I Miss Baywatch (Movie/Show Review #10)

When Baywatch first aired in Germany, I wasn’t even ten years old. David Hasselhoff was already a big star thanks to Knight Rider, but Baywatch made him the biggest TV icon of that era.

The very first episode hooked me right away. The stories were simple, and the characters were all slight variations of the same good-hearted person who wants to do the right thing—sometimes failing until a friend steps in to help.

Of course, Baywatch became a global phenomenon largely because of its beautiful women. Erika Eleniak was a perfect ten, portraying the kind, loving, and caring Shauni McLane. When she left the show, Pamela Anderson rose to international stardom as C.J. Parker. Over the years, actresses like Yasmine Bleeth and Nicole Eggert were stunning additions to the cast. For the female audience, the producers also cast plenty of ripped male models.

But as a teenager, I never saw Baywatch as the “soft p**n” it might have been intended to be from the start. I liked the characters, the beach scenes, the sunshine, and the overall kindness of the show. Sure, the stories never evolved toward any real complexity; there was basically no character development, and you could predict the ending after the opening credits.

Yet it was entertaining. It was heart-warming. It was simply nice TV.

The world of Baywatch was uncomplicated and good: beautiful people, beautiful friendships, and big, beautiful hearts.

I wanted to live in that world. I still do. Today’s world makes me long even more for that idealized early-90s California beachfront life.

Our current world is dark, dangerous, and depressing—which is why so many shows today are dark, dangerous, and depressing too. I wish we could go back to a time when we were still allowed to dream of a life that looked like Baywatch—and be naive enough to believe that such a life could come true.

Jean-Claude Van Johnson (Movie/Show Review #9)

It’s a bit older now, but what a great show it is. Unfortunately, it was cancelled after just one season. Still, the six episodes we did get are very entertaining and surprisingly funny.

Jean-Claude Van Damme was one of my favorite childhood action stars, but he went off track in the mid-90s due to cocaine — as he has openly admitted. After being pushed out of Hollywood, he spent quite a while making direct-to-DVD and B-movies in Europe. But every now and then, there’s a real gem hidden among the forgettable stuff he has made after 1999.

JCVD, the movie, was a fantastic surprise — and Jean-Claude Van Johnson is as well.

The show is very self-referential and pokes fun at Van Damme’s most famous movies while still honoring them. The humor is nostalgic and meta; half the jokes are hard to understand if you haven’t seen those films — Timecop, for example.

But if you grew up with ’80s and ’90s action movies, the show is pure entertainment. And if you’re a Jean-Claude fan, you’ll definitely laugh out loud many times.

Alien: Earth (Movie/Show Review #8)

I’m a fan of the Alien franchise. Sure, it’s been a bit repetitive since the first sequel, but the second and third movies still added a lot to the lore. I also appreciated Prometheus as an ambitious attempt to provide a deeper backstory as well.

When they announced a show as the next installment, I was a little excited to watch it — though it took me months to finally find the time. But here we are.

Alien: Earth sticks to the dirty, realistic future style established by James Cameron, and it gives us another xenomorph running amok. But that’s basically where the similarities end. Narratively, the show goes in a completely new direction.

As much as you could criticize the repetitiveness of, for example, Alien: Romulus, you could now also criticize Earth for straying so far from its origins. It’s tricky to critique Earth for trying something new while also criticizing Romulus for not doing anything new at all.

But halfway through, I found myself asking: would I enjoy watching this if it wasn’t part of the Alien franchise? The answer I came up with was… maybe not.

The production quality is excellent. The xenomorph and other monster animations are fantastic, and I appreciated that the show didn’t tone down the horror or gore to make it more family-friendly.

But the storyline sidelines the alien in favor of a group of synthetic kids turning against humanity. Again, I can’t fault the show for trying something new while criticizing Alien: Romulus for sticking too closely to old ideas. Still, it sometimes feels like someone wrote a story that had little to do with the original Alien, then realized it might not attract viewers without the franchise name attached.

I’d still rate it 6 out of 10. I enjoy sci-fi and robot stories, and there’s at least one episode that feels like classic Alien. But for a show called Alien, I expected more.

The Young Pope (Movie/Show Review #7)

I watched both seasons, – and I’m a fan.

It’s rare for something original to be produced today, but this show is exactly that. An absolutely innovative, creative, and novel series, it blends genres to create something utterly unique.

Showrunner Paolo Sorrentino is an interesting storyteller to explore in general, but what he has crafted with the first season of The Young Pope is a true masterpiece. I know, this term is often used inflationarily these days, but in this case, I think it’s fair to apply it.

The Young Pope presents so many ideas I’ve never encountered elsewhere that I wish it lasted at least for five seasons and a movie. Sadly, there are only 10 episodes, and a somewhat less intriguing second season titled The New Pope.

Jude Law plays the pope in this show, and you can never be sure if he is the good guy, the bad guy, or not even a guy at all. The show constantly shifts between drama, comedy, and surreal art. Is it making fun of religion? Whenever you’re close to saying yes, it offers you a scene that actually celebrates Christianity. Is it blasphemous? Whenever you feel that it is, it presents a scene that honors faith.

It’s a slow-paced show that takes its time. There aren’t big explosions or car chases. It’s certainly not a Game of Thrones-style backstabbing story set in the Vatican either. The only label I can give this show is the one I’ve used from the start: The Young Pope is utterly unique. Watch it if that sounds interesting to you.

Monster: Season 3 – Ed Gein (Movie/Show Review #6)

The third (and final, for now) season of Monster focuses on Ed Gein. Unfortunately, it’s the weakest of the three seasons, despite having some interesting elements.

I appreciated that the show explored how Ed Gein’s crimes inspired Hollywood movies and comics. The production values remain high, the acting solid, and the music selection excellent. Charlie Hunnam is always worth watching, and the supporting cast delivers as well.

One aspect I particularly enjoyed was the show’s willingness to take risks with experimental scenes. While these didn’t always succeed, they occasionally gave the season a surreal, fever-dream quality. I personally enjoy it when a show leans into a David Lynch–style atmosphere, but in this case it made Season 3 of Monster the strangest one so far.

Many of the negative reviews likely stem from this experimental approach, as all other aspects—storytelling, acting, production—are on par with the first two seasons.

What made Ed Gein’s story fall behind Jeffrey Dahmer’s or the Menendez brothers’ for me was the lack of a clear climax. Gein remains odd and deranged throughout, with Hollywood references and dream sequences punctuating his story. Eventually, he simply dies as an old man.

Another thing that made it not as good as the first two seasons was the German synchronisation. Hunnam is way better with the original US audio.

Still, Monster remains one of the better shows on TV, and I’ll definitely be checking out Season 4 when it arrives.