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A lot of people don't like it when this universe tries to grow and expand its own mythology and show us other areas of the galaxy and other interpretations of the Force. But the galaxy is so wide that it would be impossible for one single interpretation to be the only one, so I've always welcomed the wider additions to the universe, and especially for a show set so far in the past. And maybe this is where this show can finally find its footing. There is a lot of promise in this show, and this episode is certainly its brightest entry to date.

In fact, world-building has always been a big part of "Star Wars," and it is one of the reasons why the animated shows have worked as well as they did. This show has a big job to do because of its era, and this episode manages to invest us in a sect of Force-users who feel uniquely equipped to work in this more free version of the galaxy. The oversight is not nearly as large, and the episode does a great job of showing the influence the Jedi have on this different part of the galaxy; one that doesn't necessarily like their presence. The show is also proving to be the most interesting depiction of the Force to date, with this episode very clearly showing the distinction between the twins and how they are drawn to different aspects of the Force. Osha feels drawn to the light, while Mae is more enticed by the dark, which also paints a very interesting look at their coven and what they actually practice. The episode does feel misplaced in the middle of everything happening, but it's also good to get the twins' origin out of the way now, so that our investment in them can fully flourish. The episode is also the most visually impressive with Kogonada making his grand debut into the "Star Wars" universe. The volume has been largely replaced by real locations, and it makes the biggest difference in terms of overall enjoyment as the aesthetic is actually something that is pleasing to look at.

"Destiny" continues the show's impressive world-building and presents an interesting look at the Force through this new part of it, while also getting us fully invested in the twins. The episode is the show's most aesthetically pleasing to date with beautiful direction and gorgeous visuals which easily floods out the weak and sometimes cringeworthy dialogue.

Apparently, this episode was originally conceived as the ending of the show and the future would instead have consisted of feature films. However, Fox didn't want the show to end so they decided to renew it for a sixth season, with production to be moved to Los Angeles for future seasons. The episode clearly did a lot to try and close out the show in a well-intended manner, but the idea of ushering in a film franchise would have probably been a little too ambitious. And the episode, while being very entertaining and having an interesting subject at the center, feels like we've seen it before.

The episode cleverly uses the idea of chess as the center of the story, featuring a young child with the ability to read minds and therefore excelling at the game, while also incorporating it into its storyline. It has always been a chess game between our leads and the Syndicate, and this episode really utilizes that idea, almost signaling it to us in the first minutes. The young child is an interesting addition to the lore, and given his limited yet pivotal role in this episode, it's probably not wrong to assume that he'll be back. The writing for the episode overall is a mix of familiarity with the intriguing. There are a lot of elements to this episode that feels like it's directly drawing from other seasons, and the ending does feel like it's something that we've seen before and therefore not as interesting as it could have been. The Syndicate also seems to be treading the same waters over and over again, and it's not really clear why they are such formidable foes as they seem to always mess up in their missions. However, there are a lot of aspects of the episode that are really good, including the new addition of Diana Fowley, who does present an interesting dynamic to the status quo and may play that role for future seasons as well. There are also a lot of interesting visual images in this episode, and the final shot of the episode is probably one of the most heartbreaking the show has given us.

"The End" feels like a collection of things that we've seen before, and therefore the episode doesn't feel as fresh or as ultimate as it wants to. The central subject of the episode is very interesting and the usage of chess as a structural element is clever, although the writing is overall a mixed bag.

If there was one well that I had not expected the writers of "The X-Files" to revisit, it would be doing another vampire story after the last one they did. That was one of the episodes of this show that I still don't like, and even after thinking about it in the months since I saw it, I actually like even less every time I get to thinking about all the things that occurred in it. However, the idea of Vince Gilligan tackling this ridiculous premise was something that did intrigue me a little bit. And I'll also say that if you tackle it the right way, then you could potentially make a good vampire story set in this universe, although it wouldn't be an easy task. This episode takes a very interesting approach to its narrative, and it's a way that actually fits into one of those few ways to make this work, because this episode is a blast from start to finish. Not only is the framing of this episode a great way of telling the story, but it's also a brilliant way of achieving the humor that this show has become known for and further explore the relationship between Mulder and Scully.

Gilligan's writing is superb. Not only does the framing device present the narrative in a way that doesn't really declare whether or not these are actual vampires (which is a good thing), but it is an easy way to acquire the trademark humor of this show. The framing device is very similar to that of "Jose Chung's From Outer Space," but it gets upped a bit by the opposite views of the two characters and how they see the events that occurred, giving us two separate ideas of what happened and providing us with double the amount of A-plus humor.

It's also a great way of showcasing the great chemistry between Gillian Anderson and David Duchovny, and how well they've nailed down their characters. A lot of it in the writing, but the subtlety in which they change in their own stories is really a great showcase of their acting skills. It also shows how well they can work off of each other when it's in a comedic format and that they don't only feel right together in the more comedic scenes. It's a great dynamic that we don't get to see enough of, but these episodes truly highlight it.

The entire idea of going into a supernatural place, like dealing with vampires and werewolves, is much less exciting than the alien idea, but when it is done like this, it actually works. The episode isn't putting its money on making us believe that this actually happened, but rather as a display of the play between the leads. The episode doesn't provide the answers that we want, and that's a good thing, because if this had actually been a set story about vampires, it probably wouldn't have worked as well for me as it ended up actually doing with this.

"Bad Blood" is the right way to tackle these supernatural stories with Gilligan's providing the perfect framing to actually make this seem more clever rather than stupid. The episode overall is another great showcase of the chemistry between Mulder and Scully and how much the actors have grown into the characters, being able to work perfectly in every genre.

At this point, we have become so used to "Star Wars" being set in a specific place in time, and to see something that doesn't feel like it's a part of the Skywalker Saga can be a bit strange at times. There are moments where I have to remind myself that this is not set during the prequels, but actually an entirely different chapter of this universe. And it feels great to be watching something where I don't have any idea about its final direction. This episode continues in the veins of the previous one, both in terms of its strengths and its few shortcomings.

A lot of the issues I had with the first episode are repeated here, but the writing for this is considerably more of a mixed bag. The additions to the mystery of what went down on Osha and Mae's home planet and why Mae bears a grudge against the Jedi are all very fascinating and fulfills the promise of this feeling like a detective show in a way. It also continues to bring in a slew of interesting characters, but the issue is that the episode's don't dedicate nearly enough time for any investment in these new characters. Lee Jung-jae's Sol continues to be the highlight of the show, but a lot of supporting characters seem to be exclusively a personality and not a lot more. It's not that they are bad characters, there's just not enough in there for me to actually care for them, so a few big events of this episode left me pretty emotionless. However, the action sequences are still proving to be among some of the franchise's very best, and the idea of Jedi fighting without using their lightsaber and adapting more a martial arts style of combat is so visually pleasing to watch and it makes for some incredibly fun and badass fight scenes. The episode also features a more pleasing visual look as a lot of the visual effects are better and the Volume is less aggressively used in this episode, although some of the production design does feel reminiscent of things that we've seen in the universe before.

"Revenge / Justice" makes for another solid entry as it continues to lay the groundwork for the show, but the writing is an overall mixed bag. The fight choreography is still a highlight of the show, and the visual effects are better utilized in this episode, making the world feel more vibrant and lived-in.

Since the beginning of the project "The High Republic," there has been a growing desire in me to actually see this world on the screen. It was announced fairly quickly that we were going to get that through "The Acolyte," Leslye Headland's new Disney+ show. I was very excited, but also skeptical, given Lucasfilm's track record with their shows. However, this is a very interesting corner of the "Star Wars" universe, and as a big fan, it was my duty to give the show its due. And the premiere episode definitely put me right into the feeling I had when reading those novels and it felt good.

Headland said that she wanted to take a different approach to the action, and was very inspired by martial arts films when thinking of the choreography. And this first episode definitely features some truly remarkable stunt work, with the opening sequence being a great example of this. It feels alive and real, although the stakes are a little gone in the midst of highly choreographed action. It's beautiful to look at nonetheless and it sets up the tone of the episode perfectly. The overall story of the episode is mostly dedicated to setting up the various characters, and some are certainly sticking out already. Lee Jung-jae's Jedi Master Sol is the embodiment of a Jedi and he is electric every time he comes on screen, commanding your attention and your respect. A few hints are given to the overall storyline of the season, and it's not tough to see where the episode works off of previously set "Star Wars" themes, which feels like a nice homage to what George Lucas originally wanted to do with the franchise. The technical aspects are quite good, with the production design certainly standing out; however, the show seems to be using the Volume a lot, and that has been a real issue for this latest "Star Wars" show as the usage has just become more obvious. There are also some dialogue in this episode that feels very prequel-esque, and while I think it's deliberate, it borders on being cringeworthy and that's something I hope I won't have to get used to.

"Lost / Found" is a solid start to this show, setting up the characters beautifully and giving us good hints as to what this story is. The action choreography is excellent and while the look of the show is very pleasing, there are some visual aspects that could use some work, especially all the Volume stuff.

A reason why I have grown so fond of this show is because of its incredible ability to mix genres, dealing with both sci-fi and horror themes most of the time. However, in a few instances, we're lucky enough to get an episode that goes so far into the obscure that it displays some incredible comedy as well as the usual genres that it likes to play around with. Darin Morgan is a writer who was incredible at crafting these obscure narratives that just gave the show an entirely new identity. And after he left, it does feel like the remaining writers have found it in them to take more chances with their material. Chris Carter certainly took some chances when he came up with this episode, which follows a very classic "Frankenstein"-ish structure, yet mixes it in with some great elements of comedy and levity to still make it fit with its audience. And this may have actually turned into one of the greatest episodes of the show, because amidst all of its wonderful cheesiness and obscure storyline, it also has an incredible visual aesthetic to it, making it feel like an episode of "The Twilight Zone" because of its incredible black-and-white cinematography.

There is a very flamboyant nature to this episode. A lot of it may be because of Cher's presence throughout the episode, although she never appears physically. It adds a certain over-the-top quality to the storyline, and while the idea of a monster impregnating women in itself is out there, it's the added flavor that really pushes it across that line, because if it had not had that, it would just be another episode of "The X-Files," which is good, but not nearly as interesting as others. It's that difference that makes these unique episodes stand out all the more.

It's a brilliantly written episode and proves to be one of Carter's finest hours as well. He leans heavily into the inspirations of "Frankenstein," but he adds more flavor to the story, keeping the themes of loneliness, yet adding the pulp to it. They prove to mix very well together, and it keeps some of the heavier subject matters at an arm's length. This show has already dealt with rape and the workings of it, so he adds a sympathetic nature to the monster's actions that can be categorized as that, but is more nuanced and complex than simply that.

In the midst of all this, Carter adds the excellent flavor of his directorial touches as well, crafting an episode that features some truly excellent visuals and an aesthetic that works flawlessly with the themes. This is not a black-and-white issue, despite the color scheme of the episode, and it adds to the pulp aspect of the episode. It feels like a "Twilight Zone" episode in its execution, but the phenomenal writing and imagery is so synonymous with "The X-Files" that there's no denying that the originality still fits in with the wonderful frames the show has set for itself.

"The Post-Modern Prometheus" works on all cylinders, but it's truly the aesthetics that makes this a unique episode, not just because of its color scheme. The writing is phenomenal and utilizes the usual "X-Files" themes beautifully, mixing in a perfect combination of genres, while also providing some truly gorgeous imagery through Chris Carter's visual eye.

A big thing that we all know about and see on a daily basis is man's relationship, and in many instances, his battle against nature. Despite the fact that we need the very basis of nature to stay alive, we constantly do whatever we can in our power to diminish it and do things that only serve our own interests, instead of thinking about what would be best for our planet. In some cases, nature decides to fight back, and while we mostly find this happening in the form of diseases or natural disasters, it feels right "The X-Files" would do it in their own ways. This is not the first time they've explored this, and if I know the structure of the show, it's also not going to be the last time. The episode shares a lot of similarities to "Predator," and that is definitely not a bad thing, because it adds to this episode's incredible sense of constant dread, and the makeup used on the monsters are absolutely phenomenal. The highlight of the episode is the continued development of the relationship between Mulder and Scully, and this episode features multiple moments of genuine affection between the two; exactly what we like to see.

The idea of using these creatures protecting their home as a type of commentary on humanity's constant desire to conquer things and use them as their own was a very cool direction to take. It is nature's way of telling you not to get ahead of yourself and break down the things that were just to replace it with new and lifeless stuff. It's a fun direction to take it in, and the monsters work very well as a creepy agent of nature in this. The makeup effects are brilliantly done and makes them blend in with nature quite seamlessly.

Any episode that primarily focuses its time on Mulder and Scully's relationship is a good one, and this entire episode really hits home the fact that they have a very special relationship. The opening scene features a monologue about a seminar that FBI agents attend, and it's clear these two have a rapport that can't be attained through a few days of courses. It's amplified in a magnificent scene set in the woods, where Scully gracefully sings "Joy to the World" for a wounded Mulder, a scene that may have been the emphasis of their beautiful, yet really chaotic relationship.

The technical aspects of this episode are on-point. The makeup works very well, but the cinematography is also in a league of its own, navigating the characters through this insane maze of a forest without ever losing their own way in it. There are some truly frightening shots and every time they perform a visual illusion with the monsters, it's chilling and ecstatic to watch. And despite the shooting issues they had because of rain, none of those issues translate to the screen, which only shows the product of a well-oiled crew of people who really performed at their best.

"Detour" is another great monster-of-the-week case that uses its sci-fi genre and tone to get an important message across in terms of its nature advocacy. The technical aspects are working at the highest level with some spellbinding cinematography and incredible makeup, while the writing truly highlights the relationship between our two favorite FBI agents.

There are certain tropes that I am constantly afraid that this show is going to fall into as it starts to introduce us to the idea of certain storylines. However, I have to lean back sometimes, and remember that this show was made in the '90s, and a lot of the said tropes weren't really tropes back then, so this show probably had a hand in popularizing them. "The X-Files" has more than once done something that I felt was clichéd, only for me to realize that this was one of the first show's that actually tried to do it like that, and therefore, I have to give it more credit for how it tells its story. It's a show that is very high on its mythology, and that's clear, because it was one of the first shows that really dedicated itself to that form of storytelling. And these three episodes surely added to the mythology, with this being the clear standout and quite the episode to end this saga on. It's an emotional rollercoaster that brings our character face-to-face with death, only to give them a chance to fight another day, and while all of that was a given, the journey is still interesting.

There are a lot of stakes in this episode. Scully's cancer has really started to take its toll on her, and Mulder is at a race against the clock. This brings us very close to the emotional hook of the episode, and both characters are facing odds that don't seem like they are in their favor, which actually adds some real tension into the mix. It brings Mulder into the devil's den and forces him to make decisions that he probably wouldn't ever make, but that's the price he has to pay to save Scully, and it feels very earned.

This entire three-parter has been focused on Mulder's crisis of faith, and he has been brought to a real tough spot on his journey. He has been faced with certain facts that change everything he has ever believed to be true, and that takes its toll. The ending of the episode is a perfect capsulation of his feelings throughout, and what they do with Samantha in this episode leaves a lot of questions to be answered, but it also puts an entirely new spin on Mulder's seek for the truth, which may be darker than he wanted it to be.

The performances in this episode are incredible. Gillian Anderson is the fuel that the episode drives on and her emotional performance is what keeps the meter running and the tension rising. However, David Duchovny also pulls out all the tricks in his book, and he leaves the episode on a real high note, delivering some of his best work to date. Duchovny did pick this episode as his Emmy submission, and it's a good pick because he really shines through in all of his scenes, always showing us why he should never be underestimated as one of the show's standouts.

"Redux II" is the emotional ending to the three-part arc that we needed, and it leaves us with a lot of very interesting, unanswered questions. The development is great and the latter half of the episode is absolutely incredible, with some truly shocking moments and some great performances, especially from Duchovny who shows his skills.

It's always a pleasure to come back to this show after a little hiatus where I have the chance to get a bit of excitement brewing up again. This show hasn't produced a weak season yet, and it continues to expand its storytelling into bigger things that really evolve the mythology. There will always be a turning point, though, for shows that go on for longer than they should, and I've always been afraid to reach that point with this show that I truly love. While I don't think we're there yet, this episode isn't as interesting of an opener as I had kinda expected.

The episode already works off of a basis that is highly unbelievable to any avid viewer of this show. The cliffhanger that ended the previous season interesting at all, because of the obvious fake out that was going to occur here as everyone who has seen the show knows that Mulder would never commit suicide. This episode also leaves off the audience on a sorta weird note with its cliffhanger, but it does set the stage for the final part of the three-episode arc pretty well. It's definitely a middle chapter, and a lot of it is laying the groundwork for what's to come and the overall narrative that will go through the fifth season. And while it is interesting work, there are other things that the show could have done to elevate the tension, as we pretty much know the outcome of the episode from the very beginning. It does give a bit more context to the events of the previous episode, and it's nice to know that they had a plan in motion to not just make Scully's actions during that episode stick as they felt very out-of-character. A lot of Mulder's activities are fascinating and helps the buildup to the next episode, but the episode never really manages to stand on its own as an interesting opener and had the episodes premiered at the same time, it would have probably given it a better flow. It's a solid episode, but it doesn't work nearly as well as a standalone adventure at all.

"Redux" opens up a lot of interesting doors and possibilities for the show's future, but it lacks a narrative that enables it to stand on its own. The discoveries made here are interesting, but there seems to be a lot of context missing that we won't get before the next episode, and thus it all feels underwhelming.

At this point, I think that it's clear to me that this is not a show that will ever elicit the same kind of feelings from me that it does from everybody else. It continuously fails to grab my interest for more than a couple of episodes at a time, and I still don't have any idea of which direction the show is going. What is the endgame? The show probably doesn't know itself, but this episode did put some things in motion for next season. And it does provide a truly energetic and impressively constructed final act, although the 37 minutes prior are quite the bore.

It would be a shame to indicate that anything of any significance happened leading up to the show's final moments. The episode is clearly only meant to give us clues as to what occurred during that final act, and it attempts for a long time to make it interesting. However, when the entire episode is set up to an explosive finale, it means that there's a lot of wasted opportunities and it puts the overall season in a different light. This season never managed to set up an overarching arc past the same old turf war elements that we've seen since the premiere, but the episode itself fails at many simple tasks, including giving us a sense of closure for the season. The arc is not over, and in fact, not a single plot line from the season seems to have been resolved in any ways. The show continues to prove that it doesn't have a clear idea of what it wants to lead to, and it's just a bunch of lazy writing tipped into a small hour of television without any purpose. All the character interactions are fine and the dialogue is the usual fictional Taylor Sheridan-talk that you've come to expect, but there's no purpose behind anything. It's about the idea of protecting your home and your family, and that is a very good backdrop, but it doesn't work as a narrative if you don't have a good story to back it up with, and this show clearly doesn't have a good story.

"The World Is Purple" may have ended the season on a big note, but it also shows that there's no real idea behind anything anymore. The show seems to be without a clear purpose, and as a result, everything in this episode feels stale and like wasted opportunities, even when the good scenes are airing.

And so we're back with another round of "Yellowstone," and it almost feels like it didn't go anywhere. For me, that's mostly because I'm watching it after the fact and was able to go directly from the finale to this episode, but it's also because everything feels like it always has on the Yellowstone Ranch. That's not entirely meant in a positive way, but like the first two seasons I will give this the benefit of the doubt, and watch the whole thing before I judge. However, this premiere felt like more of the same-old, same-old and not all of it is still that interesting.

This season is heading off with a lot of goodwill from my side after the finale of the previous season, and I'm going to wait on judging the season for its story until I see it, but there is something incredibly familiar and repetitious about this opener. I would not be able to tell this apart from the previous season and while it is slowly moving off of some of the previous finale's plot points, there's a long way to go before it makes for a relevant and engaging story. This episode features a lot of reintroductions to characters that we know, and some new introductions as well, although those are very few and the new characters are barely featured in this episode. The aftermath of Tate's kidnapping has left him with a good amount of PTSD, and while the idea of a child's reaction to this is very interesting, the execution of it is a bit messy, mostly due to the unconvincing performance of the young actor, who has been quite good up until this point, but is struggling with the more difficult scenes. Monica's storyline is also starting off a bit strange, but that's probably going to move her into a more active position than she's been in this far. The political subplot continues to be the show's most interesting, but the show isn't really doing a lot to get the main feud going yet, and that just leaves this episode with a feeling of "what's next?" and can't we get to that?

"You're the Indian Now" reintroduces all of the characters again, but it doesn't do a lot to set up this season's overarching storyline at all. There are a few new entries, but it's so scarce and it doesn't really feel like there's any clear direction for the season yet, which is a little worrying.

The momentum is definitely on the rise and this season of "Yellowstone" has managed to really get me onboard. This is a show that works best when the threat is actually real and John Dutton isn't as untouchable as he was during the show's first season. There are actually things coming down on him now, and that's the kind of tension a show like this needs in order to really get interesting. They had set up a truly explosive finale, and they didn't miss it. This was definitely a cool finale that was constantly moving and never failed to really speed up the tension a lot.

It doesn't take long for the episode to show that it means real business. The episode starts out with an awesome shootout with a tragic outcome, and a reminder that no one is safe in these wild lands. It's then pretty much non-stop suspenseful storytelling from there, ramping it up with a lot of cool action sequences that really takes the show to another level in terms of it's wild nature. It's been a while since the show has had this much going for it, and it's nice to see that the show is more than just cowboys riding around protecting their turf, although that is the core of what makes this show interesting. There are a lot of moments that really raise the bar for the individual characters here, and some lovely things that will surely change the trajectory and the interactions between characters going forward. All of the actors get plenty of opportunities to shine, with Kevin Costner continuing to nail this character. His character is not someone who lets himself down easily, but he's also not invulnerable, and Costner is able to truly play up the humanity of this character, despite his wicked ways, making into a sympathetic figure, and that's the strength of this character in the performance. The supporting cast does really good work here as well, and some of them we're going to miss going forward. This finale definitely left me with the feeling of this show going somewhere good in the future, and I'm ready to go on.

"Sins of the Father" is a suspenseful episode that rarely misses the beat on its action and keeps the audience in a tight grip throughout. It features some of the season's best character moments and forms some interesting dynamics going forward, which is enough to definitely make me want to come back for more.

This show has threatened to ruin a couple of my friendships, because so many people told me to watch this show and that I would love it, so when I didn't love the first season, I was afraid of what was going to happen. Luckily, nothing happened and we're still friends, but it was a real worry of mine. With that said, I was still intrigued by the second season, and I wanted to see if the shoe would be able to gain some momentum. This first episode back has some very strong moments, but there are so few memorable and important parts to this.

There's a lot going on in this, and for some reason, it didn't feel like any of it actually had the intended impact. It feels like everybody is against John Dutton at this point, yet the episode is not really interested in really featuring him a whole lot. Kevin Costner barely appears in this entire episode, and it kinda feels like Dutton himself isn't even bothered by any of this incoming damage, so why should we be? There's also a clear lack of direction at play here, and that's not this episode's fault in particular, but a problem with the entire show. I don't really know where they want it to go, and a lot of their storylines feel so temporary. The main familial struggle is pretty much put to the side in this episode, and Jamie barely plays a role either. The big arc of this episode is this new cowboy (simply named "Cowboy") who has appeared at the ranch and is interacting with the other cowboys, and while that storyline is entertaining, and features an outstanding scene featuring a bull in a bar, it's not enough to really get me excited for what's to come this season. I'm really looking for something to interest me, but the show is constantly pulling its punches and it never feels like it's willing to commit 100% to its narrative, probably because it doesn't have a clear one yet. Hopefully, they find their footing very soon, because I'm kinda starting to get really bored with its nature.

"A Thundering" is a dull start to this new season, and fails to really get me invested, despite my hopes for the season's new direction. The real problem is that it lacks clear direction and this episode doesn't manage to put anything into focus, mostly because of its little use of any Dutton family member.

This was a show that so many people had individually told me to watch. And for the entire first season, I was really trying to get into it and find something that would make me fall in love with the show, and it just never happened. I have not been gripped by any aspect of the show yet, and maybe it's me, but I was holding out hope that this finale would actually ignite something and make me realize the genius of this show then. And while that didn't happen, I will say that the finale was a genuinely good episode full of good emotion.

These two final episodes had a lot of things riding on it, as this show has desperately tried to come up with something reminiscent of a conflict, often throwing a lot of darts at the board and hoping that something actually stuck. It's clear that John Dutton has a lot of enemies, but it's all been so spread and the threat hasn't really felt genuine. However, his enemies are starting to find their footing and are beginning to understand that they work better together, and that may actually be the thing that gets Dutton fired up. This episode certainly has him on the edge, and it's nice to see that come across again, as that is where Kevin Costner really gets to pull his magic and do some great work as Dutton. The rest of the family also gets into the meat of their storylines here, although I can't help but feel like the characters of Kayce and Beth are coming across as light packs in comparison to what's going on with John and Jamie. The visuals are still as astonishing as they've always been and the visual aesthetic of the show really grew on me as it went along. It's clear that there's great care put into the making of this show, but I wish that the writing would get the same amount of care. It seems like Taylor Sheridan is focusing more on writing in the next seasons, not directing as many episodes, which may be the answer to the show's problems.

"The Unravelling, Pt. 2" gives us the real check game that we've been wanting, although it still feels like Dutton's enemies need to show up more. There's great intrigue in the main family, but there are also some characters who really need to have some more time dedicated to them in the coming seasons.

It's not normal how many people have told me that I should watch "Yellowstone." It's certainly one of the most popular shows on television at the moment, yet it's not getting any major recognition from awards bodies, so there's got to be something to pick apart when it comes to its quality then. Or maybe the industry is just out of touch with the people, but I wanted to know that for myself, so I'm not beginning my "Yellowstone" journey like everybody else I know. And the first episode is certainly a mouthful and it sets up a lot of things to look forward to.

This is a supersized episode that is very dedicated to keeping the audience in the loop with every single detail of what is going on in this world. And it's nice to get it all introduced right off the bat, even though it is quite a mouthful and not always coming in digestible sizes. Taylor Sheridan has never done proper world-building before, so it makes sense that he's going in full force here, and it is a little wonky at times with all the characters that are introduced. It can be quite a task to follow along with all of it. However, the main part of the story is set up very well, and the Dutton family is already showing all of their colors in this first episode, putting the audience right in the place that they need to be. There's a war going on for the ground that this show is set on and everyone is in it for themselves. They are not going easy on anyone, so expect that people are going to fall off as the show goes along. It has certainly set itself aside as one of the more beautiful shows to watch on television at the moment, with lush cinematography constantly filling the screen, filming the beautiful mountains of the wild country of the U. S. There's a real Americana feeling to this, but it isn't as macho as I thought, which is good, and it's nice to see Kevin Costner back in a role that he can really do some great stuff with.

"Daybreak" is a good start to this show, although it doesn't fully do its world-building justice due to way too much information coming at once. However, the main characters are pretty well done and it feels like we're about to watch a truly era-defining show as it is already looking like its stretching the limits of television filmmaking in terms of its beauty.

A lot of people would argue that we're living in a Golden Age for video game adaptations, and with the releases of "The Last of Us" and now "Fallout," one could argue that they were right. It's only a few years ago that a new video game adaptation was doomed from the start, but they've proved that a lot can be achieved through solid storytelling. This final episode rounds out a season-long arc and sets the stage for exciting things to happen in the future, and it's one of the more exciting finales that I've seen in a while, because of some insanely fun writing.

In this post-apocalyptic world, it's great to see that the writers are taking such a personal angle to the bigger picture. The episode's big twist could have easily been effective on the merits of what it means, but because of the personal connections between these characters, it takes the big scale of everything and turns it into an intimate discovery of treachery and betrayal that has big impacts on these characters, especially Lucy McLean, who has gone through a huge character journey throughout this show and is spun in a direction that will surely make for an interesting dynamic in future seasons. And the personal angle is featured in all the individual storylines that come to an exciting climax in this episode, but despite some characters ending their arcs in triumph, the episode has a constant somber tone throughout. It's a deliberate choice for sure, and it works wonders, because there's a lot of unfinished business to attend to before this world can have a happy future. The adaptation here has gone beyond a simple adaptation of the games, and have used the intricacies of an incredible world to form their own story and it certainly shows that there's a medium for everything, because as a show, this has the opportunity to do so much. It was a delight following it, but seeing where the finale ended up and how it sets the stage for the future, it's a show that I will definitely have to keep up with when it returns, hopefully very soon.

"The Beginning" certainly feels like the beginning of a new chapter that will jump off of what this episode gave us, which was pretty perfect. The personal angle makes it all work, and despite the fun of the big scales and the action sequences, it's the characters and their struggles that keep us coming back.

We're certainly entering a new era of video game adaptations finding a home on television. A lot of years have gone by with adaptations on the big screen and most of them have been quite poor, which resulted in a popular expectation that they would all just fail if they were adapted. However, "The Last of Us" came out and surprised everyone with its quality, and now, it's up to "Fallout" to continue that goodwill and show us that it wasn't just a one-time fluke. And if the first episode is to be taken by its word, it seems like we might continue the streak.

The episode opens with a powerful depiction of the end of the world. It's a big and gutsy way of opening your show, and it sets up the world beautifully for people who don't have any prior knowledge of the games (like me). Afterwards, the show goes into the overall expansion of the world, cutting between three different stories that are meant to set up different aspects of the world. The three things work very separately, but it makes for some clunky editing choices throughout the episode and it feels a little disjointed at times. However, the information is conveyed with the precision that it needs to be and it keeps the audience along with the show and its mythology. The design of the episode is very beautiful and it feels like the kind of world that would remind a post-apocalyptic society of a better time. I've also been told that the design is very reminiscent of the game, so the fact that they keep it real for the fans of the games is also very special and commendable. Jonathan Nolan directs this episode and he is a very versatile director, because the look of this doesn't resemble that of "Westworld" at all, but the style is definitely the same, so his ability to adapt himself to the environment that he's in is very interesting, and he certainly works his butt of in this episode. The performances are also very good, but I'll need a bit more time to get into the characters for real.

"The End" is a good way to start this show off and it immediately tells the non-video game fans what they need to know. It sets up the world in three interesting, although disjointed segments that sell the world and the environment very well, and sets up a very interesting show to follow along with.

This show was sold to me as a really weird and absurd piece of meta-fiction that would embrace the weirdness of its premise. It has certainly done that in a very smart way, but it hasn't really felt like the show was going to do anything that would be out of the ordinary, except focusing on a bunch of pretty strange characters. I was ready for the finale to be another example of that and simply end it all with a nice bow that would make the audience feel like they'd seen something that was really good, but more accessible than expected. But instead of that, the creators decided to really embrace the absurd in the finale and give us a totally unexpected, yet thematically beautiful note to end the show on. It's sure to bring up some issues with people as it feels largely disconnected from the rest of the show, but looking at it for what it is, this episode feels like the perfect ending to a show that never really followed the norms and would constantly make fun of its own basis. A show that dappled in depth now goes deeper than ever before, and it is pretty much a perfect finale.

The episode has an interesting structure, immediately separating itself from the rest of the show as it is set a while after the previous episodes. The time jump makes room for some new developments to have happened off-screen that have implications on what happens later on in the episode. The second half is pretty much all dedicated to Asher being stuck on the ceiling of the house and Whitney going into labor, giving birth to their child. It may not make a lot of logical sense, but it makes a lot of sense that the show would end on this quite brilliant note.

These characters have always wanted to be in control of the situation, but it has never worked. Now, they're totally not in control of something that is out of their hands entirely, yet follows their roles pretty aptly. Asher has always been there, but no one seems to really want him around, so this episode pretty much tries to get him out of the way constantly, while Whitney feels stronger on her own, which she is for the majority of the episode. However, it comes at a terrible time, which makes it so much more tragic.

They end the show high on emotions. All of the actors really give incredible performances in this, and it's worth noting that the heightened tension makes for some truly great chemistry between all of them. Nathan Fielder has surprised tremendously in this show, showing off some great acting skills, despite often referring back to his usual brand of comedy. Emma Stone is a great actress, and her performance here really showed a different side of her, although she used her usual charm to really hit it home. And Benny Safdie also ends it on a truly emotional note that really worked.

"Green Queen" ends the show on its most absurd note; and yet it's also the show's most emotionally satisfying and endearing moments without a doubt. The thematic depth is all over this episode, and despite its absurdist nature, it truly hits a homerun and works in favor of all its characters and storylines set up.

The premise for this show was apparently based on a real interaction that Nathan Fielder had with a woman in Los Angeles, who put a curse on him when he didn't have any money he could give her. It's crazy how real life can impact our careers like that and give us the inspiration to create some of the weirdest things that no one would ever believe were actually taken from life. However, what's funny about that is that this entire show is based around the idea of presenting something false and showing people the image that they want of themselves, and it's quite brilliant.

In school, we learned about the idea of staging your approach to the outside world and how social media was a perfect way of presenting the ideal version of yourself to a mass audience. However, this show uses the idea of reality television and its impact on audiences to tell a story of this married couple who are doing something good for their neighborhood and helping the poor. However, it's very clear that this is all an act and the glitz is broken because of Fielder's Asher Siegel who is unable to take criticism in any form, which starts to form cracks in the wall. This first episode goes on to brilliantly show that the couple is completely different behind the scenes, and amidst weird sex games and uncomfortable family dinners, it paints an entirely different image of this couple. The episode is brilliantly absurd, yet also so insanely honest, which actually follows in the footsteps of Fielder's previous works very well, and his team-up with Benny Safdie only helps, as he brings his gritty sensibilities to it, both as a writer and as the standout character of Dougie. The episode doesn't do too much to set up the show, but the main premise of this curse that is put on Asher is firmly placed as the main focus and it gives this drama a scent of comedy that is molded into the absurd ideas that happen throughout. The performances are also great, with Emma Stone continuing to expand her career in really creative ways.

"Land of Enchantment" is the perfect opening for a show that seeks to understand the answer of who we really are and who we want to be. There's hopefully a lot more to come in terms of these characters and their personal lives, but anything that they decide to do from here on seems like a ride I'd be up to take.

This entire show has always been about pondering whether or not there's something else out there. Is there actually something in space that we don't know about and if there is, does that otherworldly intelligent life have any impact on us? That is the big question of this show, and for four seasons, it has been dragging us through possible explanations as to what is happening out there and whether or not we're covering up the knowledge of their existence. This finale gives us a lot of details leading both ways, yet it still walks around familiar ground and is the least satisfying finale so far.

This is a show that firmly plants us inside the mindset of our two protagonists, and therefore has led us down a specific path to believe that there is definitely other life out there. What this episode seeks to do is find a plausible explanation for both possibilities: that there is and that there ain't. It's an interesting approach and there is a clear passion from the writing side to actually give us these ideas that will make us question everything that we've experienced up until this point. It's not an easy question to answer, but it's one that's fun to ponder over. The added locations to this episode also made it quite interesting, with the cold setting giving the crew opportunity to do some very interesting things in terms of its cinematography, and it definitely makes for one of the more beautiful episodes of the show. However, the big problem with this episode is it doesn't account for the audience's clear knowledge of the show prior to actually making up their own mind here. We have seen what we have seen and clearly know that there is something else haunting our main characters, and therefore, the ending of this episode is incredibly unbelievable and therefore, the twist that they try to leave us with doesn't make any sense. It feels off for this show to do something like that, but we're also entering the territory where this show will reach its 100th episode, which could signal that the show's ideas may be running low.

"Gethsemane" is an enjoyable episode because of the questions it asks of us, but it also fails because it doesn't trust its audience to know better. The ending is very strange, but it isn't enough to bring down the momentum of an overall fun episode that features great cinematography and some really clever editing tricks.

Walter Skinner was one of those characters that really had to grow on me after his first few appearances on this show. He came across as the typically skeptical boss character who would constantly be a thorn in the side of our heroes as they were trying to uncover this conspiracy throughout the show. However, the writers decided to go a different route and surprise and probably a lot of other viewers as they began to really develop Skinner into one of the show's most important supporting characters. That has been done through the mythology episodes, but with a couple of Skinner-focused episodes, used to provide some real character development to him and show him from a different angle. This episode comes off the heels of a decision that he made a couple of episodes ago and the entire thing is basically showing the consequences of that decision and the deal that he ultimately made. And while the episode's relevance to the overarching mythology can be debated, it shouldn't be up to debate whether or not this episode is awesome or not, because the simple answer there is that it is, easily beating out the previous season's Skinner-focused episode in pacing and in its tension.

This episode is the payoff of an entire season's setup with the first episode introducing us to this bee farm, which starts wreaking havoc in this episode. At first, Skinner finds himself on the side of trying to cover up any involvement by the Smoking Man and his cabal. As the episode ends, he realizes what side he is standing on and makes a decision that could have fatal consequences. The episode is full of great tension and the writing is truly excellent as it flawlessly furthers the character development of Skinner, while also adding small things to the mythology.

While the previous season's episode focused on Skinner and his relationships, this is an episode that really shows how lonely this man is at his core. He is caught in this situation that he has put himself in and there's no one who can help him. He doesn't have anyone living at home with him anymore and he's also working in the field alone. Skinner is a very tragic character who is getting more and more light shone on him and all the things that make him sympathetic. He's had a long way, but it's one that we truly appreciate.

Mitch Pileggi is an actor who didn't really get the praise he deserved for this role, but he really is a core part of this show's conscience. He's the voice of reason whenever Mulder and Scully go off on their missions, and while we like to follow them and root for them, it's difficult to not see Skinner's perspective. Pileggi has done a phenomenal job showing this man's versatility, and while he doesn't get a moment as emotional as his previous solo episode, he truly plays into the character's inherent anger, which prompts some truly great moments from this man.

"Zero Sum" is light on Mulder and Scully, but heavy on tension and great payoffs to season-long mysteries and storylines that were set up earlier. It focuses, again, on Skinner and continues to develop a character who has really grown into one of the show's most valuable players, not in the least because of Pileggi's portrayal.

It's not that unusual for people to be born with defects, but some people are just lucky to have them in a way that they can't be seen. It's a little different when you're actually born with a tale, and people are able to make out that there's something visibly wrong with you. That's sure to create some problems for you and the relationships that you form with people. In "The X-Files," that is used as a source of weird comedy in an episode that feels a lot like some of the best Darin Morgan-penned episodes from the previous seasons. And therefore, it's only fitting that Morgan himself is actually in this episode, making his first appearance as an actor on the show as this week's main antagonist. The episode itself was actually written by Vince Gilligan, who shows a different skill set than what he has used before, writing an episode that is almost purely comedic. And it is one of the very best of this season, mostly because of how weird and strange it is, but also because of the amazing chemistry between its lead actors, which reaches a new height in this episode and gets a great comedic performance from David Duchovny.

At the core of this episode lies a very thorough look at what makes Mulder into the character that we know and love. It's clear that his personality is a big plus for us, because even though it was Duchovny's face, he plays the mannerisms so differently when he's playing the antagonist Eddie Van Blundht, really showcasing why this character is so inept with us. Blundht's version of the character really lacks that, and through this, Gilligan has given us a great look at what makes Mulder such a great character and such a favorite with the audience and fans.

This episode feels like the most inconsequential and unimportant the show has ever been, but it's so refreshing as the show has really kicked up its mythology this season. To have an episode that doesn't really care about furthering any kind of storyline or character arc is not just refreshing, but it's needed. This feels like an episode that Morgan would have written if he was still on the show, but sprinkled in with that Gilligan dialogue that we all know and love, and really feeling patient and sympathetic towards these characters, finding it important to show a different side.

This further proves that this show is so great and diverse in terms of its storytelling. It doesn't have to simply be one thing, nor does it have to rely heavily on its mythology to further the story. This kind of episode is the perfect example of the versatility that these writers have, bringing a completely unique and hilarious tone to a show that excels whenever it does something different. It's not the only comedy episode this show has had, but it's one of the best that shows how important it is to be able to contribute different things sometimes.

"Small Potatoes" is a perfect example of how to work different tones into this show and how this show excels when it changes up the formula. Gilligan's writing is sharp and profound, with the episode's premise being utterly ridiculous, yet continuing to fully show why we love these characters and the things that make them.

I've been a little late to this show, so I'm very surprised that Netflix hasn't renewed the show yet. I honestly wouldn't even know what it would look like, though, as it seems like there's a lot of time that has to pass before we even get the glimpse of an alien, so will they make it an anthology or will they simply go the route of the books. Seeing how they got a lot of crap for not doing that last time, that's probably the safe option, and I would definitely be open to watching it, because this finale definitely left me wanting more.

As far as finales go, it's not that this episode actually served as a great finale to the show. I felt like there were a lot of missed opportunities, and it also felt like there was supposed to be another episode before this, given that a lot of the characters that we've grown to know over the course of the show didn't even appear. Eiza González has one scene in this episode and the circumstances of that scene doesn't really make a lot of sense. There were also certain elements that didn't feel resolved by the end, and with no news of a possible sequel being announced, it feels weird that they'd just leave a lot of things dangling like they did here. But overall, it was a pretty good episode. It finally brings Saul into the mix and gives him an episode that is largely focused on him, finally bringing it full circle with giving the entire group equal time to shine and giving them a unique part to play in this weird puzzle. There are also some great scenes of tension throughout the episode, especially the scenes that are involving the Staircase Project, with it eventually going in a very unique and surprising direction that I can't wait for them to explore later on. This show has been quite a ride and it's nice to see Benioff and Weiss back at it with material that they can really sink their teeth into and adapt, and hopefully they'll continue with the next two novels.

"Wallfacer" may not be a great finale; it leaves a lot of things hanging and feels like it's working off of a non-existing previous episode. However, it does a lot of things right and ultimately leaves the show off on a satisfying note, although I'd like for there to be some clarity about the show's future.

It's no secret that David Benioff and D. B. Weiss' next project has been both highly anticipated and met with a lot of skepticism after how they ended "Game of Thrones." In the end, that show's downfall doesn't seem to be entirely their fault, but mostly because of the direction that the story was going that simply didn't work, so I was looking forward to seeing what they would be doing when adapting a big sci-fi novel instead. And while the first episode doesn't necessarily give us a lot, it does set the stage for an epic journey that has a very solid starting point.

At first, this show seems like it's definitely taking a pseudo-realistic approach to its subject matter, bringing in real-life events to enforce its narrative. Benioff and Weiss have often signaled that they have an interest in history (just look at "The Confederacy"...), so it doesn't come as a surprise. However, the opening sequence's impact on the larger show will have to come later. And maybe it's just the skeptic in me, but they're dealing with some big things in this that it feels like they're doing what they did with "Thrones," and that does leave me a little worried. However, looking at this episode for what is in it, there's a lot of good in this. The cast is already doing some good work, starting us off with a big emotional episode. None of them are sticking out properly, but it will be interesting to see where they all go. They are already setting up certain stakes for the characters, which may be why the character played by Benedict Wong is already shaping up to have the most interesting story. It also seems like the show is playing around with time, and I don't know if this will lead to a twist down the line, but if it does, I have a pretty good idea what it will be. The ending left us off with a lot of promise, and I'm actually kinda excited to see where they go from here, and hoping that the writing is good enough to bring us home satisfied.

"Countdown" starts off this new project with a lot of potential, although the skepticism is still there because of how they finished "Game of Thrones." However, on this episode alone, the bar seems to be set pretty high and the cast seems excellent and up to the task of bringing this mind-bending story to life.

The trouble with these kind of shows is that the events of the "monster-of-the-week" episodes can often contradict or misrepresent what is going on the series as a whole. That is a threat that has been lurking under the surface for this show, but they have managed to make good use of both of these ideas and not gotten into much trouble with the direction of the show. A trick is to keep moving the pieces forward all the time, and it seems like this show is doing everything it can to make Scully's cancer journey undeniable. It's not something that will follow her forever (as the show did run for many seasons after this), but it will have an impact on her. And it's nice seeing all the writers coming together to form an episode that will ultimately shape the remainder of the show going forward, with her struggle being pretty undeniable right now. And this episode does provide some of the most emotional storytelling that we've had so far with this show, often going the emotional route and managing to beautifully splice together two different storylines that all have the same purpose and leads to an incredible episode finale; a definite series best.

I've always liked shows where protagonists who fight against the supernatural all the time are taken down by something ordinary and human. As a character who doesn't believe in a lot of supernatural elements, it feels right that Scully would be the one going through this, despite the audience's obvious disdain towards it. It certainly brings these characters to the most desperate place they've been throughout the whole show and it feels right in a very morbid way. It's cool that they're taking this chance and it provides some wonderfully honest and emotionally resonant scenes between the show's two leads.

The episode doesn't really feature any antagonist in the form of a sentient being - with the exception of a persistent assassin - and it feels like time itself is the real enemy. There is a ticking clock idea going on throughout and mostly with Mulder's subplot which is both tense, yet also entertaining because of the show's use of the Lone Gunmen. And what that story leads to is another interesting addition to the mythology and a very cool opportunity to take into use in future seasons, if the writers want to take Scully there. If not, it's a cruel tease.

The performances of both leads have been at a series high during this season, with David Duchovny really proving his dramatic skills. However, Gillian Anderson is also upping her game significantly and gives a passionate speech at the end about how she will fight the disease on her own terms, which brought tears to my eyes. These two work best when they bring out the best in each other, and this season has fully utilized the characters as great oppositions, but has been even better at using their sensibilities as partners and knowing how to be the best of themselves.

"Memento Mori" is truly a reminder that none of us are mortal, and it's nice to see the show doing that in a realistic way. This sets a tone for the rest of the season, and it's difficult to see them keep up with that, but in the end, there is a chance of pure greatness coming.