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Roger Erik Tinch
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26d
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Mother Mary
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Mother Mary is a pop-star Suspiria. It's visually immaculate, but the beauty isn't empty. Below the surface it's working through celebrity as religion, impossible artistic collaboration, ego wrestling with id, performance as devotion, and performance as self-destruction. It has big ideas, but it never stops to explain them to death. What worked for me is how naturally the spectacle and psychodrama feed each other. The concert sequences and the emotional duel between Anne Hathaway and Michaela Coel feel like parts of the same ritual. They're incredible together: two people who need each other, resent each other, and understand each other a little too well. And then there's FKA Twigs, whose seance performance is raw, animalistic, and vulnerable in a way that rearranged the air in the room. Strong recommend.
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2
6w
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Mr. Inbetween
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Mr. Inbetween wrecked me because it never asks you to solve Ray. Scott Ryan gives a performance that feels completely lived-in and still impossible to fully read. Ray is funny, calm, terrifying, gentle, exhausted, loyal, and capable of ruining someone’s life before lunch. The show moves from crime drama to black comedy to something painfully heartfelt without ever losing control of its tone. Even the violence isn’t flashy. It’s treated with the same mundaneness as his home life, which somehow makes it hit harder when the show decides it should. That split is what makes it stick. Ray can be a good man to his family and a bad man to the world, and the show never lets one truth erase the other. His relationship with his daughter is special because it isn’t there to redeem him. It’s just love: plain, funny, protective, flawed love. I can’t stop thinking about him.
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3
6w
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The Agency
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The Agency is high-level competency porn, and I mean that as praise. It trusts you to keep up. The show doesn’t underline every revelation or explain every shift in the room. You’re usually one step behind the characters, which makes catching up feel like a reward. The dialogue is crisp, cutting, and kinetic. It’s the buttoned-up government version of Succession: people weaponizing process, hierarchy, and institutional fluency because that’s the language they all speak. Fassbender is, unsurprisingly, very good. But John Magaro quietly steals the show as a desk agent putting his neck out in the field. The whole thing is tense, smart, and allergic to spoon-feeding. Exactly my kind of spy show.
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