Showing posts with label Amazon Prime. Show all posts
Showing posts with label Amazon Prime. Show all posts

Friday, July 8, 2022

TV Review: Pratt’s Performance Elevates Visceral “The Terminal List”


By Jon Brooks

“This is Antoine Fuqua meets Alfred Hitchcock...” — Jack Carr recounting showrunner David DiGilio’s description of Amazon Prime Video’s “The Terminal List” 

In early 2018, I started seeing mention on Twitter of a new thriller novel titled “The Terminal List” by an author named Jack Carr (a former Navy SEAL). 

Many of the people I interact with on Twitter were looking forward to Carr’s debut novel. It sounded like something I would be interested in reading. I’ve long been a fan of the thriller genre, and the premise seemed intriguing. 

So I pre-ordered a copy and set my sights on reviewing it. 

When you start a blog — or any sort of creative pursuit — your main hope is that people will enjoy it. Throughout 363 posts (as of this writing), I'm primarily fueled by feedback and interest from readers. 

When I reviewed Carr's “The Terminal List,” I never imagined it would become my most viewed blog post. But as the years have progressed — and as Carr has built a legion of loyal followers — the review steadily rose and has become the top performing post on my blog (read my review). 


In my review, I described the novel as “a story that stings the throat and clears the sinuses — bold, brutal, and unwavering.” 

Carr does a terrific job marketing his books — and his love of pop culture is evident. I am the same age as the author, and grew up with many of the same influences.

My mom and dad took me to the theater to see most of the macho military action movies of that era. I fondly remember seeing movies like “Rambo: First Blood Part II,” “Commando,” “The Delta Force,” and “Invasion U.S.A.,” with my parents at our local multiplexes. 

I was also a fan of the TV series “Magnum, P.I.” as a kid, and remember watching it with my parents on Thursday nights (keen-eyed readers will find several references to the show in Carr’s work). 

My love of mystery and thriller novels began at a young age. I remember loving “The Hardy Boys” series during elementary school, reading WWII-related children’s books like Bernard Glemser’s “Radar Commandos,” and later developed a passion for "grown up thrillers" when a high school literature teacher gave our class the assignment of reading a Tom Clancy or Robert Ludlum novel (I chose Clancy’s “Patriot Games”). 

When news started percolating about a filmed adaptation of “The Terminal List,” I was curious to see how Hollywood would interpret Carr's well-drawn thriller. 


And, when it was announced that Chris Pratt would star in a series adaptation of the novel on Amazon Prime, my initial curiosity transformed into pure excitement. A multi-episode series would allow the filmmakers to dive into the story and explore the characters in a more significant manner. 

“The Terminal List” chronicles the exploits of Lieutenant Commander James Reece (Pratt) here on the home front in Coronando, California, after his SEAL team (operating out of Incirlik Air Base in Turkey) conducts an ill-fated mission in Syria (Operation Odin’s Sword) to eliminate a chemical weapons specialist known as “Chemical Kahani.”  


In the aftermath, Reece questions his recollection of the particulars that transpired during the covert mission, and starts to question his own judgment as the leader of Alpha Team. 

Moreover, when a surviving team member mysteriously dies stateside (of a suspected suicide), Reece believes the cause of death isn’t a cut-and-dry case. 

Is Reece paranoid, or is he on the right track? 

He worries that Kahani is targeting his men, but soon learns there is a greater conspiracy afoot — a conspiracy that puts our protagonist, his wife Lauren (Riley Keough), and daughter Lucy (Arlo Mertz) in extreme danger. 

With the help of intrepid reporter Katie Buranek (Constance Wu), Reece starts to put the pieces together. 


Things are not as they seem, and Reece soon finds himself in the center of a maelstrom that reaches the highest corridors of power. 

Somewhere, somehow, someone is going to pay. 

The eight-episode series manages to imbue the spirit of Carr’s novel, and Pratt (a surprisingly versatile actor) becomes the embodiment of Carr’s protagonist. 


As is the case with many page-to-screen adaptations, there are a number of differences between the book and the movie — far too many to highlight in this review. 

In general, I was fine with the changes made to the story and its various settings. Producer/director Antoine Fuqua (“Olympus Has Fallen,” “The Equalizer”) and showrunner David DiGilio (along with his writing team, who worked on much of the production via Zoom due to the pandemic) do a yeoman’s job navigating these intricacies, and create a compelling narrative for the screen. 

One interesting stylistic choice was the show’s moody production design. 

“The Terminal List” is a dark revenge tale. The production employed a dim, dreary, and desaturated color palette (and lighting scheme) to hammer that point home. 

Characters are often lit in shadow, giving things a “noirish” feel. Some viewers might question the aesthetic. Taken in total, I think the effect largely worked. 


There are also moments in the story where Reece questions his sanity — stylized flashback/hallucination/dream sequences are utilized and allow for additional nuggets in Reece’s backstory, giving the character more texture in the process. 

For me, the highlight episode of the season was the sixth, titled “Transience.” 

I won’t go into any specifics, but I found it to be an entertaining chapter. I’ll simply say that it had sequences that reminded me of the 1982 film “First Blood.”  

(By the way, if you haven’t listened to Jack Carr's podcast interview with “First Blood” scribe David Morrell, it is well worth your time!) 

There are also various “easter eggs” from the novels strewn throughout the eight episodes of “The Terminal List.”  

For example, @Marc_Harris3 on Twitter pointed out a shot in the series where a bottle of honey and a small box of half-and-half sits in front of Reece and his coffee mug: 



Another detail from this book is the inclusion of Reece’s 1988 Toyota FJ62 Land Cruiser. In this video, Carr (a Land Cruiser aficionado) gives us a tour of the actual vehicle used in the series: 


Small details like that illustrate the care the filmmakers put into the series. 

In addition to Pratt — who gives his most nuanced performance to date — there are a number of notable performances in “The Terminal List.”  

In particular, some of the smaller roles stood out to me. 


I really enjoyed Tyner Rushing as pilot and former Army Aviation Branch Warrant Officer Liz Riley. While there wasn’t much meat to the role, the filmmakers did a solid job giving the character some nice morsels as they outlined her background and friendship with Reece. 

Former Navy SEAL Jared Shaw plays Special Warfare Operator First Class Ernest “Boozer” Vickers, a member of Reece’s team. Again, it wasn’t a big role, but the character is memorable. 

Shaw (who also serves as a technical advisor on the show) received a pre-release copy of “The Terminal List” back in 2017, and gave it to Chris Pratt (who optioned it soon thereafter). 

I also enjoyed seeing Jai Courtney in action as antagonist Steve Horn, head of Captstone Industries. He’s familiar with this territory, and I’ve enjoyed the actor’s work since his roles in “Jack Reacher” and “A Good Day to Die Hard.”  


There are also some small cameos of note in the series (including an entertaining appearance by Carr himself in the third episode). I enjoyed seeing former Navy SEAL Remi Adeleke make a brief appearance in “The Terminal List” as well.  

I first became familiar with Adeleke when Bridget ordered me one of his KEJO Wear t-shirts — a design we saw Neil Brown Jr. wearing on an episode of the CBS series “SEAL Team”: 


Overall, I had a good time watching Amazon’s adaptation of “The Terminal List.” The episodes move at a brisk pace, and Pratt’s performance elevates the narrative. 

As a longtime fan of this brand of thriller, I was heartened to see the care and craftsmanship that was put into the eight-episode season. 


There are so many wonderful print properties waiting to be developed. I hope the success of “The Terminal List” paves the way for more of these stories to make it to the screen. 

“The Terminal List” sets a new standard for thriller adaptations. Even if you haven't yet read Carr’s novels, I think you’ll find a lot to like in this series. 

If you want to learn more about “The Terminal List” on Amazon Prime Video, visit the show’s official website here. 

To learn more about author Jack Carr and his novels, visit his website at www.officialjackcarr.com. 


>> If you enjoyed my review of Chris Pratt’s “The Terminal List” series, please follow me on Twitter/X – @TheJonCrunch 

Related posts on Jack Carr: 






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Wednesday, February 23, 2022

TV Review: Amazon’s “Reacher” Season 1 Gets It Right


“I didn't kill anybody. At least not recently, and not in this town.” — Jack Reacher in “Reacher”

Now this is more like it...  

A little over a decade ago, Bridget and I were eating at our favorite local Omaha Mexican eatery Señor Matias (since closed) when we learned that Tom Cruise would be playing Jack Reacher in a filmed version of Lee Child’s novel “One Shot.” 

We didn’t discover that piece of news while looking at our iPhones. Rather, Bridget and I were munching on some flour tortillas and salsa when a guy at the table behind us exclaimed, “Tom Cruise is not Jack Reacher!”

Tom Cruise doesn’t imbue the physical characteristics — or personality traits — that have made Child’s literary protagonist popular through 26 novels. 

Like many stars of the 1980s, Tom Cruise basically plays himself in most of his movies. 

That said, I really enjoyed 2012’s “Jack Reacher.”

The movie is imminently watchable and crafted to perfection. Much of that success has to do with the partnership between Cruise and writer/director Christopher McQuarrie — a partnership that has yielded “best in class” action movies like the three most recent “Mission: Impossible” films (read my review of “Mission: Impossible - Fallout”). 

Unfortunately, 2016’s “Jack Reacher: Never Go Back” missed the mark (likely due to the fact that McQuarrie wasn’t at the helm). As a result of the film’s lackluster response, the future of the franchise was in doubt. 

Then, a few years ago, Lee Child teased that he wanted to bring the titular character to a “binge series” for streaming. Fans were excited at the prospect. I am one of those fans. 

The first series of Amazon’s Prime Video’s new series “Reacher” is here at last. 

In this production, Jack Reacher is played by relative unknown Alan Ritchson. 


First things first. Ritchson looks like he could eat Tom Cruise as a mid-afternoon snack. He is a physical specimen whose size, stature, and look fit the way the character is described in Child’s novels. 

The 8-episode season is built around Child’s first novel, 1997’s “The Killing Floor.” Well-versed fans of the novels will also note that some of the flashback elements are pulled from the 2004 novel “The Enemy” (read my review) and the short story collection “No Middle Name: The Complete Collected Jack Reacher Short Stories” (read my review). 

While the adaptation paints outside the lines a little bit, it stays pretty faithful to the novel. 

The setup finds our hero — a former military police officer who roams the Earth like Caine in “Kung Fu” — arriving in the small town of Margrave, Georgia. The “Reacher pastiche” in the novels is that he goes wherever the spirit moves him (or wherever a friendly driver is willing to take him). 


Reacher is sitting down in a Margrave diner — ready to eat a piece of peach pie — when authorities arrest him for a murder that took place the night before. 

He is sent to prison with a local banker named Paul Hubble (Marc Bendavid) — a man who is scared of something and falsely confesses to the murder. 

It is such a deceptively simple way to start a story. That’s the genius of Child’s novels. His protagonist — inspired by fictional knight errants of yore — has found himself in the wrong place at the wrong time more times than he probably cares to remember. 

“Reacher” was created by screenwriter/producer Nick Santora. Santora serves as the showrunner and has worked on a number of popular shows like “The Sopranos,” “Prison Break,” “Law & Order,” and “Scorpion.” I recently reviewed Santora’s 2007 legal thriller “Slip & Fall” (read my review). 

Santora does a credible job crafting a series that is loyal to a fault. As the eight episodes rolled along, you could tell that every effort was put into capturing the magic that makes a Reacher novel so special. 

One interesting tidbit: This season of “Reacher” was filmed in Ontario. I Googled to see where it was filmed when I noticed a rack with hockey sticks in a garage during an episode — not a common sight in eastern Georgia. 


In addition to Ritchson, the show is well cast. I particularly liked the interplay between Reacher, police officer Roscoe Conklin (Willa Fitzgerald), and Chief Detective Oscar Finlay (Malcolm Goodwin) as they worked to uncover the bigger conspiracy at play in Margrave. 


The entire dynamic could have been nothing more than a series of heavy-handed, character-archetype clichés and tropes. The show’s writers instead chose to employ a “lighter touch” when it came to characterizations. For that, I am thankful. 


A lot has been made of the fact that Cruise didn’t fit the physical profile of Reacher in the novels. Those who haven’t read the books oftentimes think the criticism is overblown. 

The issue is that Reacher’s physical nature is part of the reason people underestimate his intellect in the novels. His foes assume he is a simpleton — solely based on his appearance. 

That was a key ingredient lacking in the Tom Cruise movies. I mean, Cruise looks like an Ivy League educated attorney in most everything he stars in. 

Alan Ritchson does a good job balancing both attributes of Reacher. I’ll admit, he was a little stiff at times, but that will ease with time. 

More often than not, filmed adaptations of books stray significantly from their source material. We’ve seen it happen time and again in recent years. 

So there was something refreshing about watching an adaptation that tried to hit all the notes. If you look at various reactions to “Reacher” online, viewers seem very pleased with the final product. 

I know I was happy with the first season. I think you will be too. 

Whether or not you are a fan of the novels, I encourage you to check out Amazon Prime Video's “Reacher.” It is a fun action thriller that offers a compelling mystery and interesting characters. 

I’m excited to see where “Reacher” goes from here. The series has already been picked up for a second season. I’m curious to see what book they use as the basis (I’d like to see “Persuader” used — read my review). 

If you enjoyed my review of “Reacher,” follow me on X/Twitter: @TheJonCrunch 


Additional blog posts on author Lee Child and Jack Reacher: 












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Sunday, May 16, 2021

Movie Review: Does “Without Remorse” Stay on Course?


I had high hopes going into “Without Remorse,” the latest entry in the “filmed Clancyverse” (filmed properties based on the novels of Tom Clancy). 

Looking at the trailers and pre-release materials for the film, fans of the Clancy novel could tell right off that it veered away from the 1993 novel (which took place in 1970). 

But having Michael B. Jordan in the lead role (one of today’s talented young actors) and a script by Taylor Sheridan (who created the series “Yellowstone” and has penned movies like “Sicario” and “Hell or High Water”) made me confident this would be a top-notch actioner. 

The movie was originally slated for a theatrical release by Paramount in 2020, but — due to the pandemic — was eventually sold to Amazon for a digital debut on Prime Video. 

The movie’s basic setup goes something like this...

Navy SEAL Senior Chief John Kelly (Jordan) and his team are tasked with rescuing a CIA operative in Aleppo, Syria. As the operation progresses, Kelly learns that the operative’s captors weren’t Syrian, but rather Russian. He wants to know why. 


(By the way, this isn’t Jordan's first role with ties to the Navy SEALs. He played former SEAL Erik Stevens in Disney’s “Black Panther” — read my review). 

Three months later, members of Kelly’s team are targeted by Russian FSB agents. 


Kelly’s home is invaded in the series of hits. He is seriously wounded in a firefight, and his pregnant wife Pam (Lauren London) is killed during the home invasion.  


Secretary of Defense Thomas Clay (Guy Pearce) and CIA officer Robert Ritter (Jamie Bell) decide not to launch an investigation into the murders. 

This prompts Kelly — with info from Lt. Commander Karen Greer (Jodie Turner-Smith) — to launch his own “investigation” into the Russians operating on U.S. soil. Kelly’s actions ultimately result in him getting tossed in prison. 


On the surface, the setup sounds pretty much de rigueur for a geopolitical espionage thriller. 

The issue is that the early sequences feel like they zip by too fast — as if the filmmakers were hurrying things along to move the narrative ahead. 

The setup eventually results in Kelly and a team of operators heading on a clandestine mission to Murmansk to find Victor Rykov (Brett Gelman), the man who  Kelly saw in his home when his wife was murdered. 


What could have been an interesting hunt for a Russian operative proves to be largely anticlimactic. I didn’t feel the story ever really reached its destination. 

Maybe it’s because we’ve seen a number of revenge movies in recent years. I can’t say for sure. 


While revenge stories often feature simple plots, the events in “Without Remorse” seemed like they unfolded in a manner that was far too simplistic. 

All I know is that the whole doesn’t transcend the sum of its parts in “Without Remorse.” 

By contrast, Amazon’s “Jack Ryan” series (read my review of Season 1 and my review of Season 2) has proven itself to be a pretty capable espionage thriller. That could be because it is given more room to breathe. 

I have a feeling “Without Remorse” might have worked better as a multi-episode series. 

That said, a number of the OG Clancy-based movies were terrific. “The Hunt For Red October,” “Patriot Games,” and “Clear and Present Danger” epitomized geopolitical thrillers in the 1990s — and rank among my favorite films of the era. 

“Without Remorse” was arguably the most “human” of Clancy’s thriller novels. Many fans rank it as their favorite in the late author’s bibliography. 

The decision to move away from the novel’s narrative is a curious choice. While no one expected this movie to take place in 1970, many of the story elements could have been adapted to the 21st century. A more faithful adaptation could have been really terrific — there was so much fertile material in the novel. 

Be that as it may, I fully accepted the idea of a movie with a different plot. 

I’d followed the development of “Without Remorse” over the years. I recall reading about various stars and directors attached to the project. Ultimately, those productions never got off the ground. 

The performers do the best they can with the material they are given in “Without Remorse,” but it just isn’t enough. 


Michael B. Jordan is solid (as usual). He has been excellent in various popcorn movies recently, including the solid “Creed” series (read my review of “Creed II”). 

Jordan’s talents would have benefitted from a better script. 

It’s an odd thing to say, considering the fact that Taylor Sheridan is one of the hottest scribes in the business today. Despite Sheridan’s narrative talents, the screenplay struggled to find its bearing (it might have to do with the fact that the project had gone through several iterations the past two decades). 

What could have been a fascinating origin story felt rushed and uninspired — more like a quick setup for a potential sequel down the road. 

(Speaking of a “potential sequel,” stay tuned for a mid-credit scene at the end of “Without Remorse.”) 


Overall, I was pretty disappointed with the execution of “Without Remorse.” The movie veered of course and lost its bearings. It could have (and should have) been much, much better. 



>> If you enjoyed my review of “Without Remorse,” follow me on X/Twitter — @TheJonCrunch 

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Tuesday, September 8, 2020

That Crazy Era When They Charged $15 for a Single “Star Trek” Episode


I thought I’d share a bit of nostalgia on what is dubbed as #StarTrekDay (the original show debuted on Sept. 8, 1966)… 

The past month, Bridget and I have been helping my dad clean out his home to prepare for sale as he downsizes and simplifies his life. 

As you might imagine, we have gone through all sorts of random items in boxes, stored away long ago in dusty nooks and crannies. 

Among the items I found were some of my old “Star Trek” (the original series) episodes that I purchased on VHS many moons ago. 

That might seem like a commonplace activity in 2020, but in the 1980s home video was a different beast. 

The idea of “owning” a “complete season” of any TV show seemed sort of insane back then. 

Most TV series never saw the light of day on home video during the VHS/Betamax era. Every so often you’d see a studio release a pilot episode or two-hour episode on VHS and market it as a “movie” (as MCA did with the pilot episode of “Miami Vice” and the season 2 premiere episode as “Miami Vice II: The Prodigal Son”).

If you wanted to have a complete series on home video, you recorded it during a broadcast (generally in EP or SLP mode so you could fit the most episodes on a tape). 

I recorded many episodes of the 1960s-era “Star Trek” on our Panasonic VCR during the 1980s. It aired Sunday nights at 11 p.m. on KMTV in Omaha. The quality resulting from recording episodes on VHS was so-so, but it was all we had at the time.  

I was 12 when we purchased our first VCR (1985), and I wasn’t allowed to stay up and pause recording during the commercial breaks. 

Not only that, KMTV didn’t always broadcast the episodes in order, and certain episodes were rarely broadcast. 

In February 1985, Paramount Home Video tried to remedy that situation when they released the first slate of “Star Trek” episodes on VHS and Beta. 

I really wanted to purchase those episodes. I recall that our local Applause Video chain had them in stock the day they released. 

Unfortunately, the episodes retailed for $14.95 each. That meant you’d spend around $1,200 if you wanted all 79 episodes of “Star Trek” — and that price wouldn’t even include sales tax. 

When I started earning my own money (from a paper route I had), I purchased a dozen episodes of “Star Trek” on VHS. The price point meant I had to “pick and choose” the episodes I liked the best. 

One of the episodes in the photo above — “The Trouble With Tribbles” — debuted at #20 on Billboard’s list of “Top Videocassette Sales” for the week ending Nov. 29, 1986. By all accounts, the episodes sold well. 

I purchased my episodes at Musicland at Crossroads Mall. They had a couple shelves that housed all the episodes. We lived two blocks from the mall, so I was a frequent visitor. 

The VHS episodes didn’t have any special features. They were uncut (episodes broadcast in syndication are trimmed to accommodate extra commercials) and they included the original broadcast spot for the next episode. 

A few years ago, Bridget bought me “Star Trek — The Original Series” on Blu-ray during Prime Day on Amazon. It includes all 79 episodes (the original broadcast versions are there, along with remastered versions that have enhanced visual effects). In addition, the 20-disc set includes a variety of bonus materials strewn throughout. 


If I recall correctly, the entire series was sold on Blu-ray for $59.99. That’s a far cry from the $1,200+ you would have spent collecting individual episodes on VHS. 

It’s fascinating to see how TV on home video has evolved, and how much easier it is to access content. It’s also interesting to note that the “archival” qualities of VHS weren’t particularly robust (or long lasting). 

You can stream all three seasons of the original “Star Trek” on various VOD platforms (such as Netflix, Prime Video, CBS All Access, and Hulu). 

It is all so much more convenient than the 1980s… and much more affordable. 

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Thursday, May 28, 2020

TV Review: Is Amazon’s Sci-Fi Comedy Series “Upload” Worth Watching?


I’m going to say upfront that the Amazon Prime Video service is one that I’ve never really “loved.” 

Sure, there are a couple of the service’s original series — “Bosch” and “Jack Ryan” — that I’ve really enjoyed the past few years. 

But a lot of the original content failed to grab me. 

I’m sure that’s an unfair sentiment on my part. I’d imagine many of you have worthwhile recommendations you could make. 

Bridget and I decided to try the new sci-fi comedy series “Upload” based on a number of commercials we’d seen for the show on network television. 

“Upload” was created by Greg Daniels, the mind behind the U.S. version of “The Office,” “Parks and Recreation,” and “King of the Hill.” He is also the creator of the Netflix series “Space Force.”

“Upload” takes place on Earth in the near future (2033 to be exact) and tells the story of a world where people have the ability to upload a digital version of themselves into a digital afterlife of their choice. 

Some people are better able to afford a comfortable afterlife than others (similar in concept to varying funeral ceremony and burial arrangements of the present). 

The show’s protagonist is Nathan Brown (Robbie Amell, who I’d describe as a “low rent Tom Cruise”), a 27-year-old computer programmer who sustains fatal injuries in a freak car accident and ends up in Lake View, a ritzy resort world that is considered one of the best afterlife options. 

His girlfriend Ingrid Kannerman (Allegra Edwards), a wealthy socialite, foots the bill for Nathan’s stay, hoping they’ll be able to eventually spend all eternity together in Lake View.  

Much of the first season of “Upload” is dedicated to Nathan adjusting to “digital heaven.” 

The immersive afterlife is something akin to the world featured in the Kristen Bell comedy “The Good Place.” In fact, the whole vibe of “Upload” is similar in nature (except it leans more toward the sci-fi end of the spectrum and is less fantastical). 

Nathan initially feels listless in his new environment, but soon forges a special bond with his afterlife handler (referred to as an “angel”) Nora Antony (Andy Allo) — an employee at Horizen, the New York City company that owns Lake View. (I get the sense that Horizen is modeled on Verizon, what with the references to data caps vs. unlimited data.)

Throughout “Upload’s” 10-episode first season (each episode runs about 30 minutes) the narrative veers between Nathan’s existence in a computer and the real world exploits of the people he interacts with. 

While the show is far from perfect — and appeals to a very specific taste — it is pretty entertaining. 

The cast is also likable. I wasn’t sure initially whether Robbie Amell could capably carry the show as the main protagonist, but I grew to like his character as the season wore on. Nathan’s arc in the story is somewhat predictable, but enjoyable nonetheless. 

I thought Andy Allo did a nice job as the “angel” Nora. Her performance struck the right balance, and you could feel her inner conflict as she dealt the moral dilemma of what exactly defines a relationship in 2033. 

I should also note that a subplot is introduced early on about a business venture Nathan was involved in with his friend Jamie (Jordan Johnson-Hinds) that would provide afterlife services free of charge to the populace. 

Something I didn’t think was necessary was some of the more gratuitous “grown up” content in the season (the show is rated TV-MA). While various cable and streaming outlets give creators more “freedom” with content, sometimes the resultant effect can “cheapen” a show. 

I think of all the iconic episodes of “Seinfeld” that successfully navigated the network standards and practices personnel. If “Seinfeld” had been on an outlet like HBO, an episode like “The Contest” might not have been as compelling. 

It’s a minor quibble, but I think the show (which has been renewed for a second season) would benefit from some judicious trimming. 

Overall, I enjoyed the first season of “Upload.” While it would benefit from some tweaks next season, it is a program worth installing into your viewing lineup. 



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