Two years ago, Pepsi announced a collaboration with Peeps to make an Easter-themed version of the popular (or is it “Peepular”?) soft drink — that tasted like the venerable holiday treat.
This year, the special edition “Pepsi x Peeps” is available nationwide. It comes in both 20-ounce bottles (which I had for this review) and in 7.5-ounce mini-can multipacks (perfect for Easter gatherings).
It’s been awhile since I have done a food-related blog post (novelty cereal being a popular staple here). I honestly don’t know why it has been so long — they are typically among the easiest blog posts to write. (I really need to remember that when I’m struggling to write a book review.)
As I dive in here, let me say that I don’t typically drink the various colas on the market. I am a clear pop aficionado. I am a fan of Peeps, though, so I thought I should try this one.
I reviewed Kellogg’s Peeps Cereal back in 2020 (read my review). While that cereal wasn’t perfect, it was “better than some of the other novelty cereals the manufacturer as produced.”
Soooo... what does “Pepsi x Peeps” taste like?
On first mouthful, you quickly realize it is a two-part experience. As the fizzy-brown liquid rolls over your tongue, it initially tastes like regular Pepsi.
But as it moves through your palate, you sense the distinct flavor of marshmallows. It sort of tastes like a Toasted Marshmallow Jelly Belly.
I had Bridget try it. She drinks Pepsi and Coke all the time (she’s basically addicted the caffeine). She thought it tasted like Diet Pepsi (diet “anything” is generally a “no go” around here).
What’s weird about the soda is that on subsequent gulps, you notice the marshmallow flavor less and less. You really need to take a moment between sips to appreciate the full-throated goodness of marshmallow flavor.
They recommend eating a piece of french bread to cleanse your palate in wine tasting, so maybe munching on a Peep or two between sips would help in this case.
(NOTE: I tried this, and regretted it the same way I regret eating Long John Silvers during Lent.)
Even if you don’t care for Peeps (people have pretty definitive opinions about them), I don't think you’ll find too much to be offended about when it comes to “Pepsi x Peeps.”
It certainly isn't as distinctive as Cherry Pepsi or Cherry Coke. It’s a fairly understated novelty pop.
If you are having an Easter gathering, you might be wise to add “Pepsi x Peeps” soda to the menu. While it’s not quite “Easter in a Bottle,” it will make a great conversation piece.
A few weeks ago, one of my relatives walked into our house (on their way to swim at the neighborhood pool across the street) holding a tallboy can that looked like a beer.
I wouldn’t have thought anything of it except for that fact that the relative in question was my nine-year-old niece!
I'd love to have seen the look on my face, because I was confused, wondering if I'd awakened that morning in an alternate universe where 21 was no longer the legal drinking age.
She left the can sitting on the counter. And after the crew walked over to the pool, I snatched it up, and studied the labeling.
“Liquid Death” it said (in an Old English-type font) and the liquid inside was labeled as “Mountain Water.”
My fears were initially allayed. The beverage was nothing more than water.
I thought maybe it was like the old idiom that states “Don’t judge a book by its cover.” It’s just packaging, after all. What harm could it do?
Suffice it to say, our family ended up having a fun and spirited conversation about this after the fact via group text.
I told Bridget: “This is my next blog post.”
It’s obvious on initial glance that Liquid Death canned water is designed to be provocative. “Murder Your Thirst” is the brand’s tagline, and it is canned by Austrian beverage company Starzinger (the brand itself was concocted by former creative director Mike Cessario, the mind behind promos for Netflix shows like “Stranger Things”).
The name Liquid Death evokes the term “liquid courage” (a euphemism used to describe alcoholic beverages and their ability to make you do unusual things).
They sell both “sparkling” and “still” waters. On the descriptions of the sparkling variants, it reads “Liquid Death Sparkling Water doesn't just look like a beer, it is actually carbonated like a beer.”
(Being carbonated like beer essentially means less carbonation than typical sparkling water drinks.)
The answer — “Yes and highly recommended” — epitomizes the approach the brand takes with its website (and aluminum can) copy.
In the intervening weeks since I was introduced to Liquid Death (and after having procured four cans for this blog post), I have shown the beverage to various parents I know to gauge their reactions — friends, relatives, members of our neighborhood pool, and even the woman who cuts my hair.
While my research is firmly planted in the anecdotal realm, the parents I showed Liquid Death to were rather surprised. The overarching sentiment seemed to be: “This looks like a gateway product that could encourage underage drinking.”
As mentioned earlier, that sort of controversy is part of the brand's unique selling proposition. Like it or not, they don't shy away from it.
This Liquid Death commercial — set to Judas Priest’s song “Breaking the Law” — epitomizes that vibe as viewers see young kids partying while drinking the beverage:
The brand has apparently supplied various online influencers with Liquid Death. Others have found it on their own.
The main question in all of this is whether or not a product that *looks* like beer — even if it is just a harmless can of water — can have negative consequences as it regards underage drinking.
That is certainly a subject for debate.
It sort of reminds me of the “candy cigarettes” they sold when I was a kid. Did those chalky sugar sticks make a kid more likely to become a smoker later in life?
In my case, the answer was no. But I’m not everyone.
I will say this... as someone who doesn’t consume alcoholic beverages, sometimes you can feel a little out of place at parties and gatherings when you aren’t partaking in the adult beverages offered. In those instances, it is possible holding a Liquid Death water might make you look less out of place.
The other question is whether or not the Liquid Death water is any good.
I drink a number of sparkling water brands. In recent months, I’ve been into Spindrift and BUBBL'R sparkling water brands. The latter of the two has become a favorite of mine.
I’ve sampled Liquid Death's “Mango Chainsaw” and “Severed Lime” sparkling water flavors.
Both of them were just okay, in my opinion. Neither was particularly remarkable. Frankly, the lower carbonation level in the drink (which is done by design) made the beverage seem somewhat flat to me. For me, this genre of drink really depends on its “bubble” factor (as far as I'm concerned, the more bubbles the better).
In that regard, it does make me wonder if Liquid Death’s viral popularity is largely smoke and mirrors — unremarkable canned water that is basically buoyed by unorthodox packaging and marketing.
When the novelty wears off (which it will), does the product have the legs to survive?
I’ll let you decide for yourself.
In the meantime, you can purchase Liquid Death at select online retailers like Amazon and at brick-and-mortar outlets like Target, 7-Eleven, and Whole Foods.
The last time I reviewed a season of “Cobra Kai” was May 9, 2019. Those were my thoughts of the show’s second season. For a while there, I wasn’t sure the series was going to return (despite being renewed for a third season by YouTube).
My reviews of Season 1 and Season 2 of “Cobra Kai” sit among my top 10 blog posts of all time (out of 336 total posts since 2016).
Fans were left waiting with bated breath as the future of the “Karate Kid” sequel/reboot series stood in the balance. YouTube had decided to shift away from cultivating Netflix-like scripted series, and parent studio Sony had to find a new “streaming dojo” to host the show.
Thankfully, Netflix swooped in and saved the series. The long-awaited third season of “Cobra Kai” just dropped on the streaming service, and I’m ready to share my thoughts.
An in-school “karate brawl” between students from the Cobra Kai dojo and Miyagi-Do Karate left the fate of fan favorite Miguel Diaz (Xolo Maridueña) in doubt after his body hit a stair railing when he plummeted off a balcony in West Valley High School.
(I can still hear my wife Bridget uttering “Oh my gosh...” in stunned disbelief as Miguel fell during the finale.)
While the brawl was sparked by teen romance and angst sizzling to the surface, the revival of the Cobra Kai dojo had already turned dark when original honcho John Kreese (Martin Kove) came back in the picture.
As the second season closes, the Johnny Lawrence (William Zabka) redemption arc — and his unorthodox ability to bring confidence to a group of geeks, nerds, and outcasts — is in limbo.
“It’s just an insane karate cult that’s brainwashing half the school,” Samantha LaRusso (Mary Mouser) told her father Daniel (Ralph Macchio) during the course of Season 2.
Die-hard fans of the series (the OG fans who watched the series before it landed on Netflix) were left waiting an awfully long time to find out what happened to Miguel.
I don’t think any of us thought he’d die, but we all wanted to know where he (and the rest of the cast) would go in the future.
With all 10 episodes of Season 3 now available on Netflix, fans have answers. The first three episodes deal with the lingering aftermath.
Because of the dark ending to Season 2, there were fewer moments of “levity” as the third season began.
Johnny is suffering emotionally after Miguel’s fall. He’s also having an identity crisis without the structure provided by Cobra Kai.
At the same time, Daniel is dealing with a PR nightmare for his auto dealership business in the aftermath of the fight at the high school — he’s about to lose his contract with Doyona International (the fictional fill-in for Toyota).
Lawrence’s son Robby Keene (Tanner Buchanan) is on the run from the law after his duel in the school with Miguel.
Tough girl Tory Nichols (Peyton List) has been expelled from West Valley after the brawl (since her actions instigated it). She is trying to obtain her GED, works two jobs to care for her ailing mother, and has left Cobra Kai behind.
Samantha LaRusso is dealing with PTSD after her fight with Tory.
John Kreese is still an @sshole, but they try to explain the underpinnings of his cruelty via a series of Vietnam War flashbacks.
(By the way, the bully who terrorizes young John Kreese in the flashback scenes is played by Kove’s son, Jesse.)
Add in the fact that ex-geek Eli “Hawk” Moskowitz (Jacob Bertrand) has twisted down a darker path, and things aren’t looking too bright in the karate universe.
I want to commend series creators Josh Heald, Jon Hurwitz, and Hayden Schlossberg (and their team of writers) for capably navigating a dicey setup for the third season.
Part of what makes “Cobra Kai” so enjoyable is the chord it strikes between cheeseball comedy (the creators are the brains behind comedic franchises like “Hot Tub Time Machine” and “Harold & Kumar”) and poignant dramatic moments.
The writers had to untie a lot of narrative knots as the season began. As a result, the first couple of episodes didn’t quite have the charm of earlier seasons. I was a tad bit worried since the “comedy/drama balance” is what makes the series special.
The good news is that my concerns subsided during the season’s fourth episode. I’ve had a number of friends (including my brother-in-law) who found that episode to be the season’s best.
Titled “The Right Path,” the episode gets the season (and series) back on track. The narrative centers on Daniel traveling to Japan as he attempts to salvage his business relationship with car company Doyona.
“I’m coming home with a yes, don’t worry,” Daniel tells his wife Amanda (Courtney Henggeler) after getting rebuffed by Doyona executives early in the episode.
In order to salve his negotiating wounds, LaRusso decides to visit Okinawa — the setting for 1986’s “The Karate Kid Part II.”
He visits Tomi Village, a place that has shed many of its old-school trappings in favor of modern amenities such as a shopping mall with western staples like Red Lobster and Forever 21.
The entire sequence in Okinawa was enjoyable, and took me back to 1986.
I have a few fond memories from the summer when that movie was released.
Prior to the theatrical release of “The Karate Kid Part II,” my mom purchased the novelization to read out loud to me and my dad during a two-day car trip to Texas (to visit my brother).
I recall having a great time listening as she read aloud about Daniel LaRusso’s continuing adventures (I guess we were less concerned about “movie spoilers” during that era).
Fast forward 34 years... It was fun watching as Daniel reunited with “Part II” love interest Kumiko (Tamlyn Tomita) and former enemy Chozen (Yuji Okumoto).
The fourth episode — along with the fifth (titled “Miyago-Do”) — brought things back into balance. It was nice to see Daniel get some closure on the events in “Karate Kid Part II” and also gain some new insights into Mr. Miyagi (I also enjoyed the writers’ clever solution to LaRusso’s Doyona problem).
From the Okinawa trip forward, Season 3 started to gain momentum — and recapture the spark we saw during the first two seasons.
Not only was it nice to see Daniel achieve a sense of renewal, it was also nice to see Johnny’s relationship with Miguel rekindled.
The engaging aspect of the first “Karate Kid” movie was the sensei/student dynamic between Miyagi (Pat Morita) and Daniel.
By the same token, the dynamic between Johnny and Miguel was what made the first two seasons of “Cobra Kai” so special.
There’s something inherently interesting about the juxtaposition between Johnny’s Reagan-era sensibility and Miguel’s Millennial mindset — and how the two influence one another.
The second half of Season 3 finds our protagonists reorienting themselves as they begin to focus on foe John Kreese and his cult-like Cobra Kai dojo.
There were a number of fun moments in the final five episodes.
The sequence where Lawrence starts a new dojo called “Eagle Fang Karate” (for students who had become disenchanted with Cobra Kai) was pretty entertaining. The unveiling of the dojo name featured a funny exchange between Johnny and one of his students:
Johnny: “There’s only one animal that can kill a snake.”
Bert: “A mongoose?”
Johnny: “A real animal, Bert.”
Heading into this season, there was considerable speculation as to whether there would be a guest appearance by Elisabeth Shue, who played Ali Mills in “The Karate Kid” (the source of contention between Johnny and Daniel in that movie).
Shue had a bit part in the recent Tom Hanks movie “Greyhound” (read my review), but hasn’t appeared in much recently.
Shue did indeed make her first “Cobra Kai” appearance this season. “Ali Mills Schwarber” (recently separated from her husband) is featured in the final two episodes.
It was nice to see her reconnect with Johnny via Facebook. I enjoyed it when they got together for dinner, and thought it was fun to see them hang out afterward. The banter between the two characters seemed fairly natural and relaxed.
“I love, after all these years, you can still make me laugh,” Ali says to Johnny as they catch up on life after high school.
I also liked the dynamic between Ali, Johnny, Daniel, and Amanda at the Christmas party at Encino Oaks Country Club during the final episode of the season.
The only downside is that it appears Ali won’t be back next season (the writers didn’t make any obvious overtures in that direction). If this was a “one-off,” it was still nice to have her back.
The tenth and final episode (titled “December 19”) is certainly not your typical Christmas episode, but it set up things nicely for Season 4.
I continue to enjoy the show’s instrumental music stylings from Leo Birenberg and Zach Robinson. There are little moments when the vibe feels like a synth-heavy score from the 1980s (which is on-brand for this series).
I did miss teen Cobra Kai member Aisha (Nichole Brown) this season (the character apparently transferred to a private school).
I was also surprised that Raymond/Stingray (Paul Walter Hauser) wasn’t back for another go-round. That said, the character’s sophomoric humor likely would have felt out of place this season.
With the Miyago-Do Karate and Eagle Fang Karate students teaming up to take on Cobra Kai at the All Valley Karate Championship in Season 4, there should be some entertaining moments ahead.
It was also interesting to see Eli “Hawk” Moskowitz join the “good guys” in their mission against Cobra Kai. I’ll be fascinated to see where his character goes next season, and what sort of redemption arc the writers have in store for him.
Near the end of the episode, we see Kreese calling what appears to be one of his former Vietnam compatriots. I can only assume it’s the Terry Silver character from “The Karate Kid Part III” (and that he’ll team up with Kreese to get Cobra Kai ready for the tournament).
Overall, I had a good time watching the third season of “Cobra Kai.” I'm just bummed we’ll have to wait another year to visit these characters again.
The closing moments of the finale make that wait all the more difficult. Seeing Johnny and Daniel unite to train the students — as The Protomen’s cover of “In The Air Tonight” plays — felt pretty darn epic.
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.
I’ve mentioned in some other posts on this blog that I like to read non-fiction books when I travel. Because there are so many distractions when you are on the road, it is nice to find something that you can just pick up and read in chunks here and there.
(Don’t let the author’s first name fool you... Ashlee Vance is a male.)
Vance — an experienced tech reporter and author — takes a deep dive into the life of one of Silicon Valley’s most ambitious (and, at times, controversial) technology entrepreneurs.
I pushed myself to finish the book in conjunction with the first manned SpaceX mission to space. The landmark Demo-2 mission saw SpaceX’s Falcon 9 rocket carrying the Crew Dragon capsule to the International Space Station on May 30, 2020.
It was the first manned mission from U.S. soil since 2011. The joint SpaceX/NASA mission also has the distinction of being the first manned orbital launch led by a commercial company (all part of Musk’s effort to become an “interplanetary species” in the future).
Vance’s biography (published in 2015) is set up in a “cradle to grave” structure, starting with Musk’s early life growing up in South Africa and following him through the tech ventures he is currently behind.
Readers are treated to youthful anecdotes and accomplishments such as computer game he designed at age 12 called Blastar. We also learn about an episode in school when he was bullied by a group of boys Musk refers to as “a bunch of f*cking psychos.” (Elon had a nose job in 2013 to fix the lingering damage caused by one particular beating.)
Elon Musk has quickly become my favorite entrepreneur. His persona has often been compared to eccentric business mogul Howard Hughes and fictional superhero Tony Stark — the latter a comparison he obviously favors.
“Near the elevators [of the SpaceX headquarters],” writes Vance, “Musk has placed a glowing, life size Iron Man figure.”
My interest in Musk stems from the innovative technologies he has been behind during his professional career. To say he is prolific is an understatement.
Musk is the founder, CEO, and chief engineer/designer at SpaceX, CEO and product architect at Tesla, founder of The Boring Company, co-founder of Neuralink, and co-founder and initial co-chairman of OpenAI.
(Tesla owns solar company SolarCity as a wholly-owned subsidiary).
Musk was also one of the “techpreneurs” behind PayPal in the early 2000s.
As is the case with many motivated entrepreneurs throughout the 20th and 21st century, Musk has been described as being difficult to work with.
“Numerous people interviewed for this book decried the work hours, Musk’s blunt style, and his sometimes ludicrous expectations,” writes Vance. “Yet almost every person — even those who had been fired — still worshipped Musk and talked about him in terms usually reserved for superheroes and deities.”
For example, Vance writes about one of Musk’s “famous e-mails” (from 2010) titled “Acronyms Seriously Suck” where he expressed his disdain for the practice:
“… a few acronyms here and there may not seem so bad, but if a thousand people are making these up, over time the result will be a huge glossary that we have to issue to new employees. No one can actually remember all these acryonyms and people don’t want to seem dumb in a meeting, so they just sit there in ignorance. This is particularly tough on new employees …”
One of my favorite Musk ventures is electric car company Tesla. The beautiful automobiles are inspiring and provide a glimpse into what most cars will be like in the future.
“Like Steve Jobs before him,” writes Vance, “Musk is able to think up things that consumers did not even know they wanted — the door handles, the giant touch-screen — and to envision a shared point of view for all of Tesla’s products and services.”
The latest Tesla — the Model Y — was released on March 15, 2009. Tesla refers to the car as a mid-size SUV, and it is the natural offspring of the Model X (a luxury SUV) and the Model 3 (the company’s affordable sedan).
Bridget and I had the chance to visit a Tesla Store for the first time when we attended the INBOUND conference in Boston, MA, in 2019. I enjoyed having the opportunity to sit in each of the vehicles on display.
All of the little details gleaned in Vance’s novel bubbled to the surface as I watched SpaceX’s launch on May 30th.
One of those details regarded a welding technique mastered by SpaceX during the company’s formative years.
“From the early days of SpaceX,” Vance writes, “Musk pushed the company to master friction stir welding, in which a spinning head is smashed at high speeds into the joint between two piece of metal in a bid to make their crystalline structures merge. It’s as if you heated two sheets of aluminum foil and then joined them by putting your thumb down on the seam and twisting the metal together. This type of welding tends to result in much stronger bonds than traditional welds.”
All of these moments — taken in total — paint a picture of a man who is willing to employ new techniques and inventive technologies to create more efficient processes, equipment, and products.
A company like SpaceX has come a long way since the days when Musk traveled to Moscow to try and purchase a refurbished intercontinental ballistic missile from some shady Russians to use as a launch vehicle (the effort failed and Musk eventually decided to build the rocket himself).
As I sit here typing this, it is mere hours after SpaceX’s Dragon capsule carrying two astronauts successfully docked with the International Space Station.
That achievement proves once again that entrepreneurial curiosity and tenacity eventually pays off. Our world needs more businesspeople with a mindset like Elon Musk.
If you are interested in business profiles, “Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic Future” is a worthwhile read. What makes the narrative so compelling is that the author isn’t afraid to get his hands dirty as he delves into the life and work of one of today’s most fascinating minds in technology.
“I remain as convinced as ever that Musk will succeed in his quests,” writes Vance. “He’s not really wired to fail.”
“Hey Poppy! I waited for you... I waited for you this time in the meeting.” — Ian Grimm in the “Mythic Quest” Quarantine Special
The past two months, we’ve watched Hollywood employ a number of interesting gimmicks to film new content as actors and crews have been stuck at home.
Recent examples of quarantine-centered specials include a “Parks and Recreation” reunion (with the original cast reprising their roles) and an episode of the CBS legal drama “All Rise.”
Apple’s workplace comedy “Mythic Quest: Raven’s Banquet” joined the fray of properties creating an original episode designed to look like it was filmed using videoconferencing software.
According to an article on Vulture, the cast used 40 iPhones and 20 sets of AirPods to film the episode (along with the use of prosumer-grade software on those devices). The actors would connect via Zoom on their computers, but film their content using the cameras on the iPhones.
The overall effect was good. Creator and star Rob McElhenney (along with the other players) crafted a fun episode that had solid production value and a fun vibe.
You’re limited with what you can do on a videoconference-centered episode. That said, I thought thought McElhenny & Co. did a decent job avoiding some of the “remote work” cliches that have become prevalent in humorous content the past few months. It was fun to watch the fictitious video game company manage their multi-player role playing game remotely.
More than anything, it was nice to catch up with the endearing cast of characters — Poppy Li (Charlotte Nicdao), David Brittlesbee (David Hornby), Brad Bakshi (Danny Pudi), C.W. Longbottom (F. Murray Abraham), Sue (Caitlin McGee), Rachel (Ashly Burch), Dana (Imani Hakim), and Jo (Jessie Ennis).
I still believe that “Mythic Quest: Raven’s Banquet” is the best thing on the AppleTV+ streaming service and I can’t wait until the cast and crew are back together to film more episodes!
If you’d like to learn more about the series — and watch the first two episodes for free — visit the Apple TV website or via the Apple TV app.
