Alligator Boots was a pilot episode for a puppet-based variety show, similar to The Muppet Show, created by Ye in collaboration with Rhymefest and the creators of Crank Yankers - Jimmy Kimmel, Adam Carolla, and Daniel Kellison. The show was developed for Comedy Central, but since they did not pick up the series, the pilot never officially aired.
I have been a long-time fan of the Marvel Cinematic Universe ever since it made its official debut through 2008's absolutely excellent "Iron Man". The run continued, as did my associated fandom of the films, through the utterly EPIC 2019 finale "Avengers: Endgame".
Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.
Tom Clancy's Without Remorse has everything a movie director from the 80’s could wish.
The horror franchise that had moviegoers watching behind their fingers but on the edge of their seats. The Conjuring quartet released its final installment this year, and it did not disappoint.
Michael Shanks’ Together is a queasy, hilarious, and surprisingly heartfelt body-horror trip that fuses love and terror in the most literal sense. Starring real-life couple Dave Franco and Alison Brie, this midnight gem twists Plato’s soulmate myth into a gory, darkly funny tale of codependency, cults, and chainsaws — equal parts romance and nightmare.
Naked Gun: The New Police Squad Team delivers exactly what fans want: relentless, expertly crafted chaos that honors the original while cranking everything up to eleven. The gags fire at machine-gun pace—sight jokes layered with wordplay and physical comedy so outrageous it borders on art. It's gleefully self-aware without being cynical, silly without being stupid, and maintains that perfect ZAZ-style balance of treating absolute absurdity with complete seriousness. The film knows exactly what it is: a comedy missile designed for maximum laughs, and it hits its target with surgical precision. Pure, unhinged entertainment that proves spoof comedy still has plenty of life left in it.
