Solo(s): Krista Franklin

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The close-up is one of the most powerful tools in visual storytelling, but Solos treats it as if it were the only tool. The final episode is so rich and full of meaning and reference... it's astounding. The acting is perfect. Morgan Freeman's subtle face changes are brilliant.

Morgan Freeman—Stuart

Mirren acquits herself best as Peg, a willing human guinea pig on a spaceship with no plan for returning to Earth. Hurtling away from everything she’s ever known — and strangely incurious about the purpose of the experiment she’s just signed up for — the septuagenarian chats with the shuttle’s computer system as if she’s having tea with a dear friend. Her journey is familiar — that of an older woman who realizes she didn’t need to be so self-effacing all her life, and vows to be more assertive now — but Mirren’s understated, phenomenally controlled, bittersweet performance distinguishes it from other Pegs you’ve seen before. If these queries are intended to provoke some soul searching in the viewer, they don’t achieve it (though for the record, my own answers are no, no and anywhere but Surrey). More often than not, the episodes that follow them boil down to parables with simple lessons like “cherish your family” or “make your voice heard”. Stephen Colbert Forced To Cancel 'The Late Show' This Week After Undergoing Surgery For Ruptured Appendix The Gilded Age': No One is More Disappointed About Susan Blane's and Larry Russell’s Break Up Than Production Designer Bob Shaw The highlight of the series is Sasha’s (Uzo Aduba) story: 20 years after entering an idyllic “stay home” during a deadly pandemic, she doesn’t trust her virtual assistant’s assurances that the outside world is now safe. The many allusions to covid-19 are a mixed bag – sometimes they feel poignant, but at other times they seem like a cheap, cynical way to mine emotion from the audience.

Stream It Or Skip It: ‘Do Not Disturb’ on Netflix, a Nutty Turkish Sort-of-Comedy About a Man Who's Losing His Marbles The writing is really stellar, and the acting is superb, both of those skills coming together to create something that is a series of monologues that rarely feel monologue-ish.Stream It Or Skip It: ‘The Velveteen Rabbit’ on Apple TV+, a Charming and Typically Tearjerking Adaptation of the Classic Children's Book It also boasts one of the most distinguished casts ever assembled for television, including Oscar-winners Morgan Freeman, Helen Mirren and Anne Hathaway. Except for the final instalment, the actors are largely isolated and effectively perform a half-hour monologue. Two things swiftly become apparent: that these are some of the finest performers working today, and that the material doesn’t quite match their talents. Sasha has lived alone in a smart home for 20 years following an apocalyptic pandemic. Although her home's AI insists it is safe to go outside, Sasha refuses, preferring the safety and predictability of her house. Sasha refuses an ultimatum by the home automation company, and the AI shuts itself off.

Despite this, the cast is able to conjure some engrossing performances, and a couple of stories show more promise. Watching Peg (Mirren) reminisce about the one that got away on a journey through outer space, for instance, and Jenny (Constance Wu) give a tearful account of the worst day of her life is frequently heart-breaking. Narcissistic" Matt Rife Faces More Controversy After Assuming People Hate Him Because They’re "Jealous" In Resurfaced Clip Kate Middleton's Infamous Honey Trap Fashion Show Moment Takes Center Stage In 'The Crown' Season 6 Part 2 First Look Photos The themes that echo through each episode, and there are so many, are perfectly timed and toned for an "almost at the end" pandemic release.Beyoncé Gave The Beyhive A Little Something To Be Thankful For With A “First Look” At ‘Renaissance' During Macy's Thanksgiving Day Parade However, such sketches require an empathic acuity and humble lightness of touch that Solos doesn’t possess. It has a weakness for the sort of lines that make bad writers high-five themselves. Sentences with literary delusions, such as “I push through the barrier of bodies – hot, salty tears stinging my eyes” or “We were standing there, her chlorine-wrinkled hands balanced on my nervous body” drop out of the actors’ mouths. If they were declaimed in a theatre for the upper circle to hear, you might get away with them; on a small screen, they land with a tinny thump. The tie-together at the end is almost perfect, except that the episode "Nera" is only vaguely referenced, and also didn't seem to share a mini-connection to any of the others, as the rest of the episodes all seemed to do. It is the most isolated of all of the episodes and has had me rewatching and pondering why. Was it editing that removed its connection from the rest or was it intentional? There is so much about it that doesn't fit with the rest. It does contain nearly all of the themes, but it has a really strong "one of these things is not like the others" feel all the way through it.

Anne Hathaway as Leah, a scientist in 2024 trying to attempt time travel using "the Cauchy horizon"Jenna Bush Hager Reveals To Hoda Kotb That Her Daughter Asked Her Husband Why He Was "Lying" When He Said She "Never Looked Better" What Shows Will It Remind You Of? Solos has a vibe similar to HBO’s Coastal Elites, where solo performers essentially monologue for 15-25 minutes, though in the case of the two episodes above, the actors are talking to someone or something, whether it’s a smart home software host or future and past versions of herself. Constance Wu as Jenny, a self-loathing, self-destructive woman who is in a waiting room and doesn't know why