Too Much TV Vol. 3


So, this is the point where most people quit doing these regular columns because only their mum is reading it each week. Well, yes, hi mum, but there is literally so much TV that I can’t stop.

Maybe this is like the motion picture Speed and I am the bus, and if I stop watching TV I will … explode. Seems legit.

I didn’t explode this week but I had a very good time, especially considering it’s Star Trek: Picard week. If you’ve got thoughts about the new Star Trek series let me know in the comments or tweet @MrCamW.

Lots of great comebacks this week as well as a a major play by Apple+. If you’ve been hesitant to subscribe to their streaming service I’ve got bad news.


Chilling Adventures of Sabrina Part 3 (Netflix)

The teenage witch literally goes to hell this season and loses its mind in the process.

It’s kind of a relief this show finally committed to being silly and it’s a good problem to have. The mildly serious tone of previous seasons has been replaced by a satanic Abercrombie & Fitch catalog. Seriously, if I wanted to see ridiculously good-looking people dabble in evil I’d just move to the Eastern Suburbs of Sydney, Australia. Also, Sabrina’s buddies start a band and Harvey is the lead singer for some reason.

The show is still fun but it’s lacking in wit and brain power to hold up its supernatural metaphors. The best days of The Chilling Adventures of Sabrina are behind it.

Star Trek: Picard

Picard (CBS All Access / Amazon Australia)

There are stunning space vistas in Star Trek: Picard but I gasped when I saw the Picard winery for the first time.

Jean-Luc Picard (Patrick Stewart) is back and he’s mildly enjoying retirement. Political paranoia creeps into the Federation because Picard has lost faith in Starfeet and it triggers his retirement, but not all is what it seems.

Star Trek: Picard captures a loss of faith in old institutions while introducing conspiracies that tap into the best story-lines from Star Trek: The Next Generation (TNG). It’s like Stewart never left and this older Picard is angry and defiant, although, when the series has John Wick like action flourishes he does seem a little out of place. The new crew he assembles is awesome and new emotions have stirred within me about the presence of hot romulans.

Star Trek: Picard is the perfect continuation of the TNG timeline (but look out for nods to Star Trek [2009]).


Shrill Season 2 (SBS Australia / Hulu)

The new season of Shrill picks up seconds after the events of the first season and not much has changed because it remains excellent.

Annie Easton (Aidy Bryant) is without a job and her adventures in freelance writing can only be described as: TOO REAL. Annie’s relationship with lovable idiot Ryan (Luka Jones) grows and they share moments that are hilarious and tender. Lolly Adefope is still the best friend you wish you had, and Patti Harrison nearly steals the whole show as Ruthie — serious spin-off potential here.

If you loved season one of Shrill, let the good times continue in season two.


Little America (Apple+)

Apple came to play in 2020.

Little America is a serious contender for one of the best TV series of the year.

I know, it’s only January, but they just pushed the doomsday clock closer to midnight so I am not waiting to shout about things I love. The anthology series focuses on immigrant stories in the United States and comes from a talented bunch of people that in includes: Emily V. Gordon and Kumail Nanjiani (The Big Sick), Lee Eisenberg (The Office U.S), Alan Yang (Master of NoneParks and RecreationForever) and Joshuah Bearman (This American Life).

Each episode captures a different experience and they’re all based on true stories. I don’t want to get into details about each episode because a big part of the show’s appeal is discovering these tales. The refreshing approach is they avoid stereotypes and trauma often associated with immigrant stories in mainstream television. Yes, there are happy and sad stories, but there’s always a universal truth to each episode and it plays around with American mythology and identity in captivating ways.

Cameron Williams