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Reviewing "Hannibal" the show as "the best show you never watched"

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Reviewing "Hannibal" the show as "the best show you never watched"

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Find 3 reviews for television shows and post links. Then, summarize the criteria that was used in the reviews to evaluate a television show.

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https://www.youtube.com/watch?v=6aq9epwmMKo
https://nerdist.com/daft-punk-discovery/
https://www.allmusic.com/album/discovery-mw0000119560

In these reviews the album is judged based off of its innovation of genre, cultural footprint, how the tracks flow together, and its production: vocal effects and instrumentation.

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Reviewing "Inside Out" as the best Pixar movie 

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Reviewing "Inside Out" as the best Pixar movie 

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goo.gl/NaLWbY

Review for "Three Billboards Outside Ebbing Missouri", effective because it addresses arguments against the movie's popularity

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Review 1: IGN
http://www.ign.com/articles/2016/05/28/overwatch-review
Review 2: YouTube
https://www.youtube.com/watch?v=JWPFRVUpvIA
Review 3: Metacritic
http://www.metacritic.com/game/playstation-4/overwatch/critic-reviews

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Criteria is simple, it is structured into a few basic categories of story, presentation, gameplay, and finally verdict. It's IGN's standard blueprint for reviewing games. They also make real world connections to other pop culture references, in the Last of Us' case, being compared to "The Road," starring Viggo Mortensen. Flaws and strengths are listed as well as being a platform exclusive, is compared to other phenomenal titles on the system.

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The Last of Us is a near-perfect analog for The Road, a literary masterpiece written by Cormac McCarthy. Both present a hopeless, post-apocalyptic situation navigated by two characters - an adult and a child - with nothing but absolute despair surrounding them. Like The Road, The Last of Us is perpetually dangerous and unpredictable, and like The Road, what happened to get society to a point of rapid decay isn't the focus. It's the story of the characters at hand, and those characters alone, at the center of both plots. The beauty of The Last of Us when compared to The Road, however, is that it's fully interactive, complete with all of the vulnerability, uncertainty and perpetual insecurity such a situation inherently provides.

The Last of Us seamlessly intertwines satisfying, choice-based gameplay with a stellar narrative. It never slows down, it never lets up, and frankly, it never disappoints. It's PlayStation 3's best exclusive, and the entire experience, from start to finish, is remarkable. I lost myself in Naughty Dog's vision of a pandemic-ridden United States, in the characters that populate this unfortunate wasteland, and in their individual stories. The 17 hours I spent playing through the campaign are among the most memorable I've ever spent with a game.

Players are cast in the role of Joel, a grizzled and tired survivor stuck in a cycle any person could imagine finding oneself in two decades after the collapse of society. He takes odd jobs, acquires food, clothing, and shelter, and repeats the process endlessly, a process that only gets more arduous and desperate as time goes on. Joel does what's necessary to stay alive, and in the ruined United States he travels around, his survival often means someone else's untimely death.

Occasionally haunted by his past but living in his dystopian present, Joel is surprisingly easy to root for. In many ways, he's strangely relatable. He retains shreds of his humanity as best he can, considering the extraordinary circumstances he finds himself in. He has a sharpness to him, but a tenderness, too, which he occasionally displays to his partner, a woman named Tess. In the time it took me to beat The Last of Us, I came to care about Joel, and I became invested in his story, and the stories of those he meets along the way.

The Last of Us takes place in 2033, so the regular world Joel harkens back to on occasion is one you and I understand. It's fascinating to think about how he's evolved since the world crumbled around him, and even if he does what's necessary to stay alive - including stealing and murdering - it's hard to fault him for it. In fact, one of the great ironies of The Last of Us is that you'll be pulling for him no matter how dark things get, or how violent his actions are. He does what's required. Joel knows it's either him or them. There's no gray area. Joel can be cold and ruthless, but those around him have the propensity to be far worse.

As riveting as Joel is, he isn't the only character of consequence in The Last of Us. Indeed, calling him the main character is true only to an extent, because it's his companion, a young girl named Ellie, who truly steals the show. Joel makes a business arrangement early in the adventure to help transport Ellie across what remains of the United States, a wasteland marked with boundless wildlife alongside cities and towns ruthlessly reclaimed by nature. From there on out, the two are virtually inseparable, even if they are at first skeptical of one another, forced together by circumstances in a world where trust and faith are in extremely short supply.

Joel and Ellie develop a sort of dysfunctional father-daughter relationship as their collective experiences bind them, and rooting for Ellie in particular is commonplace in The Last of Us. Her success means the player is successful, and her hardened exterior is the perfect complement to her complete ignorance of the world before it was destroyed. Ellie was born after the collapse, and as such, she's full of questions and wonder, often communicated through the many contextual conversations she and Joel share. She'll pick through records at a music store, become fascinated with wildlife she's never seen before, and ask a million questions about the past. You watch her learn, grow, and gain meaning. It's impossible not to become attached to her.

The interplay between Joel and Ellie, as well as the other characters you meet on your adventure, is one of the great highlights in The Last of Us. Voice acting is not only consistently superb, but the game's graphical beauty makes the events of The Last of Us overflow with realism. Everything that happens is immediately more memorable, more powerful, and more poignant because your surroundings are so believable. Forests, fields and wooded trails are overgrown, dense, and lush. Abandoned villages and metropolises alike are eerie, silent, and crumbling. Each environment is unique, thoughtfully created, and bursting with little details, including notes, letters, voice recorders and more that tell ancillary stories of survivors you rarely ever meet in person. The game took me so long to beat because I was obsessed with seeing every inch of it. The Last of Us demands exploration, not only to scour for needed supplies, but to satisfy your curiosity.

The Last of Us is undoubtedly pretty to look at, but that beauty is often overshadowed by imminent peril. Joel and Ellie will confront enemies in all of the various locations they visit, and these battles represent the other side of what makes The Last of Us shine. Combat is tense and nerve-racking. Fighting is as emotionally taxing as it is physically dangerous, because the people Joel fights are, like him, just normal folks trying to survive. In a world where everyone has a singular motivation to keep breathing for one more day, it's hard to judge even the harshest remnants of humanity you encounter.

Stealthily killing entire rooms of enemies is incredibly satisfying, so much so that when you blow your cover, it's hard not to feel a sense of disappointment (especially when one of your companions occasionally fires a gun or walks in front of an enemy, which you can't control). Holding down R2 while crouching lets Joel listen carefully to his surroundings, giving him a glimpse of enemy locations in his direct vicinity and an edge in staying away from danger. Some players may consider this a bit cheap, but I'd merely call it gamey. Just like the L3 prompts that tell you where to look and hints that appear if the game determines you've been stuck in an area too long (all of which can be turned off), Joel's listening skill can simply be ignored if you feel like it doesn't fit. But rest assured, it's very helpful, especially later in your quest.

The beauty of stealth in The Last of Us is the incredible, uncomfortable realism you're forced to witness each and every time you execute a silent kill. Watching a survivor fruitlessly swat at Joel's arms as he strangles him to death is disturbing, as is quickly shiving a man in his neck and listening to him gurgle some parting breaths as he collapses to the ground. The Last of Us does a phenomenal job of making each and every enemy feel human. Every life taken has weight and each target feels unique and alive. It's hard not to think about some of the older folks in particular, ones that remember the real world, lived in it, and were once normal. There's an emotional pang when you're taking out thugs that look a whole lot like you and your allies.

Of course, there are enemies that are decidedly inhuman in The Last of Us, too. The collapse of society was instigated by the sudden prevalence of a fungus that wreaks havoc on the human mind, and those humans - known not-so-lovingly as The Infected - are alive, but not well. No matter which faction of humanity a person falls on, whether he's with the remnants of the federal government, or rogue groups known as Hunters, or even the mysterious resistance organization known as The Fireflies, everyone is united against The Infected. This is simply because The Infected can in turn infect others, further eroding humanity's already dwindling numbers. They are a perpetual threat to even the slightest hope that humanity can one day step back from the precipice of extinction, and running into them is always frightening.

Unlike your human adversaries, who often work together, audibly communicate, plan their actions, and practice self-preservation, The Infected attack with reckless abandon, with absolutely no regard for their safety and with every intention of killing you. Fighting them is terrifying, especially during your first few encounters, and feels completely different than your engagements with pockets of humanity. The lesser versions of The Infected, colloquially known as Runners, can be taken out with firearms and melee strikes alike, but it's the Clickers - characters so infected by the Cordyceps fungus that they can't even see - that will haunt your dreams. They can only be killed with silent shiv strikes or via firearm - silence is more often than not your best weapon against them -- but if they so much as get their hands on you, it's game over. In this world, they are the true threat. It's unlikely you'll ever get comfortable dealing with them, of being mere feet away from them, crouching, hoping they don't somehow sense you.

Another brilliant aspect of The Last of Us is its crafting options, all of which happen in real-time. With the exception of actually going to a pause menu, there's no way to stop the action, so you need to find lulls in order to scavenge for items, put them together and create new goods that can be used both curatively and offensively. The system is extra tense considering you can use, say, alcohol and rags to create either a healing pack or a Molotov Cocktail, but not both with the same goods. Thoroughly exploring environments nets you the components necessary for item creation, giving you yet another reason to inspect surroundings already begging to be rummaged. And item scarcity, a perpetual issue in the world of The Last of Us, means that everything you find is precious in its own way. There aren't any factories making more of anything you find, and that includes the greatest prize of all: bullets.

This perpetuates real consequences based on your decisions. Will you use those scissors and some tape to create a shiv? Or will you attach them to the end of a pole to create a makeshift weapon of war? Will you create a smoke bomb only because you found sugar in the environment and can only carry more if you use what you already have? Or do you bypass the sugar and hope you don't need it - or what you can make from it - later on? Will you opt for melee strikes to save ammo for another day? Or will you walk in guns-blazing and hope you find shells on the bodies you leave in your wake? How you choose to navigate these forks in the road have considerable effects on how you approach future enemy encounters, adding a special dynamic to The Last of Us not found in very many games.

Joel can also upgrade himself with pills and other supplements hidden throughout the adventure, though here you'll also have to make careful choices, as there isn't enough medicine in one playthrough to fully upgrade him. Likewise, all of your weapons, from pistols to shotguns and rifles, can also be upgraded using parts and tools found on your journey. Similarly, you won't be able to max-out everything, so you'll need to make thoughtful decisions. This adds an analytical, tactical slant to The Last of Us not found in the likes of Uncharted, though if you really want to upgrade Joel and his goods fully, you could always take advantage of The Last of Us' very welcome New Game+ feature.

While the campaign is absolutely worth playing through multiple times, The Last of Us also comes packing a robust, rich multiplayer mode that isn't simply a retread of Uncharted's. In fact, The Last of Us' multiplayer seems decidedly scaled back in order to fit it into the context of the post-civilization United States, with small player counts and only two modes that pay exceptional detail to the greater context of the single-player campaign.

The Last of Us' online functionality exists within a mode called Factions. Once you begin, you choose one of two sides and then jump into one of two sub-modes: Supply Raid and Survivors. Both are atypical in their approach, especially Survivors, which presents players with a best-of-seven series in a four-on-four match where death is brutally permanent. Survivors forces meticulous play virtually ripped right out of the campaign, except instead of fighting AI-controlled partners, you'll be dealing with even smarter humans. It's a truly fun mode, one where every player on the map is overflowing with nerves and afraid to make a mistake.

Supply Raid, on the other hand, is about whittling down your team by eroding their overall life count. It's more generic than its counterpart, but the idea of having a shared number of lives forces you to strive for better play. It makes you not want to be the reason your team loses, it makes you not want to make silly blunders. Like Survivors, Supply Raid also allows you to craft items on the fly using components found on the map and feels a whole lot like the single-player game. By scaling back the modes and the player counts from the likes of Uncharted, Naughty Dog has removed the tall barrier between single player and multiplayer and has made the two feel interconnected, even ancillarily.

What's especially neat about The Last of Us' online functionality is the metagame that transcends everything you do. When playing online, your character - who is fully customizable in both appearance and loadout - is the leader of a band of survivors. Successfully navigating online matches, collecting items and engaging in one-off challenges called Missions helps grow your band. Of course, if you fail, your band decreases in size. It's a simple system in premise, but it's undeniably addicting when you start getting into it. It creates another, higher level, a different way to gauge your overall success by something other than wins or losses and your kill-to-death ratio. Like the single-player campaign, which judges your actions based on future consequences, so too does multiplayer in The Last of Us reward or detract based upon performances that, at the time, may not seem entirely consequential.

Then again, The Last of Us is still all about its single player campaign. Many players will never jump online, and frankly, they won't be missing out on what truly makes the overall package so incredibly special, so exceptionally noteworthy, such a must-play experience.

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The Last of Us is a near-perfect analog for The Road, a literary masterpiece written by Cormac McCarthy. Both present a hopeless, post-apocalyptic situation navigated by two characters - an adult and a child - with nothing but absolute despair surrounding them.

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Reviewing "American Vandal" as the best Netflix Original of 2017.

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Reviewing "American Vandal" as the best Netflix Original of 2017.

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1st Review: NY Times Review of "Making a Murderer"
https://www.nytimes.com/2015/12/17/arts/television/review-making-a-murderer-true-crime-on-netflix.html
The NY Times reviews "Making a Murderer" on the labor put into the documentary, how well it upholds the compelling and exhaustive nature of true crime, the unique, bordering conspiracy, theories the film presents, the social and political context of the crime, and the visual aesthetic of the location of the crime.
2nd Review: Vulture's Review of "Mindhunter"
http://www.vulture.com/2017/10/mindhunter-review.html
Vulture takes a different approach to it's review of "Mindhunter". Rather than focus on the true crime aspect of the show, Vulture critiques how the culture of the 1970s influences the main characters and serial killers behavior. Vulture critiques how "Mindhunter" fits into our modern discussion of sexism and masculinity, and uses this to critique the character and integrity of the show.
3rd Review:  The New Yorker's Review of "Big Mouth"
https://www.newyorker.com/culture/culture-desk/the-pre-teen-spirit-of-nick-krolls-big-mouth
The New Yorker's take on "Big Mouth" is based on the realism of the show, the character's personalities, and the unique approach of satire and real-life situations being integrated to properly portray puberty.

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Reviewing the show "Freaks and Geeks" A the least successful show in 1999 but pop culture today

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Reviewing the show "Freaks and Geeks" A the least successful show in 1999 but pop culture today

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http://www.nytimes.com/2001/03/11/arts/television-radio-freaks-and-geeks-the-honest-agony-of-embarrassment.html
http://junkee.com/time-bust-myths-social-science-degree/143061
https://www.hollywoodreporter.co
http://www.tvguide.com/news/freaks-geeks-seth-rogen-cancellation-nbc-garth-ancier-1088062/
http://www.nme.com/blogs/tv-blogs/freaks-and-geeks-season-2-1969369
In these reviews they discuss how relatable this show is to many of the teenage population. It is not the typical high school drama show with a sarcastic humorous twist.

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http://www.ign.com/articles/2017/11/08/call-of-duty-ww2-review?page=3
Criteria is simple, it is structured into a few basic categories of story, presentation, gameplay, and finally verdict. It's IGN's standard blueprint for reviewing games. They also make real world connections to other pop culture references.

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http://www.ign.com/articles/2015/11/09/fallout-4-review
https://www.polygon.com/2016/5/27/11797672/overwatch-review
http://www.pcgamer.com/kerbal-space-program-review/
review is based on enjoyment, amount of things to do, difficulty, story, details, and replayability

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Reviewing ¨Harry Potter and the Sorcerer´s Stone¨ 

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Reviewing ¨Harry Potter and the Sorcerer´s Stone¨ 

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https://www.theguardian.com/childrens-books-site/2015/jul/29/harry-potter-and-the-philosophers-stone-j-k-rowling-review
This was a good review of the first Harry Potter book because it draws you in just like the actual book does.

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Review 1- https://www.forbes.com/sites/scottmendelson/2018/01/23/oscars-jordan-peeles-get-out-should-win-best-picture/#511ccac36cdb
>The main point that this review of the film Get Out aims to cover is why it should win best picture in the Academy Awards for 2018. To make it effective, the author mentions how it's the earliest Best Picture nomination since 1991. He refers to movie as an original, of-the-moment multiplex entertainment that became greatly mainstream because of its universality incorporated with specific situations.
Review 2- https://www.newyorker.com/culture/culture-desk/review-the-giant-leap-forward-of-jordan-peeles-get-out
>Overviews the movie's major achievement of "sharp scares, gallows humor, and insidious intelligence" that are informed by the paranoia that "lurks within the hearts of blacks who must navigate white spaces." A giant leap forward for the possibilities of black cinema.
Review 3- http://www.nationalreview.com/article/445206/jordan-peeles-get-out-trite-get-whitey-movie
>

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Reviewing of Jumangi, Welcome to the Jungle 

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Reviewing of Jumangi, Welcome to the Jungle 

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The reviews below recap and talk about Jumangi as mainly a money grab and a terrible movie. I want to write my review about how successful the movie was because of a very modern type of humor (bashing on 1990's gender stereotypes) and why the film works.
http://variety.com/2017/film/reviews/jumanji-welcome-to-the-jungle-review-dwayne-johnson-kevin-hart-1202633910/

http://www.boxofficemojo.com/yearly/chart/?yr=2017&p=.htm

https://www.rogerebert.com/reviews/jumanji-welcome-to-the-jungle-2017

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Very few remakes, sequels or franchise reboots have signaled their desperation to connect quite as nakedly as "Jumanji: Welcome to the Jungle" does. The movie opens in 1996 with a young man finding the now-discarded board game that wreaked such havoc on its players in the 1995 Robin Williams movie. The game winds up in the room of a teenager who ignores it, because who wants to play a board game? Overnight, the board game magically turns into a video game cartridge. And upon being inserted into the teen's console, something strange happens.

The movie cuts to the present day and introduces four archetypal, irritating teen characters. There's the smart and awkward Spencer; his former best friend "Fridge," now a high school football star who makes Spencer do his homework; the selfie-obsessed popular girl, Bethany; and Martha, who's a diluted variation of Allison, the smartest and angriest girl in the room in "The Breakfast Club." And much like in that movie, these kids all get detention together.

At first, I presumed that the film's increased attention on these teenagers was to make us that much more eager for the stars Dwayne Johnson, Kevin Hart and Jack Black to show up. There's good news and bad news: We meet the marquee names shortly after detention. Only they are portraying those same irritating teen characters.

I'll explain. The actual teens discover the discarded video game console in the detention room. They plug it in, the game boots up, and the kids choose their characters. Then they get sucked into the game, where they, among other things, meet the fellow who got sucked into the game 20 years before.

The movie derives its humor, such as it is, from the teens' avatar choices. The nerd gets to be Dwayne Johnson. The big football player gets to be Kevin Hart (who, it is frequently noted, is not tall). The shy, awkward Martha gets to be an expert in dance-fighting (played by Karen Gillan). And the selfie-obsessed girl gets to be, surprise, Jack Black. The crew must navigate a mission that involves a large gem and a villain (Bobby Cannavale) who has insects crawling in and out of his mouth more regularly than is considered normal.

Their adventure often asks, "What would Steven Spielberg do?" It then answers poorly. (The movie's director, Jake Kasdan, happens to be the son of Lawrence Kasdan, who worked as a screenwriter with Mr. Spielberg on "Raiders of the Lost Ark.") The performances by Mr. Johnson, Mr. Hart and Mr. Black seem informed by the conviction that if they amuse themselves, they will also amuse others. They are not entirely wrong, but they are also not sufficiently right. Ms. Gillan, the lesser-known quantity of the group, has to work harder as the geeky teen comes to enjoy living, even if temporarily, in a bombshell adult package. She does commendable work both satirizing, and also fulfilling, a sexist conception.

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Review: 'Jumanji: Welcome to the Jungle' Has Dwayne Johnson as a Nerd

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Very few remakes, sequels or franchise reboots have signaled their desperation to connect quite as nakedly as "Jumanji: Welcome to the Jungle" does. The movie opens in 1996 with a young man finding the now-discarded board game that wreaked such havoc on its players in the 1995 Robin Williams movie.

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http://www.ign.com/articles/2017/03/20/mass-effect-andromeda-review

Criteria is simple, it is structured into a few basic categories of story, presentation, gameplay, and finally verdict. It's IGN's standard blueprint for reviewing games. They also make real world connections to other pop culture references.

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https://www.rogerebert.com/reviews/little-miss-sunshine-2006
Review of "Little Miss Sunshine" effective because it highlights the most obscure parts of the movie to make the reader consider seeing those scenes in action.

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http://www.oregonlive.com/movies/2015/03/izombie_review_a_show_about_th.html
In this review, the first episode of the first season is reviewed on the plot. The writer of the review reviews the plot of the first episode and what the writer enjoyed about it. However, it is mostly about the plot and doesn't have a lot of opinion in it.

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Reviewing ¨Harry Potter and the Goblet of Fire¨

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Reviewing ¨Harry Potter and the Goblet of Fire¨

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http://www.nytimes.com/books/00/07/23/reviews/000723.23kinglt.html
This is a goof review for this book because it includes the previous books and how they all tie in together.

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This is a good review over the last book because it puts into words all the feelings of happiness, sadness, etc. that are in the book itself.

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http://www.pluggedin.com/book-reviews/little-house-on-the-prairie/

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Reviewing Declan Mckenna music video- Brazil

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Reviewing Declan Mckenna music video- Brazil

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https://www.usatoday.com/story/life/entertainthis/2017/08/28/taylor-swifts-look-what-you-made-me-do-video-isnt-smart-its-just-petty/607805001/
https://consequenceofsound.net/2015/01/sias-elastic-heart-video-is-art-not-pedophilia/
https://musicommentator.wordpress.com/2017/06/22/ed-sheerans-shape-of-you-song-review/

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Moonlight review - a five-star symphony of love

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Barry Jenkins's Oscar-nominated coming-of-age film is a heartbreaking, uplifting, minor-key masterpiece

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Green Room Movie Review & Film Summary (2016) | Roger Ebert

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Green Room is an overly fussy thriller where dialogue is so direct, and shots are arranged in such a mannered way that you can't help but be distracted by their precision.

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goo.gl/1cxEbE

Review of "Prisoners" that is effective because it provides examples of movies that also achieve well-designed suspense.

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https://pitchfork.com/reviews/albums/17233-an-awesome-wave/
https://www.youtube.com/watch?v=rVeMiVU77wo

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Review of Turnover's albumPeripheral Vision

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Review of Turnover's albumPeripheral Vision

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Though it's a warm and often gentle record, not much about Turnover's Peripheral Vision is subtle. Start with the cover, which is a pretty girl in a field, her image washed out, soaked in amber and obscured by a spiderwebbed glass. She's real, but she'll be forever out of reach, and this is exactly the kind of feeling Turnover evoke over and over again here, with just enough reverb and treated guitar to create distance and depth around every pensive daydream. If you're into the idea of planning a mix to commemorate the girl that will get away, there's about seven songs here that can get you started.

Quite the coincidence that Peripheral Vision shares a very similar name as Title Fight's risky, triumphant reinvention , as well as its producer. In each instance, a traditionalist punk band goes headfirst into more aqueous forms of indie rock, but retain qualities which put them at an advantage over the countless wan, limp bands who decided to sound like the Smiths from the beginning.

In Turnover's case, their pop punk past is nipping at their heels: Their self-titled debut EP justly earned the tag, and even after 2013's smoothed out some of their more Warped Tour affectations, they were doing shows with Dashboard Confessional 2.0, This Wild Life, and the perpetually short-pantsed, hair-gelled schlubs in New Found Glory as recently as last month. But you can tell that they come to their new sound from a realm that prizes vocal, lyrical and sonic clarity-Austin Getz's vocals are unusually upfront and legible for this style of music, and Will Yip's production is crystalline and sleek. "Radio-friendly" is mostly theoretical in 2015, but Yip tends to work with bands who've managed to find young, dedicated, merch-buying audiences who still believe in the idea of big-tent alternative rock as a refuge.

And so you hear a lot of atypically crowd-pleasing, extroverted maneuvers here-the gorgeous opening reverie of "Cutting My Fingers Off" is blown open by a bridge of pulse-quickening drum rolls similar to Brand New's "Sic Transit Gloria..." or any given Explosions in the Sky song. The chorus of "Take My Head" is florid, AP English self-pity delivered as a pop punk shout-along, "Humming" is sophisticated bedsit pop that expresses the same desires as "Dixieland Delight" or "Chattahoochee", minus the geographical signifiers.

But just as often, the gap between where Turnover is and where they want to be is painfully obvious. Throughout, Getz's lyrics are either effective or seriously awkward and there's very little in between. He's earnest enough when he's fussing over his transition into adulthood ("New Scream", "Hello Euphoria"), but just as often, he's reading off Robert Smith flashcards, his imagery full of dissolution, disintegration, dizziness, disappearance and descent-you get pretty much all of the above during "Dizzy on the Comedown", which reveals the wisdom of bands like Wild Nothing who purposefully go blank on lyrics.

Despite its stylistic reverence, Peripheral Vision can actually be novel when Turnover most resemble their previous incarnation. On "Diazepam", Getz emasculates himself as a preemptive strike against the inevitable-"Your father doesn't like me 'cause I'm not into sports/ And your mother won't approve because I'm not of the cross/ I took an upper before your sister's wedding just to help me pretend," creating a heretofore-unfathomable nexus between Blink-182 and Galaxie 500. And then there's "I Would Hate You If I Could". Think of your favorite Real Estate song. One of the really chill ones like "Green Aisles" or "Pool Swimmers". And then, instead of a chorus reminiscing about the simple, bittersweet pleasures of suburban life or the challenges of fatherhood, how about the bitter memories of rough sex with your ex, pinning her against the wall and trying not to wake her roommates. They still sound like Turnover's application to Captured Tracks finishing school, but retain pop punk's main lyrical drivers of social and sexual insecurity.

It's hard to figure out an appropriate emotional reaction to the raw, honest, and unsympathetic character in "I Would Hate You If I Could". Perhaps the message is that even as your tastes in music mature, getting fucked over in a relationship hurts as much as it does when you're 16. That's not supposed to be the enduring message of Peripheral Vision, at least not according to Getz. He explained the album's overarching theme as, "I always remember things better than they were and miss people more than I should." Those are the feelings this music is meant to convey, but as a document of a young band in a sharp and tricky growth spurt, Peripheral Vision still can't hide how messy and complicated real life can get.

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Though it's a warm and often gentle record, not much about Turnover's Peripheral Vision is subtle. Start with the cover, which is a pretty girl in a field, her image washed out, soaked in amber and obscured by a spiderwebbed glass.

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http://www.nj.com/entertainment/tv/index.ssf/2017/01/riverdale_review_archie_comics_the_cw.html
This review focused on the full first season, and it talked about the deeper meaning of the characters and the plot. It also is dramaitized the words and had a little bit of the origin of the plot.

# data[].attributes.headline
Reviewing series 1 of "The End of the F***ing World" for having the best character transformations

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Reviewing series 1 of "The End of the F***ing World" for having the best character transformations

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Reviews:
https://www.avclub.com/c/tv-review/the-office

# data[].attributes.body
https://www.pastemagazine.com/articles/2015/10/halo-5-guardians-single-player-review.html
https://www.pastemagazine.com/articles/2015/10/halo-5-guardians-single-player-review.html

# data[].attributes.body
http://ew.com/article/2014/11/26/flash-4/