Trailer Park Boys: What in the F@$K?

“Trailer Park Boys” is one of the dumbest comedy shows you will ever see, but it has a tremendous amount of heart and creativity when it places Ricky, Julian, and Bubbles in the most greasy situations possible.

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The Walking Dead: After THOSE Deaths

Finally, the premiere of Season 7 of “The Walking Dead” aired and Negan’s victims were revealed; Glenn and Abraham died gruesomely as Negan smashed their heads to a pulp with Lucille, his barbwire-wrapped bat. Initially, Abraham seemed to be the only victim, but Daryl attacks Negan and earns Glenn’s unexpected, horrible death—similar to the comic, Glenn’s eye pops out of his skull and he calls to Maggie despite the internal hemorrhaging. Harrowing stuff, truly; I thought only “Game of Thrones” was capable of such torture!

Westworld: A Robotic, Violent Odyssey

The buzz around “Westworld” has reached critical mass and I’m another of its autonomous followers. The show is phenomenal on multiple levels; the effects and costuming are absolutely stunning and prove that a show can transition between Western and Sci-Fi genres with ease. The acting is also strong for the most part. However, I have serious concerns about the show’s pacing and characters. To be clear, the show is a magnificent spectacle, but its content does not seem to reach the same heights as its visuals.

The Night Of: A Realistic, Lenient Story of American Racism

If you haven’t seen “The Night Of,” HBO’s remake of the BBC series “Criminal Justice,” go watch it now—it’s incredibly written, casted, acted, and directed. The realism of the show is so intense and believable that it brings about some level of physical anxiety and discomfort. As an empathetic writer, I truly felt for Nasir “Naz”, played by Riz Ahmed, as he is wrongly accused of murder and slowly evolves into an actual criminal while waiting in Riker’s Island without bail for his rigged, bureaucratic trial. However, in the end, its critique of American racism is undercut by the use of another character who receives the fate that seemed reserved for Naz throughout all eight hours of the story.The beginning of the series is stronger than the ending, but racism towards Muslim-Americans is ever-present.

Mr. Robot (Season 1): A Manifesto of Modern Angst

Like many new viewers of Sam Esmail’s “Mr. Robot” television series, I’d never heard of the USA Network’s hacker phenomenon until it ran away with multiple Golden Globes in 2015, including Best Television Series – Drama. I had read some highly positive reviews of the new series, but the name was off-putting to me and, I found out, intentionally so. The title harkens back to a different time in television and the world at large. “Mr. Robot” sounds like a Hanna-Barbera cartoon, but the dark intensity of the show unveils a deep analysis of modern societal angst.