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The D&D comes up again later in the episode, and though it’s relatively inconspicuous, it feels representative of the general humor the show is desperately trying to inject these characters with. It’s not charming or endearing; these little comedic bits feel so out of place precisely because they’re filled with cultural references that are unnatural and tacked on. There are shows that are funny and shows that are intelligent and witty; Suits LA is neither while secretly deluding itself into thinking that it is both.

Sure, some of the funniest and most compelling moments in the Housewives canon involve these dark figures (Shannon Beador lying on her “grave” as David reads her obituary without any trace of a soul in his eyes immediately comes to mind), but just once it would be great to look at a couple and truly think, “Wow, I can’t wait to get married one day.” Or, I don’t know, at least hear a wife tell her husband she loves him without the possibility of hearing a response like, “I know … and love is important,” like Brit’s hubby said to her. But hey, it’s not like we rely on Bravo as an exemplar of healthy relationships. The whole episode is littered with uncomfortable relationship moments as the dust settles on the premiere, and we dig beneath the surface. It narrowly escaped a two-star rating only because it lays the foundation for so much of the forth-coming drama.

In simpler terms,

In this week’s episode of “1923,” titled “Journey the Rivers of Iron,” we find the Dutton family struggling but showing signs of recovery as spring approaches. The family has gone through hard times, but it seems they may soon be ready to strike back. Zane is recovering, and Spencer is nearly on his way to the ranch. Lizzie is pregnant, and Alex is making her way there too. If they can make it through the remaining winter days, they might just have a chance at long-term survival.

“The Electric State begs for playfulness, dynamism, some sense of dash and charm. Honestly … it could use the comic expertise of the Joe and Anthony Russo of 20 years ago. It’s an action fantasy built on silliness. Without a light touch, it becomes actively annoying […] You’d think something like this would be somewhat funny. And while there are wisecracks and blandly humorous asides here and there (most of them delivered by Pratt, who to his credit does give it his discount Harrison Ford best), the Russos mostly play it straight. So straight, in fact, that they seem afraid of the whole thing becoming too much of a comedy. Are they running from their former selves? Did they buy into criticisms of the MCU as being too jokey? Maybe it’s just that they’ve got vague metaphors about intolerance and technological repression and mass-hypnosis to deliver, and a brutal robot slaughter to depict, and weak tears to jerk.” —Bilge Ebiri, Vulture

Joe Reid: Nate, congratulations on another season in the Oscar trenches. It’s always such a roller coaster, and if this season didn’t have it all — beginning with a wide-open field, disrupted by a controversy that actually seemed to have some impact, and ending with a big major-category upset at the last second — at least it had a lot. With a couple weeks of distance, how are you feeling about it? Any words of wisdom to impart to me as I prepare to take the Gold Rush handoff for Emmys season?

The confirmation for season three arrives ahead of the December release of season two, which was recently completed in Vancouver. The initial season of Percy Jackson and the Olympians, featuring Walker Scobell, Leah Sava Jeffries, and Aryan Simhadri, premiered in 2023, but it wasn’t until around a month following the season-two finale that we received word of another season. Rick Riordan, overjoyed by the earlier greenlight for season three, considered it a “strong indication of Disney’s commitment,” expressing that it reflects the fervor with which fans have welcomed the series. In essence, he’s encouraging everyone to keep creating those fan edits!

This episode presents a significant acting challenge, which I think is crucial on Drag Race because it’s a skill the contestants might actually use in real life. It helps to identify who can remember lines, occupy space, follow directions, and deliver punchlines effectively. However, these challenges can be tough to watch, as I often find myself haunted by memories of “Breastworld.” This episode is somewhat typical, offering a mix of pain and insight. The problem is that the information provided isn’t particularly thrilling. With minimal plot progression and an acting challenge, this episode is the least exciting of the season so far, and after last week’s excitement, it’s a letdown.

As a passionate fan of The Bachelorette franchise, I found myself reflecting on its journey in 2023. That was the year when Mike Fleiss, the creator, decided to part ways after an investigation into allegations of racial discrimination. Following this event, co-executive producers Keely Booth and Michael Margolis, who is my wife Freeland, chose to step down. After reading about these resignations in Deadline’s February report, I find myself wondering if the studio might still use that iconic line from The Bachelor, “Can I walk you out?”, as they bid farewell to this dynamic duo. I reached out to ABC and producer Warner Bros TV for their take on this turn of events.

Poor Coach Ben, a recurring sentiment among Yellowjackets viewers, has endured numerous hardships throughout the series’ three seasons. On the first day after their plane to nationals crashed in the Canadian wilderness, his player Misty Quigley (Samantha Hanratty) was forced to amputate Ben’s leg with an ax. In season two, overwhelmed by his longing for his boyfriend Paul back home and ostracized for his refusal to partake in cannibalism, he contemplated suicide. In season three, he was accused (though possibly falsely) of setting the fire that destroyed their cabin during the winter. Despite being the only adult among them, he holds the least authority in this chaotic power structure.

The introductory credit sequence of “Dope Thief” emphasizes a recurring theme: A solitary, hooded adolescent dashes through the rapidly altering streets of Philadelphia on a bicycle. His speed is swift and his stride unwavering, yet the environment around him undergoes rapid transformation. Potholes swap places in the twinkling of an eye, shoes mysteriously appear on overhead power lines, gas prices surge erratically on a Gas Station sign. The streets are in perpetual, tumultuous flux, and Ray Driscoll is pedaling as if propelled by the wind, not just fleeing his past but also outpacing a relentless present that’s hurtling into the future more swiftly than he can pedal.