Mihailo Kostich

When it opens, the first 2 episodes of season 1 seem like a glimpse into a uniquely American kind of hell. But given the opportunity to gather in every episode -- thanks to C-19 quarantine-- as you watch and get to know each character; the pain, moral vacuum and emptiness of hell are gradually replaced with an awareness of how human misery is created by self-loathing and the fear that others will penetrateand discover ourvdeepest, secret loneliness and the reasons we protect our innermost privacy. With spectacular dialogue and a repeating theme of halting human connection canceling out early childhood traumas, the series succeeds in teaching us about ourselves and how crisis and growth intersect. Even with the appallingly painful non-endng inthe series last episode, the show is one of the greatest televised dramas of all time.

Can't give this otherwise wonderful cartoon cavalcade more than a "4." The cartoons are awesome and for the most part when the hosts stick to introducing and talking about the animation and cartoon history the program delivers solid entertainment. But the 3 hosts' attempts to fabricate funny stuff on their own are painful. The female host, Goldie, is completely irrelevant and serves no useful purpose at all. If any real children are tuning in, she's a horrible role model for little girls. The same character was better played by Leona Helmsley and that awful storekeeper's wife on Little House on the Prairie. What's the point? The tuna is too abrasive on his own, give Goldie greater humanity, please, so Bill has someone to talk to.