-old fitness icon who foolishly injects an experimental drug to maintain her celebrity and quickly regrets birthing a younger double (played by Margaret Qualley), whom she now must split her life with.
Between firm butts flexing and gory mutations emerging, Moore’s and Qualley’s characters clash, forgetting they are “the one” and spiraling toward doom. And while most body horror movies are viewed as gratuitous, The Substance lives up to its title. Somehow, through a nauseating cascade of increasingly grotesque distortions of the human form, the movie morphs into a meaningful satire on society’s stance that older women are irrelevant—blowing a kiss into the camera at the genre’s past tendency to objectify female characters.
—Ashley Belanger
Rez Ball
Credit: Netflix
This is a classic feel-good sports movie that manages to seem both familiar and fresh, thanks to its setting on a Navajo reservation. (It’s based on the nonfiction novel Canyon Dreams by Michael Powell.) Rez Ball follows one season of the Chuska Warriors, a Native American high school basketball team competing for the state championship. Their star player is Nataanii (Kusem Goodwind), whose mother and sister were killed by a drunk driver the prior year. Nataanii has been struggling with his grief ever since, and when he doesn’t show up for practice one day, the team learns he committed suicide.
It’s up to coach Heather (Jessica Matten), a former WNBA player, to help her team recover from the shocking loss and regroup to finish the season. She names Nataanii’s best friend, Jimmy (Kauchani Bratt), as team captain and employs some novel team-building exercises—most notably a shepherding task in which the team must work together to bring sheep down from a mountain and back into their enclosure. Then there’s her clever strategy of training the team to call all their plays in their native language—shades of the World War II “code talkers.” (There’s even a sly humorous reference to the 2002 Nicolas Cage movie Windtalkers in between all the frybread jokes.)
Director Sydney Freeland hits all the familiar notes of this genre and ably captures the basketball sequences—is there really any doubt we’ll have a happy(ish) ending? Yet the film earns its payoff, driven not by genuine suspense, but by the sheer determination of the team members and how they bond to overcome their grief and bring some joy out of their shared tragedy.
—Jennifer Ouellette
Oddity
Credit: Shudder
Oddity is a pitch-perfect supernatural thriller that never should have worked. Writer-director Damian McCarthy has explained that the movie comprised “a mix of a lot of old ideas” that he “could never find a home for.” That hodgepodge storytelling approach could have been a forced recipe for disaster if McCarthy wasn’t such an undeniable master of tension. Telling the story of a psychic medium-antiques dealer desperate to divine the events leading to her twin sister’s shocking murder in an abandoned Irish manor, the movie managed to feel fast-paced while drawing out an unrelenting sense of dread.
The bulk of that tension comes from a haunted wooden man that remains onscreen and barely ever moves—leaving the audience painfully stuck anticipating the moment when the nightmarish figure will spring to life. With slasher movie elements and twists as jarring as the wooden man’s startling features, Oddity had some horror fans within minutes smashing pause to recover from the brutal opening scene before returning to finish McCarthy’s curious haunted house tour de force.
—Ashley Belanger
Abigail
Credit: Universal Pictures
Six criminals get more than they bargained for when they are hired to kidnap the young daughter of a wealthy underworld kingpin: budding ballerina Abigail (Alisha Weir). Joey (Melissa Barrera) is the only member to be kind to their captive, clearly bothered by the fact that their target is a child. Abigail responds to that kindness with an ominous sweetness: “I’m sorry about what’s going to happen to you.”
So begins one of the goriest and funniest vampire rampages to find its way to the big screen, as the Undead Abigail takes brutal revenge on each of her kidnappers in turn. The carnage is truly next-level, including one infamous scene in which Joey wades through a literal pool of bloody, rotting dead bodies—all victims of Abigail’s ferocious killer instincts. There are some insane plot twists, plenty of perfectly timed humorous moments, and terrific performances from the ensemble cast, especially Weir. If horror comedies are your jam, Abigail is an excellent addition to the genre.
—Jennifer Ouellette
Furiosa: A Mad Max Saga
Credit: Universal Pictures
A nine-year wait between franchise films is, more often than not, an indication that the follow-up can’t meet some lofty expectations of what came before it. But that’s not the case for Furiosa.
Although it’s not the same white-knuckle thrill ride as 2015’s Fury Road, Furiosa gives us another mostly mute protagonist in an expertly crafted action film that overlaps as a revenge flick. While Anya Taylor-Joy delivers a cold, steely interpretation of the eponymous protagonist, it’s the object of her revenge, Chris Hemsworth’s villain Dementus, that offers a new variation to the typically bleak wasteland: levity.
Hemsworth relishes his chance here to show another side of his acting chops, and the result is one of the funniest and zaniest villainous performances in recent memory. Dementus’ malice is matched by his penchant for delivering self-aggrandizing speeches, which are a nice reminder that, even as the world fell, not everyone lost their sense of humor.
—Jacob May
I Saw the TV Glow
Credit: A24
As anyone who’s spent years rewatching a beloved sci-fi/fantasy show could likely glean from its ethereal title, I Saw the TV Glow was made to immerse viewers in the sort of complex mythology that keeps the most engaged superfans glued to the screen. Surreally blurring the lines between TV fiction and reality, the A24 film follows an alienated teen boy who deeply bonds with an older female classmate over a monster-of-the-week TV show that comes on past his bedtime.
What starts at a sleepover evolves into an existential nightmare suggesting that the boy’s truth might be a fiction constructed by the “Big Bad” villain from his favorite TV show. This absurd possibility follows the boy as he grows into a man with his own family, all while continuing to take comfort in his all-time favorite TV show. The mesmerizing conclusion injected a disturbing sense of wonder into 2024, leaving some viewers as slack-faced as the boy was when he finally got to watch the late-night TV show that he somehow knew would light him up inside.
—Ashley Belanger
Thelma
Credit: Magnolia Pictures
Elderly people are so often invisible in our youth-oriented society, so it’s nice to see two 90-something characters take center stage in this charming comedy-drama written and directed by Josh Margolin. June Squibb plays the titular Thelma, who gets taken in by a phone scammer pretending to be her grandson Danny (Fred Hechinger) to the tune of $10,000. The police won’t help, but Thelma has a P.O. box address as a clue and sets out to get her money back.
Thelma enlists the help of her estranged friend Ben (Richard Roundtree, in his final role), who is eager to escape his assisted living facility for one last adventure, and the two set off on Ben’s two-person scooter. Wacky hijinks and personal growth and enlightenment ensue. The film was inspired by a conversation Margolin had with his own now-deceased grandmother, and that personal experience is the key to Thelma‘s warmth, humor, and authenticity. It’s a lovely twist on the classic road movie and well worth a watch.
—Jennifer Ouellette
Woman of the Hour
Credit: Netflix
In the late 1970s, serial killer Rodney Alcala interrupted his murder spree to make a 1978 appearance on The Dating Game and actually went out on a date with bachelorette Sheryl Bradshaw—who naturally had no idea the charming man who’d won her over with his answers was, in fact, a psychopath. It might seem like an odd bit of trivia on which to base a film, but Anna Kendrick came across Ian MacAllister McDonald’s initial screenplay as the actress was gearing up to make her directorial debut with Netflix and snatched it up.
Kendrick also stars as Sheryl, a struggling LA actress who is persuaded to go on The Dating Game by friends, and her typically winsome, spunky performance—and able direction— lifts Woman of the Hour to the next level. Perhaps the best part of the film is that it doesn’t linger overmuch on the killer or glorify his horrific deeds. The focus stays squarely on Sheryl and a woman in the audience named Laura (Nicolette Robinson), who recognizes Rodney (Daniel Zovatto) as the man last seen with her missing best friend. It’s a well-done, quietly thrilling period piece that bodes well for Kendrick’s future as a director.
—Jennifer Ouellette
Your Monster
Credit: Vertical Entertainment
It’s been quite a year for Melissa Barrera, who followed up her standout Final Girl performance in Abigail with another star turn in the decidedly offbeat Your Monster—part romantic comedy, part horror/revenge fantasy, weaving in such disparate influences as the late ’80s TV series Beauty and the Beast and classic Broadway musicals like A Chorus Line. It’s based on a 2019 short film by writer/director Caroline Lindy, inspired by Lindy’s one-time boyfriend breaking up with her when she received a cancer diagnosis.
Barrera plays Laura, an actress who also loses her boyfriend after a cancer diagnosis—plus he reneges on his promise to let her audition for the musical she co-wrote—and goes back to her childhood home to recuperate. There she encounters the proverbial Monster in the closet (Tommy Dewey), who is none too pleased about suddenly having a “roommate” again. At first he tries to scare her, but soon they’re bonding over old movies and Chinese takeout; Monster might just be the ideal boyfriend she’s been looking for.
Of course, Monster is also very much a manifestation of Laura’s psyche, particularly her subsumed rage. Naturally they plot revenge on her selfish ex, and when it comes, it’s everything a jilted lover could want from the experience. Your Monster can’t quite decide on a tone, shifting constantly between comedy and horror, love and revenge. But that’s part of what makes this quirky film so appealing: Lindy isn’t afraid to take creative risks, and she makes it all work in the end.
—Jennifer Ouellette
Will and Harper
Credit: Netflix
A few years ago, comic actor Will Ferrell was on-set filming a movie when he received a surprising text from Harper Steele, a close friend of some 30 years, dating back to their time together on Saturday Night Live. Steele informed him of her gender transition. Ferrell’s response was to organize a road trip for the two of them, starting in New York City, where they first met, hitting stops in Washington, DC, Indiana, Illinois, Oklahoma, and Amarillo, Texas—documenting the journey all along the way.
The result is Will and Harper, a surprisingly sweet, refreshingly frank, and thought-provoking film that celebrates an enduring friendship. There’s never a question of Ferrell not accepting his friend’s transition, but there are some awkward growing pains. The pair don’t shy away from more difficult conversations, peppered with humor, while downing cans of Pringles, and it’s that well-meaning honesty that keeps the film grounded and centered on their relationship, without falling into didactic preachiness.
—Jennifer Ouellette
Wicked Little Letters
Credit: StudioCanal
Trolling didn’t begin with social media. Back in the 1920s, several residents of the seaside town of Littlehampton in England began receiving poison pen letters rife with obscenities and false rumors. It became known as the Littlehampton libels, with the culprit revealed to be a 30-year-old laundress named Edith Swan, who tried to pin the blame on her neighbor, Rose Gooding, until she was found out. (Poor Gooding actually served over a year of jail time before she was exonerated.)
Wicked Little Letters is the fictionalized account of those events, starring Olivia Coleman as Edith and Jessie Buckley as Rose, emphasizing the complicated relationships and psychological foibles of the central characters. Even if you know nothing about the case, we learn early on who the true culprit is, and the film then becomes a cat-and-mouse game as Rose’s allies try to prove Edith is the true poison pen. The true enjoyment is watching everything play out with equal parts humor and pathos.
—Jennifer Ouellette
Nosferatu
Credit: Universal Pictures
Director Robert Eggers can be a polarizing figure for moviegoers. How much you enjoyed The Witch, The Northman, or 2019’s The Lighthouse (inspired by a real-life 1801 tragedy involving two Welsh lighthouse keepers trapped in a storm) likely depends on your taste for Eggers’ dark mythic sensibility and penchant for hallucinatory imagery. With Nosferatu—a daring reinvention of the seminal 1922 German silent film by F.W. Murnau, based in turn on Bram Stoker’s 1897 novel Dracula—Eggers leans fully into supernatural gothic horror, with spectacular, genuinely scary results.
It’s hard to go wrong with Bill Skarsgård in the lead role of the vampire Count Orlok; his portrayal of Pennywise the Clown in It is still giving people nightmares. Lily-Rose Depp and Nicholas Hoult also shine as Ellen (the unfortunate object of Orlok’s murderous pursuit, slowly driven mad as he closes in) and her hapless fiancé, Thomas, as does Willem Dafoe as the eccentric Professor von Franz. The basic outlines of Stoker’s plot remain, but Eggers has also infused his film with a visual language that evokes both Murnau’s distinctive German expressionism and the Eastern European folklore that inspired Stoker. This is not so much a remake as an innovative re-imagining by a director whose sensibility is perfectly suited to the task.
—Jennifer Ouellette
Monkey Man
Credit: Universal Pictures
Dev Patel’s latest film completely missed me when it got a limited cinematic release this spring. Instead, I stumbled across it streaming on Peacock and went in cold with nothing more than good vibes toward the actor—and now director—based on his performances in films like Chappie. Which made the initial fight, with Patel wearing a monkey mask, a little confusing at first.
Monkey Man is a good old revenge film, following Patel’s character as he negotiates the underworld of the fictional Indian city of Yatana in a quest to avenge his mother, who was brutally murdered when their village was ethnically cleansed by Hindu nationalists. The fight scenes are frenetic and visceral, influenced by films like John Wick but also The Raid, and the hand-to-hand combat in Marvel’s Daredevil. But it’s also a film with a political message or two. Perhaps the best way to describe it is like a cross between John Wick and RRR—if you liked both of those films, you’ll probably love Monkey Man.
—Jonathan Gitlin
The Three Musketeers Part 2: Milady
Credit: Pathe
Last year, The Three Musketeers Part 1: D’Artagnan made our annual list, in which we celebrated finally having a quintessential French adaptation of Alexandre Dumas’ classic 1844 novel to rival Richard Lester’s iconic two-part 1970s US adaptation. Part 2: Milady covers the events of the second half of the novel, as D’Artagnan (Francois Civil) and his compatriots rush to rescue his kidnapped lover, Constance (Lyna Khoudri), and prevent the assassination of the Duke of Buckingham (Jacob Fortune-Lloyd) by Eva Green’s deliciously wicked Milady de Winter.
Both films were shot back to back, so the same top-notch storytelling and able performances are present. And director Martin Bourboulon heard the complaints about how dark the first installment was in places and corrected the colorimetry. My only quibble: unlike Part 1, Part 2 actually deviates quite substantially from the source material, particularly with regard to the fates of Constance and Milady. In fact, the finale is left open-ended. Could a third installment be in the offing? (An adaptation of Dumas’ The Count of Monte Cristo is releasing soon by the same team.) Still, it’s a magnificent, hugely entertaining film that pairs beautifully with its predecessor.
—Jennifer Ouellette
Late Night with the Devil
Credit: IFC Films
Framed as a documentary with behind-the-scenes found-footage elements, Late Night with the Devil tells the story of a late-night talk show, Night Owls with Jack Delroy, and its producers’ attempts to put on an unforgettable Halloween night show in 1977. Things start out in an appropriate-for-TV spooky tone, and the movie’s ’70s aesthetic really sells the vibe.
But as the show goes on, the guests get progressively weirder, the segments become more sinister, and it starts to be difficult to tell if the guests are putting on an act or if something darker is going on. Is the host really going to try to commune with the devil on a late-night variety hour? That quickly becomes the plan. I won’t spoil more than that, but I found the ride compelling from start to finish.
This was a good year for horror movies, and Late Night with the Devil was one of my favorites. David Dastmalchian’s performance as the host was a real standout. The whole package is great fun, and everything wraps up in a blessedly tight 95 minutes (man, movies are way too long these days). Genre fans shouldn’t miss this one.
—Aaron Zimmerman
Wicked Part 1
Credit: Universal Pictures
I was lucky enough to see Wicked on Broadway near the end of Idina Menzel and Kristen Chenoweth’s iconic runs originating the characters of Elphaba and Glinda for the stage. Since then I’ve seen the live version of the musical five more times at various points and listened to the soundtrack hundreds of times more. Despite all that, the unavoidable marketing for this movie had me worried it was going to be an overproduced cinematic flop on the order of Cats or Dear Evan Hansen.
Happily, my worries were overblown. Cynthia Erivo and Ariana Grande bring real chemistry and pathos to the show’s main roles and have the pipes to pull off some extremely difficult songs without breaking a sweat. I was also impressed with the movie’s top-notch choreography, which evokes the golden age of silver screen musicals and demands to be seen in a theater with as big a screen as possible.
My only quibble with this adaptation is the pacing, which suffers thanks to a few unnecessary backstory additions and a few too many long, lingering shots and pregnant pauses that even mess up the flow of some iconic songs. Why they decided to shoot “Defying Gravity” like an action movie—and decided not to cut to the credits right after Erivo’s soaring final note—will always be a huge mystery to me. A version of this movie that was about 45 minutes shorter would have been perfect. The version we got was instead just a very good adaptation of a very good musical.
—Kyle Orland
The Wild Robot
Credit: Universal Pictures
This is the final film to be animated entirely in-house at DreamWorks, based on the 2016 novel of the same name by Peter Brown. It features a plucky service robot called ROZZUM unit 7134, aka “Roz” (voiced by Lupita Nyong’o), who gets shipwrecked on a desert island and must learn to adapt. Along the way, Roz befriends some of the local wildlife—Pedro Pascal voices a mischievous red fox named Fink, with Bill Nighy voicing an elderly goose named Longneck—and adopts an orphaned goose named Brightbill (Kit Connor).
Director Chris Sanders was inspired both by classic Disney animated movies and Hayao Miyazaki, creating what he described as “a Monet painting in a Miyazaki forest” for the visual CGI style of The Wild Robot. It makes for quite a striking combination. Plot-wise, there are elements of E.T. and Pixar’s Wall-E here, but Sanders has created a unique take on those tropes and standout characters that are all his own. Along with Inside Out 2 (see below) this is one of the best animated movies of the year.
—Jennifer Ouellette
Deadpool & Wolverine
Credit: Marvel Studios
The Deadpool & Wolverine movie was a long time coming. That’s not just because Deadpool (Ryan Reynolds) has been making comically obsessive requests to hang out with Hugh Jackman’s Wolverine since the first Deadpool. But the movie itself feels like an homage to the comic book movies before it, combining fan service with a true, sensible (for a comic book movie) plot and a satisfying conclusion that leaves the characters more mature and content than when we last saw them.
Some may be concerned about the return of Jackman, considering his version of Wolverine was supposed to come to a dramatic and spectacular conclusion with the 2017 movie Logan. In fact, the movie is about Deadpool’s universe crumbling (as related by the Time Variance Authority from the show Loki) due to that version of Wolverine no longer being around. But Deadpool & Wolverine handles this well by visiting the end location of Logan and establishing that Jackman is now playing a Wolverine from an alternate universe and is still highly capable of playing the fierce, acrobatic, and iconic X-Man.
Deep down, the movie is about two men who have typically felt alone and unworthy of the people they love finding new paths to manhood, self-respect, and acceptance of their roles in the world. But for comic book fans, it’s really about action-packed nostalgia. The good feels are bolstered by epic cameos of characters you might have forgotten were Marvel-related at all (if possible, I highly recommend seeing this movie spoiler-free).
Unexpectedly one of the best parts of the movie comes from the ending credits. It features behind-the-scenes footage from 12 X-Men movies going back 24 years. With clips featuring the likes of a young Jackman, Halle Berry (who has played Storm), and Patrick Stewart (who has played Professor X), it’s a reminder of a time when comic books felt new and bold and a tribute to how long all of us—from the actors, to the crew, to the audience—have been on this journey. Ultimately, Deadpool & Wolverine provides a fulfilling and happy goodbye to all those pieces.
—Scharon Harding
Nickel Boys
Credit: Amazon MGM Studios
Colson Whitehead won the 2020 Pulitzer Prize for his 2019 novel The Nickel Boys, based on Florida’s infamous Arthur G. Dozier School for Boys, a relic of the Jim Crow era. The school’s staff inflicted all manner of abuse, beatings, rapes, and torture on its unfortunate charges and even murdered many of them; as of 2012, nearly 100 deaths had been documented, along with 55 burial sites on school grounds. (There could be as many as 27 more burial sites, based on ground-penetrating radar surveys.)
A young Black boy named Elwood (Ethan Cole Sharp) in 1962 is a promising student until he is mistakenly arrested for being an accomplice to car theft. He’s sent to the segregated Nickel Academy, where he makes friends with Turner (Brandon Wilson). (Daveed Diggs plays a grown Elwood, now a successful businessman in New York City.) The two witness and experience so much abuse that Elwood finally decides to fight back, despite the risk of retaliation by the school’s administrators.
This is powerful subject matter, deftly handled by director RaMell Ross, who manages to tell a compelling story without turning it into what’s become known as “Black trauma porn.” The most controversial aspect of the film is Ross’ choice to shoot it from a first-person point of view with a 1.33:1 aspect ratio. So we see either Elwood speaking in a scene, with Turner off-camera, or vice versa, and the two are only occasionally onscreen at the same time. Some might find this choice annoying, but I found it kept me centered on one boy’s perspective at a time, which served to make the final plot twist all the more satisfying.
—Jennifer Ouellette
Inside Out 2
Credit: Pixar/Disney
I cried multiple times the first time I saw Inside Out in the theater, and still tear up when I watch it at home. So I was prepared to be even more emotional at Inside Out 2, especially given that I’m now the parent of a tween child myself.
I wasn’t quite moved to tears by this tale of Riley struggling with newfound feelings of Anxiety, pushing her to more and more desperate plans to ingratiate herself with a group of “cool” kids. But I will admit that my heart did break a little during the climactic scene, which shows the inner turmoil inherent to a true panic attack in a way that can resonate with both children and adults.
There were a couple of inconsistent attempts at comedy in Inside Out 2 that felt like they came from a completely different movie. And I found myself missing the original voice actors for Disgust and Envy, as well as Lewis Black’s original Anger voice (which has noticeably diminished as he’s aged). But none of this was enough to diminish the strong emotional core of a movie that will be relatable to anyone who’s busy growing up or just remembers doing the same.
—Kyle Orland
And now… our pick for the best movie of 2024:
Dune: Part 2
Credit: Warner Bros.
David Lynch’s 1984 Dune was a huge chunk of my high school experience, being as I was part of a small group of friends obsessed with the movie—with its incredible visuals, its outsize but seemingly earnest camp, and its absolutely endless quotability. We sprinkled the movie’s words throughout our conversations, experimented with re-creating portions of it with video cameras and action figures, and reveled in exploring something that felt truly ours—largely because the movie was rejected and forgotten by so many others.
If anything, Lynch’s Dune put paid to the notion that Frank Herbert’s novel could be successfully ported to film. It’s a heroic effort, but it’s a bloody mess. And I would have gone to my grave thinking that Dune remained one of the most unfilmable classic bits of 20th-century science fiction—until Denis Villeneuve went and made the dang thing anyway.
The viscerally visual filmmaker who famously hatesdialog did something I genuinely believed was impossible: He gave us a (two-part) translation of the book to screen that is both faithful to the original, and also shows us new things that feel like they’ve been there all along, waiting to be discovered.
Dune: Part Two is a masterpiece. It is the product of craftsmen at the top of their crafts, including and especially the craftsman in the director’s seat. Dune gives us a peek at exactly what Villeneuve means when he talks about the “paradise” of a movie without dialogue—there are long, almost Tarkovsky-esque stretches where vast cyclopean imagery juxtaposes itself against tiny human tableaus, underpinned by nothing but Hans Zimmer’s transcendent music. And it’s not just that these stretches work—they work fantastically well!—it’s that in many ways they carry the movie to places that rapid-fire Aaron Sorkin-style banter could never reach. The visuals show us things—things words never could.
Speaking of Hans Zimmer—let’s talk about that score. It’s an absolutely masterful creation that figures so prominently in our experience of Arrakis that it becomes a character itself, a second unseen narrator who alternates with poor unloved Irulan as the voice of the world. Paul and Chani’s love theme, a composition titled “A Time of Quiet Between the Storms,” is one of the most powerfully emotional pieces of music I’ve ever heard, embodying almost the platonic ideal of pure, mournful longing; the emotional hammer-blow delivered by its apocalyptic, civilization-ending reprise “Kiss the Ring” left me speechless and wide-eyed in the theater.
Folks, Dune: Part Two is a good movie. It (and its prequel) is one of the best movies I’ve ever seen, successfully adapting a difficult book into a movie and retaining the bits that mattered most. Villeneuve was born to make these films, and Zimmer was born to score them. They are true art. If anything, I’m even more excited now about another of Villeneuve’s upcoming projects: he’s taken over the reins for the long-stalled, long-rumored, finally-happening-for-real adaptation of Arthur C. Clarke’s Rendezvous with Rama, a book that heavily imprinted itself on me in fourth grade and that I’ve reread at least once a year for most of my life. If Villeneuve brings his A-game, I have the highest hopes for Rama.
—Lee Hutchinson
Jennifer is a senior reporter at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.
That mind is partly revealed through Herzog’s running narration, such as when he muses about collective behavior and whether fish have souls—a digression sparked by his interview with Siri co-inventor Tom Gruber. “In the background, I saw his TV screen still on, we didn’t switch it off, and I saw some very, very strange school of fish,” said Herzog. “I asked him about the school of fish, which he had filmed himself. And all of a sudden, I’m only interested in the fish and common behavior. Why do they behave in big schools, in unison? Why do they do that? Do they dream? And if they think, what are they thinking about? I immerse the audience into a very strange form of underwater landscape and behavior of fish.”
Werner Herzog’s inspiration for Theater of Thought arose from conversations with Columbia University neuroscientist Rafael Yuste, who served as science advisor on the film. Argot Pictures
We glimpse the inner workings of Herzog’s mind in the kinds of questions he asks his subjects, such as when he queries IBM’s Dario Gil, who works on quantum computing, about his passion for fishing, eliciting an enthusiastic smile in response. He agrees to interview University of Washington neuroscientist Christof Koch after Koch’s early-morning row on the Puget Sound and includes music from New York University neuroscientist Joseph LeDoux‘s band, the Amygdaloids, in the film’s soundtrack. He asks married scientists Cori Bargmann and Richard Axel about music, their dinner conversations, and the linguistic capabilities of parrots. In so doing, he brings out their innate humanity, not just their scientific expertise.
“That’s what I do. If you don’t have it in you, you shouldn’t be a filmmaker,” said Herzog. “But you see, also, the joy of getting into all of this and the joy of meeting these scientists. We are talking about speaking parrots. What if two parrots learned a language that is already extinct and they would speak to each other? What would we make of it? So I’m asking, spontaneously, because I saw it, I sensed it, there was something I should depart completely from scientific quests. And yet there’s a deep scientific background to it.”
Advertising has become a focal point of TV software. We’re seeing companies that sell TV sets be increasingly interested in leveraging TV operating systems (OSes) for ads and tracking. This has led to bold new strategies, like an adtech firm launching a TV OS and ads on TV screensavers.
With new short films set to debut on its free streaming service tomorrow, TV-maker TCL is positing a new approach to monetizing TV owners and to film and TV production that sees reduced costs through reliance on generative AI and targeted ads.
TCL’s five short films are part of a company initiative to get people more accustomed to movies and TV shows made with generative AI. The movies will “be promoted and featured prominently on” TCL’s free ad-supported streaming television (FAST) service, TCLtv+, TCL announced in November. TCLtv+has hundreds of FAST channels and comes on TCL-brand TVs using various OSes, including Google TV and Roku OS.
Some of the movies have real actors. You may even recognize some, (like Kellita Smith, who played Bernie Mac’s wife, Wanda, on The Bernie Mac Show). Others feature characters made through generative AI. All the films use generative AI for special effects and/or animations and took 12 weeks to make, 404 Media, which attended a screening of the movies, reported today. AI tools used include ComfyUI, Nuke, and Runway, 404 reported. However, all of the TCL short movies were written, directed, and scored by real humans (again, including by people you may be familiar with). At the screening, Chris Regina, TCL’s chief content officer for North America, told attendees that “over 50 animators, editors, effects artists, professional researchers, [and] scientists” worked on the movies.
I’ve shared the movies below for you to judge for yourself, but as a spoiler, you can imagine the quality of short films made to promote a service that was created for targeted ads and that use generative AI for fast, affordable content creation. AI-generated videos are expected to improve, but it’s yet to be seen if a TV brand like TCL will commit to finding the best and most natural ways to use generative AI for video production. Currently, TCL’s movies demonstrate the limits of AI-generated video, such as odd background imagery and heavy use of narration that can distract from badly synced audio.
We’ve got a shiny new trailer for Star Trek: Section 31, the long-awaited spinoff film that brings back Michelle Yeoh’s magnificent Phillipa Georgiou from Star Trek: Discovery. The film will give us the backstory for Georgiou’s evil Mirror Universe counterpart, where she was a despotic emperor who murdered millions of her own people.
As previously reported, Yeoh’s stylishly acerbic Georgiou was eventually written out of Discovery, but fans took hope from rumors of a spinoff series featuring the character. That turned into a spinoff film, and we’ll take it. Miku Martineau plays a young Phillipa Georgiou in the film. Meanwhile, Yeoh’s older Georgiou is tasked with protecting the United Federation of Planets as part of a black ops group called Section 31, while dealing with all the blood she’s spilled in her past.
Any hardcore Star Trek fan will tell you that Section 31 was first introduced as an urban legend of sorts in Star Trek: Deep Space Nine. Apparently Ira Steven Behr—who came up with the idea of a secret rogue organization within Starfleet doing shady things to protect the Federation—took inspiration from Commander Sisko’s comment in one episode about how “It’s easy to be a saint in paradise.” The name is taken from Starfleet Charter Article 14, Section 31, which allows Starfleet to take extraordinary measures in the face of extreme threats—including sabotage, assassination, and even biological warfare.
The Wheel of Time returns to Prime Video in March.
Prime Video released a one-minute teaser for its fantasy series The Wheel of Time at CCXP24 in Sao Paulo, Brazil. The series is adapted from the late Robert Jordan‘s bestselling 14-book series of epic fantasy novels, and Ars has been following it closely with regular recaps through the first two seasons. Judging from the new teaser, the battle between light and dark is heating up as the Dragon Reborn comes into his power.
(Spoilers for first two seasons below.)
As previously reported, the series center on Moiraine (played by Oscar-nominee Rosamund Pike), a member of a powerful, all-woman organization called the Aes Sedai. Magic, known as the One Power, is divided into male (saidin) and female (saidar) flavors. The latter is the province of the Aes Sedai. Long ago, a great evil called the Dark One caused the saidin to become tainted, such that most men who show an ability to channel that magic go mad. It’s the job of the Aes Sedai to track down such men and strip them of their abilities—a process known as “gentling” that, unfortunately, is often anything but. There is also an ancient prophecy concerning the Dragon Reborn: the reincarnation of a person who will save or destroy humanity.
In S1, Moiraine befriended a group of five young people—Egwene, Nynaeve, Rand, Mat, and Perrin—whose small village has been attacked by monsters called Trollocs, suspecting that one of the young men might be the prophesied Dragon Reborn. She was right: the Dragon Reborn is Rand al’Thor (Josha Stradowski) whose identity was revealed to all in the S2 finale. That second season was largely based on story elements from Jordan’s The Great Hunt and The Dragon Reborn. We don’t yet know which specific books will provide source material for S3, but per the official premise:
Severance returns to Apple TV in January for its sophomore season.
Severance was one of the most talked-about TV series of 2022, receiving widespread critical acclaim. We loved the series so much that Ars staffers actually wrote a group review so that everyone could weigh in with their thoughts on the first season, pronouncing it “one of the best shows on TV.” Needless to say, we have been eagerly awaiting the second season next month. Prime Video just released the official trailer at CCXP24 in São Paulo, Brazil and it does not disappoint.
(Spoilers for first season below.)
In the world of Severance, people can completely disconnect their work and personal lives. Thanks to a new procedure developed by Lumon Industries, workers can bifurcate themselves into “innies” (work selves) and “outies” (personal selves)—with no sharing of memories between them. This appeals to people like Mark (Adam Scott), who lost his wife in a car crash and has struggled to work through the grief. Why not forget all that pain for eight hours a day?
It’s no spoiler to say that things went… badly in S1 as a result of this process. As Ars Deputy Editor Nate Anderson noted at the time, “The show isn’t just bonkers—though it is that, too. It’s also about the lengths to which we will go to dull or avoid emotional pain, and the ways in which humans will reach out to connect with others even under the most unpromising of circumstances.” In the process, Severance brought out “the latent horror of fluorescent lights, baby goats, cubicles, waffles, middle managers, finger traps, and ‘work/life balance.’ Also cults. And vending machines. Plus corporate training manuals. And talk therapy. Oh, and ‘kind eyes.'”
The first season ended on quite the cliffhanger, with several Lumon employees activating an “overtime contingency” to escape the office confines to get a taste for how their “outies” live—and some pretty startling secrets were revealed. S2 will naturally grapple with the fallout from their brief mutiny. Per the official premise:
One year ago, I didn’t know how to bake bread. I just knew how to follow a recipe.
If everything went perfectly, I could turn out something plain but palatable. But should anything change—temperature, timing, flour, Mercury being in Scorpio—I’d turn out a partly poofy pancake. I presented my partly poofy pancakes to people, and they were polite, but those platters were not particularly palatable.
During a group vacation last year, a friend made fresh sourdough loaves every day, and we devoured it. He gladly shared his knowledge, his starter, and his go-to recipe. I took it home, tried it out, and made a naturally leavened, artisanal pancake.
I took my confusion to YouTube, where I found Hendrik Kleinwächter’s “The Bread Code” channel and his video promising a course on “Your First Sourdough Bread.” I watched and learned a lot, but I couldn’t quite translate 30 minutes of intensive couch time to hours of mixing, raising, slicing, and baking. Pancakes, part three.
It felt like there had to be more to this. And there was—a whole GitHub repository more.
The Bread Code gave Kleinwächter a gratifying second career, and it’s given me bread I’m eager to serve people. This week alone, I’m making sourdough Parker House rolls, a rosemary olive loaf for Friendsgiving, and then a za’atar flatbread and standard wheat loaf for actual Thanksgiving. And each of us has learned more about perhaps the most important aspect of coding, bread, teaching, and lots of other things: patience.
Hendrik Kleinwächter on his Bread Code channel, explaining his book.
Resources, not recipes
The Bread Code is centered around a book, The Sourdough Framework. It’s an open source codebase that self-compiles into new LaTeX book editions and is free to read online. It has one real bread loaf recipe, if you can call a 68-page middle-section journey a recipe. It has 17 flowcharts, 15 tables, and dozens of timelines, process illustrations, and photos of sourdough going both well and terribly. Like any cookbook, there’s a bit about Kleinwächter’s history with this food, and some sourdough bread history. Then the reader is dropped straight into “How Sourdough Works,” which is in no way a summary.
“To understand the many enzymatic reactions that take place when flour and water are mixed, we must first understand seeds and their role in the lifecycle of wheat and other grains,” Kleinwächter writes. From there, we follow a seed through hibernation, germination, photosynthesis, and, through humans’ grinding of these seeds, exposure to amylase and protease enzymes.
I had arrived at this book with these specific loaf problems to address. But first, it asks me to consider, “What is wheat?” This sparked vivid memories of Computer Science 114, in which a professor, asked to troubleshoot misbehaving code, would instead tell students to “Think like a compiler,” or “Consider the recursive way to do it.”
And yet, “What is wheat” did help. Having a sense of what was happening inside my starter, and my dough (which is really just a big, slow starter), helped me diagnose what was going right or wrong with my breads. Extra-sticky dough and tightly arrayed holes in the bread meant I had let the bacteria win out over the yeast. I learned when to be rough with the dough to form gluten and when to gently guide it into shape to preserve its gas-filled form.
I could eat a slice of each loaf and get a sense of how things had gone. The inputs, outputs, and errors could be ascertained and analyzed more easily than in my prior stance, which was, roughly, “This starter is cursed and so am I.” Using hydration percentages, measurements relative to protein content, a few tests, and troubleshooting steps, I could move closer to fresh, delicious bread. Framework: accomplished.
I have found myself very grateful lately that Kleinwächter did not find success with 30-minute YouTube tutorials. Strangely, so has he.
Sometimes weird scoring looks pretty neat. Kevin Purdy
The slow bread of childhood dreams
“I have had some successful startups; I have also had disastrous startups,” Kleinwächter said in an interview. “I have made some money, then I’ve been poor again. I’ve done so many things.”
Most of those things involve software. Kleinwächter is a German full-stack engineer, and he has founded firms and worked at companies related to blogging, e-commerce, food ordering, travel, and health. He tried to escape the boom-bust startup cycle by starting his own digital agency before one of his products was acquired by hotel booking firm Trivago. After that, he needed a break—and he could afford to take one.
“I went to Naples, worked there in a pizzeria for a week, and just figured out, ‘What do I want to do with my life?’ And I found my passion. My passion is to teach people how to make amazing bread and pizza at home,” Kleinwächter said.
Kleinwächter’s formative bread experiences—weekend loaves baked by his mother, awe-inspiring pizza from Italian ski towns, discovering all the extra ingredients in a supermarket’s version of the dark Schwarzbrot—made him want to bake his own. Like me, he started with recipes, and he wasted a lot of time and flour turning out stuff that produced both failures and a drive for knowledge. He dug in, learned as much as he could, and once he had his head around the how and why, he worked on a way to guide others along the path.
Bugs and syntax errors in baking
When using recipes, there’s a strong, societally reinforced idea that there is one best, tested, and timed way to arrive at a finished food. That’s why we have America’s Test Kitchen, The Food Lab, and all manner of blogs and videos promoting food “hacks.” I should know; I wrote up a whole bunch of them as a young Lifehacker writer. I’m still a fan of such things, from the standpoint of simply getting food done.
As such, the ultimate “hack” for making bread is to use commercial yeast, i.e., dried “active” or “instant” yeast. A manufacturer has done the work of selecting and isolating yeast at its prime state and preserving it for you. Get your liquids and dough to a yeast-friendly temperature and you’ve removed most of the variables; your success should be repeatable. If you just want bread, you can make the iconic no-knead bread with prepared yeast and very little intervention, and you’ll probably get bread that’s better than you can get at the grocery store.
Baking sourdough—or “naturally leavened,” or with “levain”—means a lot of intervention. You are cultivating and maintaining a small ecosystem of yeast and bacteria, unleashing them onto flour, water, and salt, and stepping in after they’ve produced enough flavor and lift—but before they eat all the stretchy gluten bonds. What that looks like depends on many things: your water, your flours, what you fed your starter, how active it was when you added it, the air in your home, and other variables. Most important is your ability to notice things over long periods of time.
When things go wrong, debugging can be tricky. I was able to personally ask Kleinwächter what was up with my bread, because I was interviewing him for this article. There were many potential answers, including:
I should recognize, first off, that I was trying to bake the hardest kind of bread: Freestanding wheat-based sourdough
You have to watch—and smell—your starter to make sure it has the right mix of yeast to bacteria before you use it
Using less starter (lower “inoculation”) would make it easier not to over-ferment
Eyeballing my dough rise in a bowl was hard; try measuring a sample in something like an aliquot tube
Winter and summer are very different dough timings, even with modern indoor climate control.
But I kept with it. I was particularly susceptible to wanting things to go quicker and demanding to see a huge rise in my dough before baking. This ironically leads to the flattest results, as the bacteria eats all the gluten bonds. When I slowed down, changed just one thing at a time, and looked deeper into my results, I got better.
The Bread Code YouTube page and the ways in which one must cater to algorithms.
Credit: The Bread Code
The Bread Code YouTube page and the ways in which one must cater to algorithms. Credit: The Bread Code
YouTube faces and TikTok sausage
Emailing and trading video responses with Kleinwächter, I got the sense that he, too, has learned to go the slow, steady route with his Bread Code project.
For a while, he was turning out YouTube videos, and he wanted them to work. “I’m very data-driven and very analytical. I always read the video metrics, and I try to optimize my videos,” Kleinwächter said. “Which means I have to use a clickbait title, and I have to use a clickbait-y thumbnail, plus I need to make sure that I catch people in the first 30 seconds of the video.” This, however, is “not good for us as humans because it leads to more and more extreme content.”
Kleinwächter also dabbled in TikTok, making videos in which, leaning into his German heritage, “the idea was to turn everything into a sausage.” The metrics and imperatives on TikTok were similar to those on YouTube but hyperscaled. He could put hours or days into a video, only for 1 percent of his 200,000 YouTube subscribers to see it unless he caught the algorithm wind.
The frustrations inspired him to slow down and focus on his site and his book. With his community’s help, The Bread Code has just finished its second Kickstarter-backed printing run of 2,000 copies. There’s a Discord full of bread heads eager to diagnose and correct each other’s loaves and occasional pull requests from inspired readers. Kleinwächter has seen people go from buying what he calls “Turbo bread” at the store to making their own, and that’s what keeps him going. He’s not gambling on an attention-getting hit, but he’s in better control of how his knowledge and message get out.
“I think homemade bread is something that’s super, super undervalued, and I see a lot of benefits to making it yourself,” Kleinwächter said. “Good bread just contains flour, water, and salt—nothing else.”
A test loaf of rosemary olive sourdough bread. An uneven amount of olive bits ended up on the top and bottom, because there is always more to learn.
Credit: Kevin Purdy
A test loaf of rosemary olive sourdough bread. An uneven amount of olive bits ended up on the top and bottom, because there is always more to learn. Credit: Kevin Purdy
You gotta keep doing it—that’s the hard part
I can’t say it has been entirely smooth sailing ever since I self-certified with The Bread Code framework. I know what level of fermentation I’m aiming for, but I sometimes get home from an outing later than planned, arriving at dough that’s trying to escape its bucket. My starter can be very temperamental when my house gets dry and chilly in the winter. And my dough slicing (scoring), being the very last step before baking, can be rushed, resulting in some loaves with weird “ears,” not quite ready for the bakery window.
But that’s all part of it. Your sourdough starter is a collection of organisms that are best suited to what you’ve fed them, developed over time, shaped by their environment. There are some modern hacks that can help make good bread, like using a pH meter. But the big hack is just doing it, learning from it, and getting better at figuring out what’s going on. I’m thankful that folks like Kleinwächter are out there encouraging folks like me to slow down, hack less, and learn more.
Lee Jung-Jae returns as Player 456 in the second season of Squid Game.
The 2021 Korean series Squid Game was a massive hit for Netflix, racking up 1.65 billion viewing hours in its first four weeks and snagging 14 Emmy nominations. Fans have been longing for a second season ever since, and we’re finally getting it this year for Christmas. Netflix just released the official trailer.
(Spoilers for S1 below.)
The first season followed Seong Gi-hun (Lee Jung-Jae, seen earlier this year in The Acolyte), a down-on-his-luck gambler who has little left to lose when he agrees to play children’s playground games against 455 other players for money. The twist? If you lose a game, you die. If you cheat, you die. And if you win, you might also die.
“The grotesque spectacle of Squid Game is where it gets most of its appeal, but it resonates because of how relatable Gi-hun and the rest of the game’s contestants are,” Ars Senior Technology Reporter Andrew Cunningham wrote in our 2021 year-end TV roundup. “Alienated from society and each other, driven by guilt or shame or pride or desperation, each of the players we get to know is inescapably human, which is why Squid Game is more than just a gory sideshow.
In the S1 finale, Gi-hun faced off against fellow finalist and childhood friend Cho Sang-woo (Park Hae-soo) in the titular “squid game.” He won their fight but refused to kill his friend, begging Sang-woo to stop the game by invoking a special clause in their contract whereby they get to live—but do not get the prize money. Sang-woo instead stabbed himself in the neck and asked Gi-hun to take care of his mother. Wracked with guilt, Gi-hun was about to fly to America to live with his daughter when he spotted the game recruiter trying to entice another desperate person. He didn’t get on the plane, deciding instead to try and re-enter the game and take it down from the inside.