Why 'Andor' Is The GOAT Of Disney Storytelling , 'Mission: Impossible' Is A Miss, Patrick Warburton Chat, TV Upfronts Highlights

Plus, a nostalgic pick from Black Film Club Chicago's Troy Martin, and a Chicago gourmet dinner invite with acclaimed filmmaker Lily Wachowski. Tell me what you're watching @bpopetv

May 16, 2025

It’s a wrap on Upfronts Week!

A television industry tradition where TV and streaming networks pull out all the stops (and booze) to lure advertisers to invest marketing dollars into their slate. Many save their biggest announcements and reveals for this week. Here’s a recap of some that stood out in New York:

Dearest Gentle Reader - ‘Bridgerton’ will return for Season 4 on Netflix in 2026, and two more seasons are in the works after. Yerin Ha is the new love interest, with Luke Thompson returning and taking center stage for this chapter.

Forever, Season 2 - Just a week after it’s release, and following an outpouring of positive reactions, Netflix announced the acclaimed Judy Blume adaptation will continue. Series creator Mara Brock Akil says, “Season two is our love letter back to the people who said, ‘Yes, this is for me.’ We’re honored, we’re excited, and we’re ready to go even deeper.” Here’s a great read from friend of the Screening Room, the Grio’s Natasha S. Alford, on “Why We’ve All Fallen for ‘Forever’ On Netflix.”

History! YouTube Gets An NFL Game - Chiefs vs Chargers, free on YouTube, streaming worldwide from Brazil on September 5th. I’m only noting this because of its implications for the TV landscape. YouTube is the most watched streaming platform in the United States, according to Nielsen. The NFL, one of the biggest kingmakers in the TV ratings game, opting to utilize the non-traditional outlet signals a further distance from traditional networks for live sports, who’s profits often help fuel the creation and survival of network TV shows.

Peacock’s ‘The Office’ Spin-Off - ‘The Paper’ is a new mockumentary comedy set in the same universe as ‘The Office,’ and sees the documentary crew that chronicled Dunder Mifflin move to Toledo, Ohio to cover a floundering newspaper. We don’t know yet just how this will connect to the beloved NBC classic, if at all, but we do know original ‘The Office’ cast member Oscar Nunez will return. As a journalist, series star Domhnall Gleeson sold me by describing the show as, “underdog characters that are banding together to keep journalism alive.”

Warner Bros. Discovery rebrands MAX. Again.

After two years, ‘MAX’ is now going back to being known as ‘HBO Max,’ something I’ve never stopped calling it. Embattled CEO David Zaslav called it a return to “the brand that represents the highest quality in media.” So, why did they ditch it in the first place? Your guess is as good as mine. It made for some fun jokes - most of them coming from the brand itself. See how HBO capitalized on a perfect marketing moment by leaning into the joke below.

‘Andor’ Finale Reflection: The Best Storytelling In Disney History (SPOILERS AHEAD)

“Of all the things at risk, the loss of an objective reality is perhaps the most dangerous. The death of truth is the ultimate victory of evil. When truth leaves us, when we let it slip away, when it is ripped from our hands, we become vulnerable to the appetite of whatever monster screams the loudest.”

With this eerily resonant statement from Genevieve O’Reilly’s Mon Mothma in Season 2, Episode 9 of ‘Andor,’ the Disney+ series supplanted itself as the most relevant entertainment of 2025 - and perhaps our entire post-2016 political era.

Like it or not, Star Wars, from inception, has always been inherently political. George Lucas developed it as a critique of the Vietnam War, warning of the pitfalls of imperialism through the lens of the Galactic Empire. Tony Gilroy’s Rogue One prequel series has gracefully picked up the baton from Lucas, serving as both a thrilling espionage drama and an allegory for our modern day political climate. Discrimination, immigration, the militarization of police, genocide, and the rise of authoritarianism aren’t danced around in ‘Andor.’ They are approached head on with swift scripting and narrative depth. For the first time in the Star Wars universe we see politics and the inner-workings of the Galactic Empire in full force, from backroom deals and resistance on the ground, to senate negotiations and security bureau meetings above it. Racism, sexism, xenophobia, and complex family dynamics are woven through heroes and villains in the universe, making “A Galaxy Far, Far Away,” feel closer than ever before.

There is so much to unpack with this show; Mon Mothma’s courageous and Emmy-worthy speech at the Galactic Senate, Bix’s heartbreaking decision to give up a life with Cassian and put the Rebellion first, Syrill losing himself in his pursuit of rebels to maintain order for the Empire, the Gorman revolution and subsequent massacre, the Rebellion being built on the backs of labor. I’ll dedicate a special edition of the newsletter to that after we let the show breathe. However, I don’t think it’s hyperbole to say: ‘Andor’ is the best show Disney+ has put out, the best piece of Star Wars media since the original trilogy, and the best narrative storytelling Disney has ever been a part of.

Awards season should be fun. Share your thoughts on ‘Andor’ with me below.

‘Mission: Impossible - The Final Reckoning’ Review: Can We Just Skip To The End?

The hyped plane stunt is worth the price of admission. Everything else? Meh.

Tom Cruise is a mad man! His willingness to do the craziest stunts imaginable - and unimaginable - have become one of the biggest draws for his latest ‘Mission: Impossible’ films, with Director and partner in crime Christopher McQuarrie. Beginning with ‘Rogue Nation,’ the duo brought a level of sleekness and sophistication to the M:I franchise. Unfortunately, for what’s being billed as the final entry in the series, they’ve lost the magic.

‘Mission: Impossible - The Final Reckoning’ is littered with pacing issues and an overly convoluted plot, falling into typical franchise action movie pitfalls. The movie began filming without a script, which is more common than you would expect in Hollywood. Sadly, it shows. It begins disjointed, yet nostalgic, whipping around past films to catch audiences up. With more dialogue than past entries, it lulls in the middle. However, once it revs up in the back half, we get the adrenaline rush we expect. The plane stunt that’s been promoted heavily and hyped by Cruise and McQuarrie for years is worth the price of admission, quickly becoming my favorite Tom Cruise set piece of all-time. I was floored and amazed, and I’m sure you will be too. It’s a shame, with a nearly three-hour runtime, that it took so long to get there. Overall, it’s a nostalgic final entry, for better or worse.

The Black Film Club Chicago is preparing to showcase " Hollywood Shuffle " on May 22 as a component of their "Black Hollywood: Real and Remixed" series, which focuses on themes of satire, subversion, and survival, both on and off screen.

Chi Achebe, a co-creative force at the club, reflects on revisiting "Hollywood Shuffle" a few years ago, noting she was struck by its storytelling and sharp, layered humor. She found it enjoyable to trace the emergence of numerous comedic talents, including actors and creators who later influenced iconic works such as "School Daze," "In Living Color," "Meteor Man," and "I’m Gonna Git You Sucka." Achebe views the film as both a time capsule and a launchpad, expressing her excitement to re-engage with it and discover what new perspectives might emerge.

Troy shares that he first watched the movie over 15 years ago at a friend's house, not fully grasping its context at the time but recalling the hilarious skits. Upon revisiting it in recent years, he emphasizes the need to give Robert Townsend credit for skillfully weaving humor into the persistent and frustrating reality faced by working Black actors. Troy notes that the film's exaggerated satire effectively portrays the industry experience of that era through sharp and witty skits, which resonate with those who have faced similar situations as well as those being satirized. He also believes Townsend successfully highlights the sacrifices Black actors often make to enter the film industry, which for some, may be the only opportunities they receive. Troy sees the film as a hilariously refreshing and potent reflection of the industry's absurdity, encouraging viewers to consider whether they have contributed to the problem or have been allies in finding solutions.

Today: The Midwest Film Festival

Mezcla Media Collective Presents: Dinner with Filmmaker Lily Wachowski (The Matrix, Cloud Atlas, Sense8)

Amidst a time when Black and brown voices are actively being erased, defunded, and censored, we invite our community to boldly come together to set our own tables - to support our local storytellers who utilize the revolutionary healing power of film when it is needed most. The night includes a custom-set dinner menu prepared by acclaimed Chef Zoe Schor, James Beard Award semifinalist and Chopped champion. MEET ME THERE! Tickets here.

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