Taylor Tomlinson: Quarter-Life Crisis (2020) – Review, Summary (with Spoilers)
With Tomlinson avoiding joking about blackout drunk sex, there is something refreshing about her.
With Tomlinson avoiding joking about blackout drunk sex, there is something refreshing about her.
As Mr. Inbetween trims the fat and highlights what made the first season great, it finds the perfect balance between Oz gangster and family man.
Anne With An E proves itself to be a rare breed by maintaining its quality over three seasons, while still developing its characters and expanding its cast.
Part manic stand up special, as well as reflective documentary, Jenny Slate: Stage Fright gives you both the performer and the person who had to live life to write the jokes.
David Makes Man presents us with a coming of age story, featuring a young Black child, that often is restricted to indie movies which vie for Oscars.
Deon Cole’s Cole Hearted is the first special, in a long time, that is not only funny but quotable as hell.
Mo Gilligan: Momentum is unlike most comedy specials you may have seen before and makes Gilligan someone you have to keep a watch on.
In “Sticks & Stones” Chappelle reaches peak “I Do Not Give A F***” as he delves into Michael Jackson, the LGBTQ community, and more.
Kevin Hart’s Guide To Black History feels like a potentially classic edu-tainment program like what used to come out steadily in the 90s and early 00s.
Sharp Objects, once it gets into its groove, reminds you why mini-series make for the best method to do book adaptations.
In the first half of season 1, Jada Pinkett-Smith revives Red Table Talk and gives us the type of show you wish was in the headlines for more than sensationalized topics.
Vida for STARZ is perhaps the first show it has had, in a long time, which makes it a network worth subscribing to.
The Chi acts as a bridge between the 80s – 00s Black Renassiance to the modern one by reviving familiar stories, continuing ones that got cut short, as well as featuring characters who were seldom seen or heard.
Over the course of 18 characters, Anna Deavere Smith doesn’t just present a masterclass in acting but also understanding the various aspects of the school to prison pipeline.
The End of the F***ing World is undoubtedly Netflix’s first big hit of the year, and one of the few which may not be overhyped.
Big Mouth strangely finds a way to present the vulgarity of one of its few peers, South Park, alongside having the type of heart that the Disney Channel has recently afforded its shows.
The Bold Type is the perfect mold between FreeForm’s primary focus and that of its former identity, ABC Family. We get both FreeForm’s obsession with young, modelesque young adults while we get what ABC Family did best. Which is pushing the envelope, bring about diverse and intriguing stories, while also catering to that a teen…
After the still fairly recent NWA movie, Straight Outta Compton, you might think the world was done putting the spotlight on Dr. Dre. However, there is always more to a story than even a two and a half hour biopic can cover. Especially one you are sharing with 4 other men. For it was missing…
What Girl Meets World started for the Disney Channel, Andi Mack picks up the baton. In its first season, it leads Disney away from the overtly silly characters and makes things more real. Topics which perhaps may have been taboo or for one-off episodes like discovering one’s homosexuality or unwed, possibly teenaged, pregnancy are made…
Being politically correct, or fearing backlash, has changed the output of comedy. This can especially be said for network TV for the Archie Bunker types could never get a green light nowadays. However, The Carmichael Show seems to dance on that line. The line of which what an overly sensitive culture will allow for comedy…
The overall goal of Wherever I Look is to fill in that space between the average fan and critic and advise you on what’s worth experiencing.