NinadeL

The comparison between Candy and Love & Death is absolutely fantastic. Two miniseries based on the same true crime case filmed around the same time for different networks. Love & Death is a more charming, entertaining HBO drama with attractive actors and a grand courtroom atmosphere in the style of David E. Kelley. The flirtatious Candy gains sympathy because she is beautifully portrayed by Elizabeth Olsen. While Candy, backed by Hulu, presents a more authentic depiction of the period's realities, it's not as attractive but overall much more realistic. Surprisingly, the more sympathetic character here is the desperate Betty, played by Melanie Lynskey (the brilliant queen of New Zealand cinema). The bored Candy deals with her unsatisfactory life in the suburbs of a small town by reading letter porn and decides to start an affair with the first man she lays eyes on. Unfortunately, she chooses the husband of her neighbor, who is struggling with depression, postpartum weight, and an unsatisfactory career and role in the local community. The final courtroom scene isn't as convincing as in the competing series, but it's truly beneficial for the audience to see the story from a different perspective.

The development of the Batwoman series is truly intriguing. The first season emerged at a time when the Arrowverse was expanding into unprecedented dimensions. The solo "Batwoman" series had a great reputation among readers after 2011, but the fundamental problem was that its comic book depiction was geared towards adults, while CW series are pure teen entertainment. What they managed with this conflict in the first season was a clear compromise, whose effects we see primarily in the Crisis on Infinite Earths, Part 2 crossover. Ruby Rose played a generic lesbian with a short haircut and in the larger DC team, she seemed out of place. That's why the first season was easily dominated by Rachel Skarsten as the villain Alice, stylized into a dark version of Lewis Carroll's world. In the second season, there was a recast after Ruby Rose's spinal injury, and thanks to Javicia Leslie's appearance, Batwoman became a BLM manifesto, which rubbed against the audience until halfway through the second season, but then it all fell into place. Alice was humanized, the Gotham gang in the new lineup got used to each other, and even with this complicated genesis, the final shortened third season ran like clockwork. The creators began to fully enjoy the world, where Batman may have disappeared, but his villains and their successors are still going strong. Of course, the main antagonist of the series was still Joker, policewoman Renee Montoya experienced another chapter of romance with Poison Ivy, and Ryan Wilder found her biological mother. The almost Oedipal drama always framed the omnipresent L drama, for which even the creators of The L Word would not be ashamed. In the end, Batwoman offered qualities that no one expected from the series, and I'm glad for that progress.

The fantastic Ghoul School and its students will confuse Scooby and Shaggy. Who could resist Sibella Dracula, Elsa Frankenstein, Winnie Werewolf, Phantasma the Phantom, or Tanis the Mummy? Hanna-Barbera was preparing for Gravedale High.