TheLittleSongbird

'Law and Order: Special Victims Unit' "Can't Be Held Accountable" (2019)

Opening thoughts: "Can't Be Held Accountable" is the first part of the "...Held Accountable" two parter. Which on first watch and rewatch was very uneven overall, and had issues with both parts (the other being "Must Be Held Accountable"). But both parts were still watchable with important aspects being done very well. Uneven is a good way to sum up the overall standard of the previous episodes, with only one great episode (which was also the only great one of the season) and the season overall wasn't really anything special.

While still well worth watching and much better than the previous episode "We Dream of Machine Elves", "Can't Be Held Accountable" could have been better considering how good it sounded on paper and that it is a two parter. 'Law and Order: Special Victims Unit' has varied with its two parters, some great ones, some average or less. The "...Held Accountable" one is neither one of the best or worst of them, liked one part despite serious reservations and was mixed on the other.

Good things: There are plenty of good things. It is a slickly made episode, the editing especially having come on quite a bit from when the show first started (never was it a problem but it got more fluid with each episode up to this stage). The music is haunting and not too overbearing, while the direction in the second half is alert and accomodating. The script is thought provoking and intriguing.

Did think that the second half did improve on the first, with more tension and an anger inducing verdict that makes one understand what drives Bucci to do what he does next. The acting is very good all round, particularly from Nicholas Tuturro.

Bad things: On the other hand, "Can't Be Held Accountable" could have been better. It does take too long to get going, with an overlong beginning, where the plotting is very thin up to the first commercial break. The first half is a little on the slow side due to the slightness.

Tamin is still too over zealous and opinionated, despite having good intentions her actions are unprofessional. Jamie Gray Hyder's acting hasn't improved.

Closing thoughts: In conclusion, pretty decent but not great.

7/10.

'Snuffy's Party' (1939)

Opening thoughts: A vast majority of Walter Lantz's work ranges between well worth seeing and must watches, even if some theatrical series are better than others (not unexpected as that is true of pretty much every animation director). He was responsible for some misses, especially in his later work which saw lower budgets, tighter time constraints and old premises repeating themselves, but on the whole he hit more than he missed. With some of his best work being excellent.

1939's 'Snuffy's Party' is very average, watchable but pretty forgettable. Due to being such familiar territory, with following an already done to death formula to the letter. As said, 'Snuffy's Party' is far from terrible, a long way from being one of Lantz's worst, and it does have good things. There just isn't anything special and Lantz definitely has been capable of better.

Good things: There are most definitely good things here. The best thing about it is, somewhat predictably (not meant in a derogatory way), the music, which is fantastic throughout the entire cartoon. Even when the story is uneven in pacing the energy and character in the music are consistent and in a great way. It is just so infectious and clever. The animation is lush and colourful with very rich attention to detail in the backgrounds and well drawn characters. One of the main interest points of the cartoon is the anthromorphic visuals for the water.

It did take 'Snuffy's Party' a while to gain momentum, but it does come to life in the energetic and tense climax. The outcome is never in doubt, but that was expected. Voice acting is fine, Mel Blanc was a voice acting god and delivers despite not having much to work with.

Bad things: However, there is quite a lot wrong. It contains a very slight story that contains no energy or surprises. As said too, it follows an already done to death formula to the letter with no freshness. There are too few gags, none of them funny.

Furthermore, the characters have very little personality, with a protagonist that is very bland and difficult to root for with the way he acts in the early stages. The message is well intended but is too rehashed and could have been delivered with more subtlety.

Closing thoughts: In conclusion, watchable but nothing out of the ordinary.

5/10.

'Les Petits Meurtres D'Agatha Christie' "L'Heure Zero" (2019)

Opening thoughts: The Laurence and Avril period of 'Les Petits Meurtres D'Agatha Christie', having enjoyed all but one the episodes from the Larosiere and Lampion period (lasted much shorter, but settled straightaway much sooner), was a slow starter when initially disliking Laurence and for a while was not as consistent as that period. But it did improve quite a bit on the whole and so did the character writing for Laurence, when he became more relaxed and not as obnoxious as before.

"Towards Zero" is not an Agatha Christie adapted a lot, and it is a shame because it is a very well crafted story with a clever final solution and one of the most deranged of any Christie book to not Miss Marple or Poirot. It has two very loose adaptations, one being the one that was one of the ITV Marple adaptations, and (despite it being one of the adaptations to have Miss Marple interpolated) to me that was one of the better ones of that series. The other being this French language version, which is very interesting and very well done.

Bad things: It is let down a little by the ending, which was a bit too rushed and could have done with more suspense. The truth is genius actually, just needed more time to reveal itself.

Good things: However, everything else is great. The case is suitably entertaining and twisty, all the twists and turns surprising and plausible, and the suspense simmers beautifully. The episode does a great job with the portrayal of the television cooking show world, shown as exciting but also very competitive and uncompromising. Loved that there is a nice mix of light-heartedness and a darker tone when needed seen in both the Larosiere and Lampion period and the later Laurence and Avril episodes. The dialogue has wit and maturity, without being over-simplified or muddled.

Samuel Lebarthe is commanding as Laurence and looks a lot more relaxed and less unpleasant compared to his early episodes. Blandine Bellvoir is immensely charming and brings welcome levity.

Also thought that the supporting cast did a great job, with Barbara Schulz impeccable. As always for 'Les Petits Meurtres D'Agatha Christie' it looks great and very classy. The 60s setting is evoked handsomely and evocatively, with no signs of jarring at all, and the period detail and period detail bring a lot of nostalgia. Even for somebody born well after that decade, but this is in reference in seeing a lot of period mystery/detective dramas/series and having been addicted to many in a long time. The photography is sumptuous too. The music continues to match the light-hearted and at times very atmospheric tone without any jarring.

Closing thoughts: Concluding, great.

9/10.

'Law and Order: Special Victims Unit' "We Dream of Machine Elves" (2019)

Opening thoughts: My first viewing of "We Dream of Machine Elves" was not too great, or even not too good. It started off so well, but the rest of the episode did not at all live up to it and it certainly finished off a lot worse than it started. Have had worse first viewings of 'Law and Order: Special Victims Unit' episodes, from Season 21 and of the show overall, but this reviewer has seen what the show was capable of (especially in the earlier seasons, though there have been quite a lot of great ones in recent years).

"We Dream of Machine Elves" unfortunately was not much better on recent rewatch of Season 21 (and of the show Season 11 onwards). It isn't a terrible episode and there are worse episodes in the season, but it is not particularly good episode. It did have a lot of potential of being one of the best of the season judging by how brilliantly it began, but there are just far too many problems with the story execution. After such a big improvement with the previous three episodes, it was saddening to see a return to the underwhelming quality of the first four episodes.

The best thing about "We Dream of Machine Elves" is the opening, which is absolutely riveting and one of the show's best in a long while. The hard hitting tension bit the nails and there is an appropriate amount of creepiness in the first half. While the music isn't used sparingly, it does have atmosphere and while it can be dramatic it's not been in a forced or overdone way.

Moreover, the acting is fine from almost everybody. Production values have the right amount of grit and style.

Bad things: As said above, this reviewer really did wish that the middle and last acts were on the same level of quality as the opening. But that was not to be. It did become rather muddled from trying to include too much in too short a space of time. While there is creepiness, the episode also goes too far on the weirdness and there was a sense that it was trying to do and be too many things and that it didn't know what it wanted to be.

Did find the writing very stilted in particularly the last act and the last 10 minutes or so a total letdown. There are many unanswered questions by the end, the ending also felt very abrupt and rushed. Tamin is still flat and annoying and Jamie Gray Hyder's dramatic limitations continue to show and never really improved. There could have been less of Rollins, who had a stronger personality that was easier to like in other episodes.

Closing thoughts: In conclusion, brilliant opening but an underwhelming two thirds, especially towards and at the end.

5/10.

'Nabucco' (2021)

Opening thoughts: It is very easy to see why 'Nabucco' was Verdi's first big success, and one of his better early-period operas (pre-'Rigoletto'). The story is not the most compelling or concise of his operas, some of it has obsolete and static drama, and Ishmaele and Fenena are very underwritten characters. However, it is notable for the father/daughter relationship between Nabucco and Abigaille, the meaty role of Abigaille and of course the glorious music (especially "Dio Di Guida", the big confrontation between Nabucco and Abigaille and one of Verdi's finest choruses in "Va Pensiero").

Other than my love for opera and Verdi in general, my main reason for seeing this production was Placido Domingo. Sure, he is well past his best and his performances in baritone roles have very hit and miss (Simon Boccanegra being an example of a hit and Count Di Luna being one of a miss). In his prime, which was the 70s and 80s, he was to me one of the best operatic singers at that time and his partnership with another one of my favourites Sherrill Milnes (a fine Nabucco himself) is legendary. For me though, the production was an uneven one. Lots to admire musically but visually and staging wise it could and should have been more engaging.

Beginning with what could have been better, Domingo's performance itself is inconsistent. He is powerful emotionally in Nabucco's more tortured moments (particularly in Act 3) and the father daughter relationship is both moving and intense, but he is not regal enough surprisingly and sounds underpowered, hesitant and like he was fighting illness.

For my tastes, the production is too dimly lit, minimalistic sets can be striking but they seemed too sparse and over simple here and time and place was difficult to discern. The staging can be too stand and deliver and too much like a concert. The mirrors were striking visually, but pointless.

Good things: However, a lot is good. For one thing, there is a wonderful chorus, "Va Pensiero" is sublime in every way and the highlight of the production. Loved its simplicity and found it very moving. The orchestral playing is rousing and nuanced, especially in the choruses and the hair raising father daughter confrontation. All thanks to Marco Armiliato's conducting, which is idiomatic, energetic and sympathetic.

Another major asset is Anna Pirozzi's fearless Abigaille (the best and most consistent performance of the production), she is thrilling vocally with great musicality. She is frightening intensity when ought, which made up for some basic acting early on. Riccardo Zanellato is a noble Zaccaria, likes his warm tone, and Szilvia Voros is an expressive Fenena. Freddie Di Tomaso is a virile Ismaele, though he occasionally tries too hard. There is good work in the smaller roles.

Closing thoughts: Uneven but with lots to admire.

6/10.

'Kashtanka' (1952)

Opening thoughts: There were two reasons for wanting to see 'Kashtanka'. One was that it was made by Soyumultfilm. When it comes to Russian/Soviet animation, it doesn't get much better than Soyuzmultfilm, a studio that quickly became a personal favourite for nearly a decade. Their best work is visually stunning and have stories that are charming, imaginative and full of atmosphere with some memorable characters and when adapted enhanced by the visuals and often the music as well.

'Kashtanka's' other interest point was that it was based on a story by Anton Chekhov of 'The Cherry Orchard' and 'Uncle Vanya' fame, one that like 'Story of the Bass Cello' is one of his most accessible. 'Kashtanka' adapts the story wonderfully, it doesn't deviate too much while also being unmistakably Soyuzmultfilm in a good way. It is also wonderful in its own right, even if it is not one of the studio's best. It really is well worth seeing, and not just by Russians or those that speak Russian (studied it myself on my vocal and operatic studies course, and while it is a difficult language to get your head around it is a lovely language), but to a much wider audience worldwide and anybody that loves animation (like me) should seriously consider seeing it.

Bad things: Did find the ending on the rushed side, but that is the fault of the story itself (though the adaptation could have solved the problem quite easily). Something that has been a common criticism of it despite its mostly positive critical reception.

Good things: Everything else is fantastic. The animation can't be faulted. It is rich in colour and is filled with atmosphere and the drawing and designs are expressive, but it is the landscapes that are the star with the colour and attention to detail rich and meticulous throughout. Also found the music beautifully done. The lushness of the orchestration and atmosphere created is so unmistakably Russian in the best of ways.

Furthermore, the storytelling is very sweet without being sickly, and is also very moving and charming. The latter stages are moving. The characters are interesting, very endearing and easy to relate to, they are not the complex characters that Chekhov is known for but it is not that type of story.

Closing thoughts: Overall, wonderful.

9/10.

'Law and Order: Special Victims Unit' "Counselor, It's Chinatown" (2019)

Opening thoughts: The concept did sound intriguing, human trafficking is not new territory for 'Law and Order: Special Victims Unit' (almost all the seasons have one focused around it) or for the 'Law and Order' franchise. But it is a very relevant and hard hitting issue that needed a lot of awareness in the earlier seasons and sadly it still does need addressing. 'Special Victims Unit' revisited many themes more than once, and on the most part in the earlier seasons very well (variably in the latter seasons).

"Counselor, it's Chinatown" continues the step in the right direction that started with "At Midnight in Manhattan". It is not as good as the great previous episode "Murdered at a Bad Address", but it handles a tough, relevant if well worn topic unsettlingly and not in a ham handed way. Was very worried about how the supporting characters would be written and acted, seeing as how some of the franchise's human trafficking episodes has seen stereotyping that has not always been tasteful. It turned out to not be an issue here.

Good things: So much is good. Production values are still slick and suitably gritty (without being too heavy in it). The music is not too melodramatic and is not used too much, even not being too manipulative in revelations. The direction lets the drama breathe while making sure that the tension and emotion never slipped. Most of the script is very thought provoking and taut. The acting from the regulars with one exception is fine.

The supporting actors did a great job not making their characters too stereotypical, and it is a culture that is easy to stereotype and has been stereotyped distastefully a lot elsewhere. The episode has an intriguing story that mostly feels like it could come from Seasons 6-9 easily. It is also eventful with some fast moving and exciting action and doesn't feel too tired. Really appreciated that they put Tamin's bilingual skills to good use and it is the most useful she's been up to this point of the season.

Bad things: Other than that, Tamin doesn't do much for me as a character and Jamie Gray Hyder is still on the flat side. Also am continuing to intensely dislike Hadid, she just comes over as very cold and insensitive and it has been like the show has been trying too hard in making her something of a pantomime villain.

Some of "Counselor it's Chinatown" is still rather predictable. Such as the threat and there is some sloppy protocool when in court. Carisi should not have done what he did, it would have been fine in his previous job as a SVU member but was not appropriate on the legal side. It may have been on the spur of the moment and forgetting that he was no longer a detective.

Closing thoughts: Concluding, good but not great.

7/10.

'Inventing the Christmas Prince' (2022)

Opening thoughts: Throughout my whole Hallmark/Lifetime Christmas film completest quest undertaken from late 2019 and still ongoing, an interesting quest but very mixed one, there was never the mentality of expecting a classic or the film in question to be flawless. Something that was never managed with Hallmark's output. There was always the expectation of seeing a film where one can see at least some effort rather than merely cash-in level. One could see that with most of Hallmark's output but not all.

The previous 2022 Hallmark Christmas films were pretty patchy. There were some good ones, 'Time for Him to Come Home for Christmas' in fact was great. There were some bad ones too, such as 'Christmas Bedtime Stories' and 'A Maple Valley Christmas'. 'Inventing the Christmas Prince' is among the best ones, having a lot of charm but also an equal amount of emotion and heart. It is always nice when a Hallmark film has actors in the lead roles different to the popular ones, and there have been some good performances from non-regular Hallmark actors. Including here.

Bad things: It is not flawless, though there is little wrong with it. For my tastes, it could have been longer by about 10-15 minutes in order to flesh out some of the supporting characters more.

Maybe it starts on the slow side and Ronnie Rowe's character came over as overly cold and selfish at the start

Good things: However, there are so many great things. It is extremely well acted, with great performances from Rowe and Tamera Mowra-Housley, the former managing to make his character complex and sympathetic and the latter being zesty and warm. Isabel Birch is charming and cute as a button, without going too far on the latter. The chemistry is natural and genuine with a lot of heart. Even if the supporting characters lack depth, the development of the three lead characters is very realistic and nuanced. Absolutely bought the progression of Rowe's character, which wasn't rushed or too tidy, going from being Scrooge-like to being more relaxed and sympathetic.

Furthermore, 'Inventing the Christmas Prince' is very sincere emotionally and true to life. It never feels melodramatic or over serious, a very easy trap in this type of film and fallen into a lot, or overly sappy. The ending did make me cry. The story didn't come over as predictable, too simple or forced and is heart warming and charming. The script flows well and is well meaning and honest with little fluff, filler or mawkishness. It is beautifully filmed, with lovely scenery, and appropriately scored.

Closing thoughts: Overall, very well done.

8/10.

'The Pink Panther' "Little Beaux Pink" (1968)

Opening thoughts: 1968's Pink Panther cartoons were mostly solid standard, though expectedly some were stronger than others. 'Little Beaux Pink' is the best Pink Panther cartoon since 'Twinkle Twinkle Little Pink', one of the best of the 1968 batch and one of the most colourful and funniest of the series' earlier cartoons. Maybe not quite one of my favourite Pink Panther cartoons, though it very nearly was, but there is so much that is so good overall about the series that is present here.

Bad things: 'Little Beaux Pink' is somewhat predictable at points, but really there is very little to criticise.

Good things: For one thing, it is very colourful to look at, both rustic and elegant as well as crisply if simply drawn. The music doesn't disappoint at all, the scoring accompanying the action is catchy and jazzy while the theme tune for one heard umpteen times is still an un-annoying classic. 'Little Beaux Pink' isn't just one of the best 1968 Pink Panther cartoons, it's also one of the funniest.

The fence wire gag is hilarious, and the ending (one of the better and funnier endings of any Pink Panther cartoon from 1968) likewise. Pink succeeds as ever being funny and cool, and the supporting characters especially the cattleman support him beautifully.

Closing thoughts: All in all, colourful and very funny if predictable somewhat, if you are a Pink Panther fan Little Beaux Pink will not disappoint.

9/10.

'Law and Order: Special Victims Unit' "Murdered at a Bad Address" (2019)

Opening thoughts: On first watch, "Murdered at a Bad Address" moved me in a way that no other Season 21 episode did as much and the quality pretty much wowed me (a rarity for Season 21). It also surprised me in that the aspect that this reviewer was not expecting to work, on the basis of my relatively low opinion of them in their previous 'Special Victims Unit' appearance, was one of the best assets. Once again, the subject is a tough one and memories of my first watch were that it was handled unsettlingly and movingly.

"Murdered at a Bad Address" on recent rewatch bowled me over and actually better than remembered. The previous episode "At Midnight in Manhattan" saw a needed step in the right direction, though it should have not taken until five episodes in for the quality to finally improve. "Murdered at a Bad Address" improves significantly on that, that episode was good but this turned out to be surprisingly great and easily the best episode of Season 21 (with it being the only great one).

Good things: Nearly everything works and brilliantly. The production values have the right amount of slickness and grit, while the music, even when more cinematic sounding than the previous seasons, isn't too loud or constant while also not spilling out the emotions too much. The direction is alert to the tension of the drama while also giving it breathing space which allowed the emotion to resonate.

The script has a lot of punch and is taut, thought provoking and sensitive. Never did it feel too soapy to me. The story didn't feel over-stuffed or too slight, quite a lot going on while with breathing space, and the character quantity was just right too. It is also very suspenseful and incredibly moving, the final act tear up worthy, and it is the only Season 21 episode that could easily pass for old 'Special Victims Unit' and this is absolutely meant in a good way. Where it was all about the case and the people it centered around without focusing on melodramatic personal drama, sloppy police work or the writers over exaggerating negative character traits.

All the acting is great, with the biggest surprise of "Murdered at a Bad Address" being how good Wentworth Miller was. Compared to his previous 'Special Victims Unit' episode, Season 11's "Unstable" but as a different character, the difference between his bland and affected performance to this to his truly authoritative and poignant one here is huge.

Bad things: It is not perfect, the episode that is. Didn't buy that the DA was still in such a stressful job despite having an illness that realistically would have made it impossible for them to work to full strength, no matter their tenacity. If one is to say goodbye to a recurring character and round off a previous well worn story arc, the character in question should have gotten more screen time. Will give some credit in that it was the first time the character did anything for me emotionally.

Closing thoughts: Concluding, excellent.

9/10.

'Christmas at the Golden Dragon' (2022)

Opening thoughts: 'Christmas at the Golden Dragon' was mainly seen for Hallmark film completest sake. Their 2022 output, like all their previous years, was unsurprisingly uneven. With some highs, some lows and plenty somewhere in between. But considering the tumultuous couple of years, the standard generally could have been worse. This is obvious in their Christmas block, which was very patchy in its first half but on the whole it did improve quite a bit. The type of location is a familiar one, but it didn't sound as formulaic as most Hallmark films and have always appreciated it when Hallmark explore family relationships and more serious themes.

There are better 2022 Hallmark films than 'Christmas at the Golden Dragon', not just their Christmas output but overall too. There are also worse. 'Christmas at the Golden Dragon' is in the high middle category. It could easily have been one of the best 2022 Hallmark films, with so much being as well executed as they were, but the less than promising first portion stopped that from happening. Stick with it as it does get better.

Bad things: Starting with the not so good things, 'Christmas at the Golden Dragon' Starts off very badly, didn't see the point of the montage, it didn't add much and doesn't really say anything.

Didn't warm to the characters straightaway, the character flaws being a little overdone which was a common problem in the 2022 Hallmark output. And it is slow to begin with.

Good things: With all of that being said, the film does get a lot better and there are a lot of good things. Kara Wang and Osric Chau (always nice to see non-regular Hallmark performers every now and again) are very engaging leads and are as good as any popular Hallmark regular when on form. They have a sincere and easy going chemistry together and the relationship is not too hurried or aimless. They are well served by the supporting cast, with the standouts being charming Genevieve Buechner and the ever classy Barbara Niven.

Moreover, the character writing does improve a lot, the characters become more likeable and grow. Production values are suitably slick, lovely locations as is often the case with Hallmark (though the locations' authenticity has always varied) and the music has a nice festive cosiness. There is a lght hearted and never awkward or cheesy script and the story has a lot of charm and warm heart, while having some familiar elements they are not done too predictably. The family relationships are handled honestly, movingly and tactfully.

Closing thoughts: In conclusion, starts rough but mostly good.

7/10.

'National Theatre Live: Julie' (2018)

Opening thoughts: The National Theatre Live productions from 2018 varied in quality, but mostly had more hits than misses. There were gems that year, namely 'King Lear' and 'The Madness of George III'. A couple did miss, with the weakest of the 2018 National Theatre Live productions being the pretty poor 'Macbeth' (a production where even the acting wasn't that great). Am not familiar hugely with this play, which is not usually the case for this series, so can't compare that much.

While 'Macbeth' was the weakest of the 2018 National Theatre Live performances, 'Julie' was a very close second. It does have the significant advantage of being extremely well acted, which helps make it tolerable. It also is badly let down by how it is staged, which throughout came over as bland, confused and over-thought. Those unfamiliar with the play may find themselves at sea with trying to understand what the production is trying to say, and even those that are familiar with it are going to find comprehension a problem.

Good things: Beginning with the good, the best thing about 'Julie' by far is the acting, which is extremely good and even incredible at its best. Vanessa Kirby's powerful performance, mixing tortured vindictiveness and damaged helplessness, is shattering emotionally. Eric Kofi Abrefa and Thalissa Teixiera are also incredibly strong, Teixiera's vibrancy being like a radiant ray of energy.

Did think that the production looked quite slick and colourful. The camera work is not static or disorganised, not trying to do too much while opening it up enough.

Bad things: However, on the whole 'Julie' had an overblown look visually and the staging throughout is too over-thought (partying for example has never looked so un-spontaneous on stage) and does little to make the drama emotionally investable or coherent. Actually found the production very bland emotionally, especially at the end which lacks tension and the tragedy just doesn't move. Everything with the class divide, which is done little with, is done with little insight and is lost amidst all the interpolations intended to give the play relevance by today's standards that added nothing and merely confused the drama. Much of it jarred with the text as well.

When any class divide is shown, it is heavy handed and transitions are awkward. The omnipresent ominous hum is excessively used, overbears and tends to be out of place. Jean feels very under-developed here, he is in the play but he is even more so here with everything else going on. Any confrontations don't have enough tension and would have worked a lot better if taking place in a more intimate setting.

Closing thoughts: Summing up, disappointing.

4/10.

'Law and Order: Special Victims Unit' "At Midnight in Manhattan" (2019)

Opening thoughts: Season 21 did not get off to a great start. The season opener was respectable but the next three episodes were very disappointing, especially "The Burden of Our Lives". On first watch, my overall thoughts were on the most part positive, the character writing is wanting for some characters but there is a major improvement in the story departments, compared to the previous episodes. Plus it was one of the few Season 21 episodes where there were no issues with the victims.

"At Midnight in Manhattan" is a major step in the right direction and the first good episode. Was not that impressed by Season 21 on the whole, but it did still have some good and more episodes and "At Midnight in Manhattan" is one of them. It isn't great and has imperfections in some of the character writing and occasionally the dialogue, but the episode also contains the first consistently compelling story that wasn't heavily problematic and again one aspect really surprised me in a good way.

Good things: Photography and such as usual are fully professional, the slickness still remaining. The music is used sparingly and is haunting and non-overwrought when it is used, and it's mainly used when a crucial revelation or plot development is revealed. The direction has pulse while also letting things breathe, stylistically also it isn't flashy or gimmicky while also not being leaden. Most of the acting is very good, with only one exception.

The episode also has a mostly punchy and gritty script that flows well and is not too soapy. The personal life drama on the whole didn't get too much and really appreciated that the episode tried to do more than one average or less story over-stretched and instead having more than one story tied together neatly (while not too neat) that didn't feel over-stuffed or disjointed. It was a good decision to not focus too much on one or two specific characters and underuse the others, like some episodes in the season did. The victims were also ones worth caring about.

Bad things: It isn't a perfect episode though. Didn't like Rollins' treatment of Carisi and she comes over as rather selfish and aggressive. While it is nice that Tamin is headstrong and is not a weak personality, she is also not very likeable and is too opinionated with the inability to listen to others.

Jamie Gray Hyder's acting is rather flat. Didn't like some of Olivia's dialogue, which came over as patronising (i.e. What she says about women being stronger than men, what possessed her to say that and certainly considering the case).

Closing thoughts: On the whole, for the season at this point this was impressive.

7/10.

'The Royal Nanny' (2022)

Opening thoughts: Christmas films can go either way, which has been my experience watching overtime the festive output of Lifetime and Hallmark. They can either be well-meaning, charming, warm-hearted and don't feel too heavy. Or they can be too over-sentimental, cheesy, contrived and bland. There have been many films of theirs that have fallen in both camps and in the camp where there is a bit of both. And ''The Royal Nanny' did have the sort of premise where the execution could have gone either way.

Am generally not a fan of the royalty-themed Hallmark films. There have definitely been some pleasant surprises, but they tend to be very more of the same, with cliches galore done badly and very cheesy, a lot with bad acting and lacking in intedeating or/and likeable characters. 'The Royal Nanny' is one of the pleasant surprises, and as far as the royalty-themed Hallmark films go (especially for the ones ser at Christmas) it is for me easily one of the best. With it feeling fresh and that it was a lot less formulaic than usual.

Bad things: 'The Royal Nanny' isn't perfect. It did feel too short and also a bit over-crowded, which made the film feel rushed. Particularly in the final act.

Good things: Everything else is fine. The two leads carry 'The Royal Nanny' with down to earth charm and wit, looking as if they were having fun while not over-compensating. Their chemistry is good natured and sweet, and it looked natural. The supporting cast are fine, with a nice dignified turn from Greta Scacchi. The characters are familiar in type but they have a lot of fresh personality and are not annoying.

Furthermore, the film is attractive and slick looking, the locations are beautiful to look at. The music fits well and didn't sound over-bearing or intrusive. The script is witty and doesn't ramble or come over as awkward and cheesy, the latter extreme has been the case with a lot of Hallmark's royal themed films. The story felt fresh and is a lot less formulaic than usual, while also going at a pace that has liveliness in some places and gentility in others. It is very cosy and feel good, with a lot of heart and charm, while not being over serious or too spoof-like.

Closing thoughts: Concluding, very well done.

8/10.

'The Nutshack' (2007-2011)

Opening thoughts: Absolutely adore animation, something that has been the case as a child and it is frequently seen still. Have always aimed to at least appreciate all kinds of humour, and have seen crude humour done well (the early seasons of 'Rick and Morty' for instance) and animated shows that broke boundaries and were ahead of their time (i.e. 'South Park'). Have though seen quite a number of bad and worse animated shows, such as 'Red Ape Family' and 'Mega Babies' in recent weeks.

'The Nutshack' (saw the whole thing by the way) is another show that is proof that not all animation is good. It is very poor and a vast majority of elements are done awfully, but actually this reviewer has seen a lot worse. As lazy and lacking in effort 'The Nutshack' was, it at least didn't offend me as such as 'Red Ape Family', 'Mega Babies' and 'High Guardian Spice' for instances. For anybody asking why people who hated this while praising 'South Park', regardless of how much it can shock, the latter at least is well made, had jokes that were witty and original, broke boundaries and had fun characters. Other than the bold boundary breaking with the diversity for 2007, 'The Nutshack' has none of that.

Good things: Did think there were good things. Chita did have some likeability and was gamely voiced.

It was great to see some diverse representation and it was a lot more tasteful and accurate than the diversity seen in 'High Guardian Spice'.

Bad things: So much is really poorly done. Including some of the worst flash animation to ever exist. There is no colour vibrancy, everything just looks flat and garish, editing is not tight enough and is often dizzying, the backgrounds lack imagination or smoothness, almost always looking static. The character designs fare the worst, some of the ugliest easily of any animated show. The music never fits and sounds at least a decade out of date. The theme tune is one of the most annoying in animation.

Nothing is funny or clever here, there is too much over-reliance on crude gross out humour that would offend even younger viewers and make parents question the target audience. The humour sounds very recycled and has no originality or subtlety whatsoever. Emotionally, there is nothing. No depth, no pathos or heart, there is not even enough emotion to be remotely sentimental. The storytelling in all the episodes is as unoriginal as one can get (very rehashed feeling actually), the world building is not immersive and is never fully fleshed out and it is very dull by the numbers in execution.

With the sole exception of Chita, the characters are obnoxious with the show going well overboard on making Phil as jerk-ish as possible. The voice acting is a mix of uninterested and hammy, the worst offenders being for Phil and Horats. That for Chita is the one exception. While the diversity is not as distasteful or as caricatured as feared (this aspect is done far better than in 'High Guardian Spice', that surprisingly was written by a trans person but written in a way that was indicative of bigotry) and enough of it is accurate, it still felt too stereotyped and simplistic.

Closing thoughts: Concluding, very poor but have seen a lot worse.

2/10.

'Law and Order: Special Victim's Unit' "The Burden of Our Lives" (2019)

Opening thoughts: Abortion is one of the most controversial subjects there is, with very strong views on both sides. The subject has been tackled many times in the 'Law and Order' franchise, most of them on the original 'Law and Order'. Mostly very well too might this reviewer add. 'Law and Order: Special Victims Unit' proved many times that it could handle controversial and sensitive topics and in a way that doesn't trivialise while being tactful. Did find though that on first watch "The Burden of Our Choices" was not one of those episodes.

On recent rewatch, it still isn't. Season 21 had been pretty disappointing up to this point, though it did show improvement with the next episode thankfully, and "The Burden of Our Choices" is the fourth disappointing episode in a row. Of all the franchise's episodes that explored abortion, this is probably the least tactful and least interesting one and it was one of the ones that showed the most potential on paper. One of those episodes that promises more than it delivers and is a good representation of what went wrong with a vast majority of the season.

Good things: "The Burden of Our Choices" isn't all bad. The production values are suitably slick and gritty, with photography that is reliant on close ups that have an intimacy without being too claustrophobic. The music is didn't come over as too melodramatic or like it was emphasising the emotion too much.

Considering what was given to them, the actors did a good job. Peter Scanivino particularly. The episode did start off very well and thoughtfully, it also started off as presenting it from more than one stance and trying to show that abortion is a complex issue with extreme views on either side rather than being too much of one view.

Bad things: Unfortunately, "The Burden of Our Choices" is an example of an episode that starts off very well but falls apart too early and doesn't recover. It should have approached the subject in a much more tactful and balanced way, the final third especially is incredibly preachy, the relevant but not subtle message having a beat round the head quality, and presented in too much of a "this side of the argument is right and the other wrong" way. The case is very predictable, with the truth being obvious very early on (from the get go in my case). The investigating is routine and loses tension too and then the legal portion comes over as melodramatic and nonsensical (like the last minute arrival of the lawyer in the manner they do).

Writing-wise, "The Burden of Our Choices" is a misfire and most of the character writing fails too. The dialogue is very over-heated and too much of it is very preachy. Especially in the last act and most of Tamin's dialogue, which was latter seasons Olivia 2.0 level. Carisi's speech was incredibly forced. Really didn't like the writing for the supporting characters, being more stereotyped cartoons than real. Even worse is Tamin, she has some spunkiness but comes over as too opinionated and abrasive in how she expresses her views, actually agreed with her point of view rather than Carisi's and her reasons but disliked how she expressed them. One of the reasons as to why the episode came over the way it did. Jamie Gray Hyder is really bland as her.

Closing thoughts: Didn't work for me and one of the season's weakest episodes all in all.

4/10.

'In Merry Measure' (2022)

Opening thoughts: Hallmark have been responsible for many good Christmas films, including from 2022. They have also been responsible for some real misfires, again also from 2022. The premise is one of those could go either way ones, potentially light hearted and cosy but also potentially a film with difficult to like characters judging from the early parts of the plot synopsis. Brendan Penny's, the most familiar name to me, films and performances for me have always been hit and miss, and it has been very dependent on how his characters are written and used (variable on both counts).

'In Merry Measure' is one of those films that people will consider light hearted and warm glow in the heart-inducing. At the same time, it is not for those that like characters to be likeable and easy to connect with regardless of their flaws, or if they are wanting anything fresh. To me, 'In Merry Measure' fitted in both extremes and was one of those mixed feelings, slightly above average films. Hallmark definitely did much worse in 2022, including in the Christmas output. They also did a lot better, with the year containing some of their best ever work in particularly the Hallmark Movies and Mysteries block.

Good things: There is a good deal to like in 'In Merry Measure'. The best thing about it is Penny, reading about the film part of me was expecting to be annoyed and/or bored by his character, but he succeeds in making an initially flawed character grow realistically and gives a charming and subtly charismatic performance that deserved a more consistent film. Also liked very much the performances of a funny and sassy Jennifer Robertson and beyond her years Cassidy Reichmann.

Despite the story being uneven, there are good scenes with a strong highlight being the amusing and charming scene between the two sisters. It is nicely made, love the scenery, and directed with competence. Also did like the music, which is catchy and beautiful with a real Christmas feel. It is also surprisingly well performed with no affectations, overuse of unnecessary interpolations and auto-tune, all of which tend to be distracting for me. Mostly, the story is very cosy and can warm the heart. And there is a lovely positive message delivered with sincerity and no preachiness.

Bad things: Viewers here are divided by the performance of Patti Murin, count me in as one of those who didn't care for her. Murin over-compensates badly throughout the film and comes over as annoying, found it very difficult to connect with her insensitive and judgemental character. There is very little chemistry between her and Penny, which is both bland and forced.

On the most part, the script is too talky. The film starts off really rough, with very awkward and cheesy dialogue and both lead characters are extremely unlikeable because of the overwritten character flaws. At least Penny's character grows though, Murin's though does not. Not to mention the too pat and unearned ending.

Closing thoughts: Concluding, above average if very uneven.

6/10.

'Color My World with Love' (2022)

Opening thoughts: The 2022 Hallmark Movies and Mysteries block was hit and miss, most were pretty good and more, 'North to Home', 'The Presence of Love' and 'Rip in Time'. It also had the disastrous 'Cut, Color, Murder', which was one of the worst 2022 Hallmark films. A year that was expectedly and understandably variable (like all the previous years). Hallmark have done many relationship and family drama and serious themed films before, often very well but sometimes have also missed the mark.

'Color My World with Love' is in the former category, but it not only did relationship and family drama and its serious theme more than very well it also actually bowled me over. It is for me by far the best 2022 Hallmark Movies and Mysteries film (and overall) and the best 2022 Hallmark film, as well as a very strong contender for the best film that Hallmark has ever done. No other film of theirs touched me or warmed my heart in this way, and no other was this relatable. Before 'Color My World with Love', this reviewer found flaws with all of Hallmark's films (in many only a few but in even more of them a lot of flaws), but 'Color My World with Love' is a rarity of finding next to nothing wrong.

Bad things: Perhaps it could have gotten going a little quicker but this is very nit-picky. Also can't quite place it on the same level as all the films that was given the best possible rating.

Good things: Everything else was done right and brilliantly. The acting is some of the best of any Hallmark film, with Erica Durance and Benjamin Ayres giving honest, heartfelt performances that felt very personal. Have not seen either of them either, plus their chemistry was beautiful. The acting standout is Lilly D. Moore, who moved me to tears as one of the most relatable characters in any Hallmark film. Am disabled myself (though not with Downs Syndrome), so the portrayal of Downs Syndrome and how it affects the family resonated with me a lot and not too far off my and my family's struggles. The characters came over as real people and were so easy to relate to.

Furthermore, the script sounds natural and has real sincerity throughout, it doesn't sugar coat the serious themes and there is nothing simplistic or over-generalised. Have seen both with portrayals of various disabilities elsewhere, so that was appreciated. How the adversity affects the family and the relationships also had depth and weren't simplified or too general. One feels the struggles with the film not shying away from how difficult it is for everybody involved rather than showing it from one person's perspective, but also the love and support.

The story is extremely touching and warms the heart, with everything done with a lot of honesty. The drama is not too soapy or over sentimental and it doesn't feel forced or dragged out. The subject is handled sincerely and sensitively, while not taking itself too seriously or coming over as melodramatic or over sappy. The production values are strong and had no issue with the placement or tone of the music.

Closing thoughts: Overall, one of the very few great Hallmark films.

9/10.

'Law and Order: Special Victims Unit' "Down Low in Hell's Kitchen" (2019)

Opening thoughts: First impressions of Season 21's third episode "Down Low in Hell's Kitchen" on first watch when the season first aired were not great. Actually didn't care for it all that much. It did a great job with Fin, but it was spoiled by the lack of a compelling story and characters worth investing time in (one of them in fact played a big role in why the episode didn't work on first watch). The subject is a tough one, and the show has proven frequently that it can do tough subjects well, and the set up was intriguing.

"Down Low in Hell's Kitchen" is one of those episodes that is not terrible, apart from having things that don't work at all, but promises a lot more than it delivers. There was an interesting episode somewhere in "Down Low in Hell's Kitchen", but it is a case of the execution being a lot less interesting or insightful than it sounded on paper. As far as Season 21 goes, it's not one of the very worst but it's in the lesser half and does little to improve upon the previous disappointments.

Good things: There are good things, have never seen an irredeemably bad 'Special Victims Unit' episode (some have come close). It is as ever shot with the right amount of intimacy without feeling too up close, even with a reliance of close up camerawork. That the editing has become increasingly tighter over-time is great too. The music isn't over-scored, manipulative or used too much. The regulars are on the whole fine, with one exception, and most of the performances likewise.

Really liked what "Down Low in Hell's Kitchen" did with Fin, too many of the latter season episodes had him as underused window dressing but here he plays an active role and sees him steely and sympathetic and the only character who seems to care about the situation. The episode is a promising introduction to Garland and Carisi has settled well into his new role.

Bad things: However, a lot doesn't work. The story feels really tired and needed a much tighter pace and more tension. The down low set up is out of date and none of the supporting characters feel like real people and come over too much like stereotypes. The subject is a tough one but it is done that is not done well here, instead of the uncompromisingly harrowing, emotional and tense it could have been it came over as ham handed and mundane with nothing really insightful.

My intense dislike of Hadid was a massive problem as well and actually unbalanced the episode. It did feel like the writers tried too hard to make us dislike her and it came over as affected, far too cold and insensitive and the junk in their hands comment was offensive and beyond unprofessional. Too much of the team are underused, Olivia's role in the case should have been bigger, and it came over to me like they were not that interested in or cared about the case (only Fin seemed like he properly cared) The Noah subplot is too sandwiched in and adds absolutely nothing.

Closing thoughts: Concluding, another underwhelming effort.

5/10.

'Be Cool Scooby Doo' "Silver Scream" (2017)

Opening thoughts: 'Be Cool Scooby Doo' really did not appeal to me on paper at first, having been put off by the animation style. Like has been said before though, this reviewer is glad that she gave it a chance as a big fan of the Scooby Doo franchise, as despite taking a bit of time to find its feet and with no episode being perfect it for me is quite a lot of fun with plenty to like about most of the episodes. Did like the premise for "Silver Scream" quite a bit, which is always a big interest point for me watching anything.

Season 2 was a much more settled season than the first, though there are better episodes from it than "Silver Scream". Don't get me wrong, it is still a thoroughly enjoyable and very well done episode and a joy for classic film fans like me, with a great setting and villain in particular. Other episodes, including the previous two episodes (both among the best 'Be Cool Scooby Doo'), had though much stronger mysteries (those mysteries were great, this one was a case of it being vastly over-shadowed by everything else). The franchise has had many fine episodes centered around film, and overall "Silver Scream" is another good example.

Good things: What immediately stands out in "Silver Scream" is the very cool and original villain that has the right amount of freakiness. Loved the very clever character design too, which is by far the standout of the animation and the only great thing visually. Standing out also are the affectionate and authentic Hollywood setting that had a classic film vibe.

There are numerous clever and nostalgic film references, namely to silent ones (a treat for anybody who appreciates them like me) and past episodes. They didn't feel shoehorned, overused or gimmicky. As well as lots of funny lines from Shaggy as well as when the real gang are hiding behind the fake one. Scooby and Shaggy are fun. Daphne's quirk is very cute and suitably quirky. The very nice energy does make up for the lacking mystery.

Bad things: A couple of things bring "Silver Scream" down on the other hand. As said, the mystery is very standard and not very memorable or unique. There is little surprising, including the reveal.

Not unexpectedly, the animation is not to my taste. After such an improvement in the previous two episodes, it is back to the psychedelic, rushed looking and off model eyesore quality seen in most episodes. Only the villain's design is appealing.

Closing thoughts: On the whole though, thoroughly enjoyable.

8/10.

'Ultimate Book of Spells' "Fire with Fire" (2001)

Opening thoughts: 'Ultimate Book of Spells' first aired when this reviewer was 9. Liked it a lot back then, and have revisited it a number of times since as a fan of animation. It is far from ground-breaking or one of the best shows, animated and not, ever made, but it also does not deserve its now relatively forgotten status. Thank goodness for good old Youtube. Can totally see the criticisms it garners for being closely indebted to Harry Potter (only picked up upon some while after the show first aired), and there are elements throughout that are very similar and clearly inspired, but this viewer considers it more of a love letter rather than a rip off.

All the previous episodes are well worth watching and more, especially "Time and Again", though neither are full on great episodes. Neither is "Fire with Fire". Actually didn't remember it very much as a child, but seeing it again a few times through older eyes it is better than remembered. Thanks to some great dialogue, great setting and an adventurous story once it gets going, after starting off a little shaky. Not one of the best 'Ultimate Book of Spells' episodes, but also not one of the worst.

Bad things: Did think that the beginning, or the first three minutes, went on for too long and served very little relevance to the story. Plus it was not much different from the beginning of "Time and Again", except with a harp instead of a rug, Snerret and Rowce having a bigger role and a slightly less evil Zarlak.

Snerret and Rowce are as unfunny and annoying as ever and none of their material is interesting.

Good things: However, a lot works well. Am continuing to love the distinct personalities of Cassy, Gus and Verne and their chemistry together. Really did feel sorry for Gus and really enjoyed their medieval guises, very interesting to see Cassy as a princess. UBOS continues to be wise, firm and amusing and Zarlak suitably sinister. Once again, a great job is done with the two settings, Vonderland already feels magical and immersive and the dark medieval setting is very foreboding. The animation is crisp and colourful and the music fits well and doesn't sound out of date.

Most of the voice acting is fine and the story benefits from its setting, the fun adventure atmosphere that makes one nostalgic for adventure books set in the medieval/Renaissance period and the fun and tense (if a little easily foreseeable) climax. There is a less Harry Potter influence here compared to a few of the previous episodes. Best of all is the dialogue, which continues to be not too juvenile or complicated, but even more so there are some very funny lines here. The scream like a helpless maiden exchange was priceless, and one of my favourite ever lines from the frog prince is his insult in regard to Cassy's personality.

Closing thoughts: Concluding, good fun.

8/10.

'Law and Order: Special Victims Unit' "The Darkest Journey Home" (2019)

Opening thoughts: "The Darkest Journey Home" was watched with mixed expectations. It is one of those premises that is very 'Law and Order: Special Victims Unit', but it is one of those that has been done many times and can go either way. It has also been executed both ways of harrowing, emotional and tactful and unfortunately in the latter seasons predictable, bland and heavy handed with unsympathetic characters. Have seen both extremes in Season 21 for all the topics explored, too often the latter extreme.

While having flashes of the former, "The Darkest Journey Home" is too much of the latter. It does start off very well and has an excellent guest performance, but it is also full of issues story wise and the character writing for one crucial character was way off. It did have potential to be better than the previous episode but was actually worse and is sadly a strong representation of what was wrong with too much of Season 21. There are worse episodes of the season than "The Dark Journey Home", but it is one of the lesser ones.

Good things: Of course there are good things. Mariska Hargitay is steely and sympathetic and Olivia is thankfully not the character that she too often was in Seasons 17-20. The other acting standout is Ariel Winter, despite having serious problems with her character Winter's acting is excellent in my view and has the right amount of intensity and emotion. The chemistry between her and Hargitay is great.

Also thought that the opening scene was very promising and that the episode generally started off very strongly and intriguingly. The production values as ever have slickness and grit, with an intimacy without being claustrophobic. The music has presence when it's used but does so without being intrusive, some of it is quite haunting too. Carisi has settled very well in his new role on the other side of the law.

Bad things: However, too much of the story felt too slight for the running time and has nothing surprising or unique. Also thought that it was really lacking in tension and feels over-stretched due to the draggy pace and the flimsiness of the story. Really disliked the character writing for the victim, who is one of the most unsympathetic and most difficult to feel anything for victims of the season.

Furthermore, the dialogue is mundane at best and the chemistry is very disconnected, the large amount of change has unsettled the team dynamic. The rest of the regulars come over as bland and their roles underwritten, Jamie Gray Hyder is not registering still and this never really improved. The ending is rushed.

Closing thoughts: In summary, underwhelming.

5/10.

'Alfred Hitchcock Presents' "Dead Weight" (1959)

Opening thoughts: Did like the premise quite a lot, very Hitchcockian which was a joy for someone who considers Hitchcock one of her favourite directors. "Dead Weight" is the first of five 'Alfred Hitchcock Presents' directed by Stuart Rosenberg. As well as the third and last appearance in the series (after the classic "Breakdown" and very good "Together") of Joseph Cotten in a type of role that he was familiar with and played very well.

While not an 'Alfred Hitchcock Presents' classic, "Dead Weight" is a very good episode and one of the better ones of Season 5's mostly solid first half (where only two episodes disappointed). It is a very promising series debut for Rosenberg, one of his better episodes and better than most series debuts of directors who made more than one episode. It also shows how much Cotten excelled as the type of character he plays here.

Only two things weren't so good, and some may find them on the nit-picky side. While she is still good, Julie Adams in my view is underused.

The bigger problem is the twist, it didn't make much sense to me either and a longer amount of time was needed to explain it.

Good things: Cotten on the other hand is terrific, very ominous and it is chilling to watch both as a cad and when his character darkens. Adams is alluring and they work well together. It is very assuredly directed by Rosenberg, directing more tightly and more suspensefully than most series regular directors in their series debut episodes.

Production values are not lavish (not that that was expected), but they have nice moody style that can be suitably noir-ish. The theme music continues to be suitably devillish and the bookending amusingly ironic. There is a thought provoking script that doesn't hold back while also being fun. As well as an absorbing and unsettling story that has enough dark suspense.

Closing thoughts: Overall, very good.

8/10.

'The Ant and the Aardvark' "Science Friction" (1970)

Opening thoughts: Even the worst the Ant and the Aardvark cartoons didn't belong anywhere near the worst of DePatie-Freleng Enterprises' very interesting but also somewhat frustratingly uneven output, in what was one of the studio's better and deservedly most popular theatrical series alongside prime-Pink Panther and The Inspector (even they in retrospect were completely consistent either). Some Ant and the Aardvark cartoons are better than others but all are worth a look at least once.

'Science Friction' is not one of the series' best. That does not mean in any way that it is a bad cartoon, it's not. Actually think it is still a pretty good one, better than the present rating here, but there was room for improvement. The premise was actually one of the series' more intriguing ones, 'Science Friction' though could have done even more with it and up to this point of the series, it is one of the weakest. That's not even meant in a bad way, just that the best outings are very good to great.

Bad things: Like 'Ants in the Pantry', also from 1970, there is actually not an awful lot wrong with 'Science Friction'. A lot is done well and everything is present and correct. At the same time it did feel like something was missing. Despite the welcome presence of the zoologist, proving himself to be another worthy supporting/secondary character, it just needed a little more freshness and spark.

While most of the animation was a long way from bad, the opposite of that in fact, the drawing again could have had more finesse and looked less rushed-looking, my opinion in this regard of course.

Good things: However, the rich and varied use of colour helped make the abstract backgrounds more interesting as did the simple but never cheap-looking designs for the ant and the aardvark and the expressions and reactions for the aardvark. The music as ever is superb, from the opening note of the very memorable main theme it really puts you in a good mood. It works perfectly with the action but also would work well on its own.

The Ant and the Aardvark cartoons never failed to be funny, despite being nothing special on a story level and feeling it lacked freshness 'Science Friction' still delivered on the humour. Although the Ant and the Aardvark series always excelled in the physical and verbal comedy, it's the latter that has always shone more. There is one frequent kind of gag that can get a bit on the repetitious side but it has seldom been to unfunny effect and there have always been attempts to vary it. Two lines are especially great, both coming from the aardvark, "well this is what you call, sneaking for a snack" and "and he almost ruined my whole body!". Two great examples of a witticism and how to break the fourth wall.

While the ant is an always amusing character and the zoologist is worthy support, it is the aardvark, partly because he has the best lines, that steals the cartoon. Love the chemistry, as well as John Byner's ever terrific and very versatile voice acting.

Closing thoughts: Concluding, not bad by any stretch, the opposite, but could have been even better.

7/10.

'Law and Order: Special Victims Unit' "I'm Going to Make You a Star" (2019)

Opening thoughts: 'Law and Order: Special Victims Unit's' Season 21 is very like its previous season, in that it did have some good episodes but on the whole it didn't leave me impressed. It also introduced the character of Kat Tamin, who never really did it for me as a character nor did Jamie Gray Hyder's acting work in the role. For me she was one of the season's most persistent problems. Some may disagree with me here, and that's fine, but that's just my respectful and un-vitriolic opinion.

"I'm Going to Make You a Star" is a respectable if very uneven first episode to Season 21. It is not one of the best episodes of the season, nor is it one of the worst. Personally put it in the higher end of the in between category. There are better season openers of 'Special Victims Unit', as well as worse. Again, "I'm Going to Make You a Star" is one of the in betweeners. While not in raving about it or recommending it without hesitation mode, this is a long way from being a must avoid.

Am going to begin with mentioning the good. The photography is intimate but not claustrophobic. The music when used is not too over-emphatic and has a melancholic edge that is quite haunting. The direction is sympathetic enough without being leaden, while having enough momentum to make the drama sing in its atmosphere. There is a good deal of thought provoking writing.

There is a lot of change in "I'm Going to Make You a Star", including Tamin's introduction and Carisi in a different role, and it is handled a lot better than expected on the whole. Carisi's transition into his new role is a smooth one and like he was in it for ages. The regulars are all very good and Peter Gallagher brings a lot of authority to his role. Also effective is Ian McShane, the role is not subtle at all but McShane is genuinely unsettling.

Bad things: However, "I'm Going to Make You a Star" could have been a good deal better. On the whole, the story contains rather by the numbers execution of a pretty done to death premise, needed a lot more tension Also felt like there was too much packed in, a lot goes on and with not enough time to explore it properly. This would have been a lot better as a two parter.

Moreover, Tamin makes very little of a first impression, actually found her very bland and Hyder's acting lifeless. Barth's role didn't make sense to me, just didn't buy that someone of her calibre would represent someone so overtly guilty.

Closing thoughts: Respectable episode but wildly uneven and a long way from great.

6/10.