Posts Tagged Netflix
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Much like last year, this television season was a tumultuous one, let’s get that straight. With shows being delayed for various reasons and producers deciding how they wanted to handle the Pandemic (whether to incorporate it entirely, utilize it in an episode or two and then move on, acknowledge it but jump past it, or completely ignore it), it wasn’t guaranteed that your favorite shows would be back this year, much less be as high of quality as they have in the past. Once November rolled around, though, and stations began rolling out their new shows and seasons, most of that anxiety fell to the wayside, eventually returning are televisions back to relative normal (with the exception of a few more breaks between episodes than usual for most shows).
Now it’s that time again to present some awards to the shows that kept us entertained through the sustained pandemic in my annual TV Awards! (See previous Awards – 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013).
The Emmy’s air this Sunday, as usual, to kick off the new network season, so over the next few days I’ll grant awards, good and bad, to twenty-five different series, compiling several actors, scenes and moments that resonated with me in some form or another over the last twelve months.
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I wasn’t sure what to expect when I first saw the trailers for The LEGO Movie. Up until Phil Lord and Christopher Miller crafted a beautifully referential work where everything was awesome, the LEGO movie franchise had been relegated to straight-to-video and cable movies and shows that were good-natured fun for the kids but didn’t have much pop behind them. Lord and Miller followed this up as producers of several films, including the Oscar-winning Spider-Man: Into the Spider-Verse, in which Lord was also a writer. With these, and many other films in the duo’s prolific list of film and television credits, they have mostly been in control of the narrative. With Netflix’s The Mitchells vs. the Machines, producers Lord and Miller take a bit of a back seat, providing the film with a good bit of clout, but ultimately handing over the majority of creative control to relative newcomers Michael Rianda and Jeff Rowe.Read Full Review