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I bailed halfway through episode two. For an action spin-off, Dark Wolf moves at a crawl, with long, melodramatic beats that smother momentum. Taylor Kitsch does solid work, and the firefights look sharp, but the show never quite gels: the plotting feels murky, the stakes oddly abstract, and the "bro-code" posturing keeps replacing character depth. I kept waiting for a gear change that never arrived.

Having seen other reactions later, I can see why some viewers stick with it-critics note the action ramps up and fans say it's more entertaining than The Terminal List in places-but the early pacing and tone lost me. If you're here for tight, propulsive storytelling, this may test your patience.

Blitz promises a gripping wartime drama, but instead delivers a surprisingly meandering and unfocused film. Marketed as a story about Londoners during the WWII bombings, it barely touches on the Blitz itself. Instead, it drifts through a series of underdeveloped subplots that lack emotional impact or narrative cohesion.

The film's strengths lie in its visuals-London is beautifully captured, and the production design is first-rate. Saoirse Ronan gives a committed performance, and McQueen's signature style is evident. Yet none of this can salvage a script that feels clunky, episodic, and frustratingly superficial.

Themes of race, class, and resilience are introduced, but never properly explored. Characters appear and disappear without clear purpose, and the central storyline-a boy's journey home and his mother's search for him-lacks the urgency or depth to hold the film together.

Ultimately, Blitz is a film that looks impressive but feels hollow. It's hard to believe such a weak script passed through so many hands without serious revision. With so much potential and talent involved, this should have been far more powerful.

Having watched all seven episodes of Hijack-despite mounting frustration- I'm left wondering how a series with such a gripping premise and a lead like Idris Elba could miss the runway so completely. The show is pitched as a real-time thriller aboard a hijacked flight, but what unfolds is a painfully contrived and implausible mess that strains belief at every turn.

The script is riddled with gaps, lazy exposition, and dialogue that feels both unnatural and uninspired. Characters behave in ways that defy logic-not just in moments of crisis, but throughout the entire plot. The hijackers themselves are utterly unconvincing: from an elderly man with zero menace, to a soft-spoken woman who'd be more at home in a nursery than holding hostages at gunpoint. The supposed ringleader has all the gravitas of an ice cream van driver-hardly the stuff of terror.

Off the plane, things fare no better. The scenes involving law enforcement and government officials descend into parody, with clunky, repetitive exchanges that offer no dramatic weight or realism. Each episode throws in increasingly far-fetched twists as if the writers were frantically raiding a bargain bin of thriller clichés-resulting in a plot that nosedives into nonsense.

The show's desperate attempts at suspense are undercut by its own incoherence, and while Elba does his best to anchor the chaos, even he can't save this ill-conceived flight path. The finale's resolution, involving stock manipulation and a last-minute cockpit scramble, felt more like a parody of action TV than a satisfying conclusion.

Hijack is not a taut thriller-it's an exhausting exercise in suspension of disbelief. We stayed the course only to find there was no real payoff. A wasted opportunity.