There’s a something of a ‘Dirtbag Renaissance’ in cable TV these days. The idea that TV shows have to be anchored by ‘likable characters’ has almost been turned on it’s head. “Always Sunny” is a show centered on a group of characters that are less Danny Tanner and more…well, more like the actual Bob Saget.
It will also soon replace The Adventures of Ozzie and Harriet, possibly the most milquetoast show in TV history, as the longest live-action comedy in television history. Eastbound and Down. The League. Shameless. The list goes on and on. The days of TV being dominated by feel-good TGIF lineups are barely visible in our cultural rear view mirror.
IFC’s Brockmier, which stars Hank Azaria as the eponymous baseball announcer, has the potential to be another milestone in this revolution. Even if you don’t remember his face, you’ve heard Azaria’s voice a million times during his tenure as a cast member on the Simpsons where he plays Apu, Chief Wiggum and Moe the bartender, among others. He’s had a few forays into live-action tv series, with limited success, and his most memorable film roles were scene stealing character-roles in The Birdcage and Along Came Polly.*
Brockmier, however, feels like the perfect vehicle for his unique skill set. The character, originally created for a Funny or Die sketch, lets him flex his considerable comedy and drama muscles, managing to create a character that is, at once, pitiable, funny and weirdly inspiring. Though it’s a show that revolves around baseball, it’s not really a show about baseball. Hearing Azaria deliver lines like, “He hits the ball like he’s trying to wake it up from a little nap,” and “Thanks for joining us on free cold medicine night,” will make you smile even if the last baseball game you went to ended with your mom handing out orange slices to you and your friends.
The show revolves around the once beloved sportscaster trying to claw his way back to relevancy after an on-air breakdown causes him to lose his job in major league baseball. The impetus for the breakdown, catching his cheating wife, is a bit tired (see also: Along Came Polly (woah, callback!), Old School, Love Actually, etc. etc.), but Azaria is a superb actor and plays a broken man as well as anyone in recent memory. Also nice it that the show gives his wife (Katie Finneran) a chance to somewhat round out her character and utilizes her more than just as a plot device (see also: Crashing. No, really. Also watch Crashing. It’s dope).
After a 10-year stint calling cockfights in the Philippines, Brockmier returns to the states to take a gig as the announcer for a minor league team for a team in the fictional and very depressing Morristown, Pennsylvania. Amanda Peet is perfect as the idealistic (but bit of a mess) team owner, and eventual love interest. Together, Azaria and Peet have good chemistry and their sloppy relationship comes together and breathes in a pretty organic way. You can tell they like each other and, more importantly, like that they like the material.
The supporting casts is where the show really shines. Tyrel Jackson Williams as Brockmire’s young producer, Molly Ephraim as the town bartender, Ron Perkins as a flustered abortion doctor, David Walton as a sleazy oil executive, Toby Huss as townsfolk ‘Johnny the Hat’ and Hemky Madera as an over-the-hill ex-major leaguer, constantly provide the biggest laughs and, often, some of the realest moments.
Real baseball personalities also show up to deliver some surprisingly funny performances like, Joe Buck and…who am I kidding? You’ve never heard of any of these people, but trust me when I say if you did know who they were, their cameos would be a nice little surprise.
Creator Joel Church-Cooper, who wrote five episodes in the first season, delivers a fully realized world and the episodes often take a strong point of view, though somewhat unevenly, on a variety of topics. Social media, celebrity sex tapes, the slow death of Rust Belt communities, fracking, racist mascots, hipsters…the show takes wide aim and hits much more often than it misses. The balance of comedy and dark moments is also refreshing. The moments when Brockmire comes crashing back to earth just when life seems on the upswing are touching without being melodramatic.
In other words, this is not a ‘dramedy,’ which, much like brunch, is a combination of two things that a certain type of person loves but most people find tiresome and would rather keep separate. This is a comedy that just happens not to tip-toe around heavy issues. Yes, there is a short abortion story arc, which is admittedly heavy. But the line, “You snorted my abortion!” is in one of the episodes, so that should tell you something about the show’s overall tone.
In all, IFC has made a show that is a surprisingly fantastic watch that ends on a compelling, though a bit predictable, note. Despite dwindling viewership, it has been green lit for a second season, so binge it this weekend and hope you can remember IFC is still a thing by the time the next season rolls around.
* Other than Azaria as Claude and Philip Seymour Hoffman as the sharting, rain-making, Sandy Lyle, can you honestly remember anything else about “Along Came Polly”? That’s weird, right? I feel like I’ve seen it in enough 15 minute chunks on TBS to amount to three whole viewings and I can’t recall anything else about it.

TV
Top Ten Times Willow was the Worst

With all the discourse surrounding the much anticipated Buffy the Vampire Slayer reboot, not
to mention Sarah Michelle Gellar’s and Alyson Hannigan’s joint interview on the Today show
discussing the show’s legacy! Many fans have revised their opinions on some of the
original show’s titular characters. One such character is Hannigan’s own, Willow Rosenberg. Once seen as the shy, lovable, nerdy sidekick, now her image is less than rosy. Manipulative? Petty? And maybe worst of all: a bad friend.
10. Easing us in with a somewhat annoying one. In Season 6, Episode 11, ‘Gone’, it is
morning in the Summers household. After throwing out most of Willow’s magical stash as
the fallen wiccan tries to go cold turkey with her magic addiction (more on that later). Buffy
is post-traumatic-resurrection trying to keep it all together after a night of hot,
passionate…fighting with a vampire. Willow appears to be living in the Summers’ home rent-free and is cooking Dawn (Michelle Trachtenberg) an apology omelette. She is making a
mess while cooking, as one does, but leaves her traumatised friend to clean up after her! Poor
Buffy (you’ll hear that a lot) was just lambasting herself for not noticing Willow’s self-
inflicted downfall. Buffy is literally chopping off her own hair in distress, and no one notices!
The audacity!
9. In Season 3, Episode 2, ‘Dead Man’s Party’, Buffy has returned to Sunnydale after her
secondment in LA. After a traumatic year, Buffy clearly just wants to hang out with her
friends like a regular teenager. Willow agrees to meet Buffy in town to re-bond over
shopping. Yes, Willow did say earlier in the episode that she had school work that she would
have to rearrange, which is fair enough, but at least cancel instead of leaving poor Buffy
(see?) sitting alone waiting for you!

8. Anya (Emma Caulfield), the ex-vengeance demon, was treated pretty coolly by the
Scoobies. Willow was clearly jealous of Anya’s relationship with Xander (Nicholas
Brendon), taking Xander’s attention from her. Throughout the final seasons, Willow treated
Anya like an annoyance at best and undermined her with cruel remarks at worst. In no
episode was this more obvious than Season 5, Episode 11, ‘Triangle’. Willow is brazenly
stealing spell ingredients from Anya’s and Giles’s (her friends) small business. Willow even
says herself she is not “stealing”, she is “…just taking things without paying for them. In what
twisted dictionary is that stealing?”.
Willow comes off as a bully throughout this episode, cruelly mimicking Anya and trying to
make Xander choose between his childhood best friend and his girlfriend. I want to mention
that not only is Willow gay, but has her own girlfriend at this point. So her possessiveness of
Xander comes off as particularly childish.
7. Willow’s irresponsibility with magic becomes a large feature of the series. Even her most
ardent fans can’t explain what she was thinking in Season 5, Episode 17, ‘Forever’ when she
draws Dawn’s attention to a dark spell book. This book encourages 15-year-old Dawn to raise
her mother from the dead. Culminating in what is, in my opinion, one of the creepiest scenes
in Buffy: the shadow of zombie Joyce walking past Summer’s curtained window, returning
home. Presumably, Willow knew the dangers but was fine with a child dabbling in dark
magic.
6. Back to Season 3, Episode 2 ‘Dead Man’s Party’. After not being satisfied standing Buffy
up, she also wants to rant at a clearly distressed Buffy that Willow’s now got a boyfriend and is
practicing witchcraft, AND had no one to talk to about it when Buffy ran away. Bear in mind
that Buffy had to stab her boyfriend through the heart and send him to Hell after months of
his evil alter ego psychologically torturing her. But Willow needs her gal pal.
Very similar to Season 7, Episode 19 ‘Empty Places’ when Willow joined the group pile on,
blaming poor Buffy (and again) for everything that’s gone wrong. And then throwing Buffy
out of her own house (you know the one she pays for?)! In the words of one Buffy fan ‘Y’all
hate her so much, why did you resurrect her?’
5. Going to my personal favourite season, Season 6 (I’m not arguing about it), Episode 10
‘Wrecked’. Willow is caught in the throes of magic addiction. Within the Buffy universe,
magic was a metaphor for lesbian sex, but the metaphor changes in Season 6 to substance
abuse. Willow takes Dawn to what is essentially a magical drug den and leaves her waiting
there for over an hour. Then, high on magic, he proceeds to not take Dawn home, instead
offering to teleport her back home. Willow then gets behind the wheel of a car with Dawn
while high and crashes the car.
Buffy was known to tackle social issues, and its handling of substance abuse was surprisingly
Realistic, mainly due to Alyson Hannigan’s amazing acting!

4. In Season 4, Episode 6, ‘Wild at Heart,’ we get to see the true darkness that appears to live
inside Willow. After being cheated on by her long-time boyfriend Oz (Seth Green), Willow
takes it upon herself to hex both Oz and his cheating partner, Veruca. She casts ‘in the name
of Hell’ wanting to break both their hearts and find no peace or solace…harsh. To be fair to
her, she does stop herself, but Willow, I appreciate you got cheated on, but we can’t just go
about hexing people.
3. And now to one of the best episodes ever! Season 6, Episode 8 ‘Tabula Rasa’ delivers
some serious comic gold, but the premise of the episode is rather disturbing. Despite
promising Tara (Amber Benson), her long-term partner, that she would give up magic for a
week, Willow casts a spell. Tara is understandably upset that the woman she loves cast a
memory spell on her to make her forget their arguments. Willow’s answer to this is to cast yet
another memory spell to make Tara forget the first memory spell (stay with me). Willow also tries to cast a spell on Buffy (you know her friend suffering from depression) to make her forget being in Heaven. As is a staple in the Buffy universe, the spell goes awry, making the whole gang forget who they are, leading to hilarious hijinks.
Yes, it’s one of the funniest Buffy episodes, but if the spell hadn’t accidentally been broken, then they all could have been stuck like that.
2. For such a trailblazing relationship, Willow and Tara have a lot of problems when
scrutinised. Almost everything stems from Willow’s overuse of magic. The relationship
gets darker the more you examine it. As Tara said in ‘Tabula Rasa’, Willow violated her
mind. Some fans have pointed out; not only was the flower Willow used to cast the forgetting
spell (Season 6, Episode 6) is in an oddly convenient place in their bedroom. This begs the
question: how many times has Willow cast these spells? Fans have also pointed out that if
Tara had sex with Willow after any spell was cast on her, she wouldn’t be consenting.
1. As a surprise to literally no one, the number one time Willow was a bad friend on top of
being completely irresponsible, resurrecting one Miss Buffy Summers. Now, many may
argue that after the finale of Season 5, ‘The Gift’, it would be understandable that Willow
would think Buffy was trapped in some Hell dimension.
Ok, let’s stay with that logic. Willow is aware that resurrection spells are extremely volatile,
presumably why the Scoobies have been planning it for weeks. Xander voices it perfectly, in
Season 6, Episode 1 ‘Bargaining Pt 1’, Buffy may try to “eat our brains”. Willow even
comments (Season 6, Episode 3) on how messed up Angel was when he came back from Hell.
Willow could have caused an emotional and physical catastrophe for them all by bringing
back a ‘wrong’ Buffy who still possesses super-strength and super-speed. Spike (James
Marsters) declares in the same episode that he shut down any idea Willow had about bringing
Buffy, back in case it went so badly, they would have to “get rid of what came back”. It’s bad
when the soulless vampire is more mature than you, isn’t it?

Willow Rosenberg is indeed a very complex character played expertly by Alyson Hannigan. Willow has her flaws, but it is those flaws that make her such a compelling character. I, for one, am very interested to see what they do with the character in the reboot.
Movie
Review: From the World of John Wick: Ballerina

From the World of John Wick: Ballerina is a stylish and brutal addition to the ever-expanding John Wick universe. Set between the explosive events of John Wick: Chapter 3 – Parabellum and Chapter 4, the film seamlessly slots into the timeline without feeling like a stopgap. Instead, it builds something fresh, introducing a new protagonist on a vengeful journey of her own.
Ana de Armas delivers a fierce and emotionally layered performance as Eve Macarro, a ballerina-trained assassin seeking justice for her family. While her motivations mirror Wick’s, the film avoids repetition by diving deeper into the Ruska Roma and High Table lore. It’s a testament to the world-building that this spin-off doesn’t just feel justified—it feels essential.
As expected, the fight choreography is at its peak—gritty, inventive, and ruthlessly beautiful. Every action set-piece hits with a kinetic energy that’s both thrilling and brutal. This franchise continues to prove that when it comes to stunt work and direction, it’s in a league of its own. Can the John Wick series really disappoint? So far, no.
The story is tight, the pacing brisk, and each supporting performance, especially the cameos from familiar faces, adds weight and continuity to the narrative. Ballerina proves that this universe is more than just one man’s war; it’s a whole underworld waiting to be explored.
With compelling characters, rich mythology, and jaw-dropping action, Ballerina is a strong 9/10—one of the best spin-offs in recent memory.
Movie
The Top 5 Movies of James Gunn — A Symphony of Heart, Humor, and Heroism

Few directors in the modern cinematic landscape have reshaped genre filmmaking quite like James Gunn. Known for blending irreverent humor with profound emotional depth, Gunn has left an indelible mark on both indie horror and superhero franchises. As he transitions into leading DC Studios, it’s the perfect time to revisit his five finest works—each a statement of his unique voice in an often formulaic industry.

1. Guardians of the Galaxy Vol. 2 (2017)
Rating: 9.5/10
A rare sequel that deepens its characters rather than merely expanding its universe, Vol. 2 is Gunn at his most personal. The film wrestles with the pain of abandonment, the search for belonging, and the complexity of father-son dynamics—cloaked in vibrant visuals and a killer soundtrack. Yondu’s “He may have been your father, boy, but he wasn’t your daddy” line alone secures its legacy.

2. The Suicide Squad (2021)
Rating: 9/10
Chaotic, gory, and gleefully anarchic, The Suicide Squad is a wild remix of the superhero genre. Gunn injects pathos into misfits like Ratcatcher 2 and Polka-Dot Man, proving his unmatched talent for humanizing the bizarre. It’s a subversive spectacle that doubles as an anti-war allegory—with a giant alien starfish to boot.

3. Guardians of the Galaxy (2014)
Rating: 8.8/10
The film that redefined Marvel’s creative boundaries, Guardians took a gang of obscure comic-book characters and turned them into pop culture icons. With its perfect balance of humor, heart, and ‘70s mixtape vibes, it’s the origin story of Gunn’s mainstream rise and one of the MCU’s most beloved entries.

4. Slither (2006)
Rating: 8/10
Before superheroes and intergalactic misfits, Gunn gave us Slither—a grotesque and hilarious horror-comedy with serious B-movie charm. This film showcases his roots: practical effects, quotable dialogue, and an affection for the genre’s oddballs. It’s disgusting, delightful, and distinctly Gunn.

5. Guardians of the Galaxy Vol. 3 (2023)
Rating: 8/10
An emotionally charged finale to the Guardians trilogy, *Vol