TV Review: "How She Rolls" Mixes Entrepreneurism With Comfort Food

“I have always had biscuit dreams” – Carrie Morey, “How She Rolls” 

It’s fun to stumble upon tasty little gems as I'm perusing Apple TV. 

The PBS series “How She Rolls” follows Charleston, South Carolina, entrepreneur Carrie Morey as she juggles family life and the future of her business, Callie’s Hot Little Biscuit (named for her mother, whose biscuit recipe is at the heart of culinary hand-made items served up). 

As I was perusing the PBS app a couple weeks ago, I discovered “How She Rolls” listed in the app’s “Featured Shows” section. I decided to sample a few minutes of an episode (I inadvertently selected the season finale, but it didn’t spoil anything). 

I thought it looked like something Bridget and I would enjoy watching together. We donate to PBS, and a perk is access to all the content available via the streaming platform. 

As small business owners ourselves for more than 25 years, we enjoy programs focused on the entrepreneurial life. Staples in our streaming diet are series like ABC's “Shark Tank” and CNBC’s “The Profit.”  

“How She Rolls” shows the challenges Morey faces as Callie’s Hot Little Biscuit looks to expand its mail-order and brick-and-mortar operations. They also have a charming food truck called “Butter” that is launched during the first episode. 

“It’s not a biscuit company,” says husband John regarding his wife's business. “It’s way bigger than that.”

Indeed it is. Viewers gain insight into the the small empire that Callie’s Hot Little Biscuit has become over 15-plus years. 

In addition to the typical challenges faced by businesses in the food space, much of the series was filmed during — and highlighted difficulties caused by — the COVID-19 pandemic. 

We breezed through the 10-episode season in a weekend (each episode in the debut season runs about 25 minutes). 

The danger with watching a food-based series is that you inevitably want to sample the treats featured. As I’m writing this blog post, I'm craving one of the Sausage Biscuits featured on the Callie's Hot Little Biscuit menu. 

We looked to see if we could purchase any of Morey’s items in or around Omaha (the closest store carrying any items is 100 miles away), so we’ll have to have something shipped here. 

A few days after watching “How She Rolls,” Bridget surprised me with buttermilk and cheddar biscuits, sausage gravy, brown sugar bacon strips and florets from Gravy Train - Scratch Biscuits & Gravy. 

She pre-ordered the items and picked them up at the Omaha Farmers Market in the Old Market (Saturdays 8 a.m. to 12:30 p.m. through Oct. 10). 

I enjoyed having the biscuits for breakfast over the next couple of days. You forget just how satisfying and comforting something as simple as a buttermilk biscuit can be. 

“How She Rolls” is an intriguing look into the life of an entrepreneur, mixed with an ample helping of comfort food along the way. 

It was nice to see the spotlight focused on a female-led business. 

I’m hoping we'll get to see more seasons of “How She Rolls” on PBS (the first season left me curious about plans for future expansion). We had a terrific time learning about Carrie Morey, her husband, daughters, and extended family in the Palmetto State. 

Check your local listings to see if “How She Rolls” is airing in your area. The series is also available via various streaming platforms — including PBS Living and to PBS Passport subscribers via the PBS app. 

To learn more about Carrie Morey, the “How She Rolls” series, and Callie’s Hot Little Biscuit, visit www.calliesbiscuits.com. 

Previous post: Movie Review: Punk-Rock Inspired “Cruella” is a Fashionable Surprise 

Movie Review: Punk Rock-Inspired “Cruella” is a Fashionable Surprise

Let me say this out of the gate... I didn’t have a burning desire to see another live-action ‘re-imagining’ of one of Disney’s animated classics. 

A little over two years ago, I reviewed Disney’s live-action remake of “Dumbo,” and described it as “a pretty big yawn.”

I’ll admit I haven’t seen all of the recent “House of Mouse” remakes (I’m told that 2019’s “Aladdin” reboot is worthwhile, and have added it to my Disney+ queue). 

It was with some trepidation that I went into “Cruella,” the origin story of “101 Dalmatians” villainess Cruella de Vil. 

In order to prep for the movie, I watched 1961’s “101 Dalmations” so I’d have some context. I don’t know that I’d ever seen the spotted puppy classic, and it certainly isn’t required viewing to enjoy “Cruella” (but there are some ‘Easter Egg’ nods to that original film).

The main hook in the narrative of “Cruella” is centered on Estella (Emma Stone), a thriving grifter and aspiring fashionista in 1970s London. 

The film starts out with sequences of grade school Estella (Tipper Seifert-Cleveland) during her early years in rural England, living with her mother Catherine (Emily Beecham). These scenes show us a precocious and creative girl whose “hair makes a statement.” She has a side to her personality that is edgy — “your name’s Estella, not Cruella” her mother opines as the two debate on the proper way to make clothes for the girl’s teddy bear. 

Estella’s penchant for challenging the world continually gets her in trouble at primary school. This ultimately creates situation where Catherine has to uproot her daughter to London. 

A series of unfortunate events leaves our heroine an orphan, on her own (with her dog Buddy) in the streets of London. 

Fortunately, Estella is able to make “friends in unlikely places,” and is buoyed in a chance meeting at Regent’s Park Fountain by youthful thieves Horace (Joseph MacDonald) and Jasper (Ziggy Gardner). 

The setup pulls elements of classic tales like “Annie” and “Oliver Twist,” and provides the foundation for Estella and the boys to evolve into a successful (and sophisticated) thieving trio. 

Estella dyes her hair a unified color, and a montage sequence (to the Rolling Stones 1960s tune “She’s a Rainbow”) moves the characters 10 years forward into early adulthood. 

Estella designs useful (and stylish) disguises for the trio to pull off various heists. Horace (Paul Walter Hauser) and Jasper (Joel Fry) are both affable members of the hodge-podge “family that is good at stealing stuff.”

Thievery isn’t Estella’s ultimate goal in life. To that end, Jasper is able to procure Estella an entry-level job at Liberty for her birthday — the “most fashionable department store in the city” (which exists in London to this day). 

The position isn’t where the wistful fashion designer hopes to be, but she does eventually find herself in the employ of Baroness von Hellman (Emma Thompson), the head of the couture House of Baroness. 

What ensues is sort of like “The Devil Wears Prada” if it had been written and directed by the love child of Tim Burton and Guy Ritchie. 

(I was just watching Burton’s 1989 film “Batman” a couple weeks ago, and his gothic flair during that era feels like an inspiration for “Cruella” — minus the Danny Elfman soundtrack.) 

“Cruella” was directed by Craig Gillespie. I wasn’t familiar with his work. He is probably best known for the 2017 biopic “I, Tonya” (he is also a director and executive producer on the upcoming Apple TV+ series “Physical”). 

If this movie is any indication, he’s a director we’ll be hearing more from in the coming years.  

“Cruella” combines elements of a stylized fairy tale with an unorthodox heist movie. 

Estella’s rise in the fashion world plays with her internal emotional sensibilities. The juxtaposition between the heartfelt Estella and the edgy Cruella is at play throughout the film. 

“I’m Cruella,” she says, “born brilliant, born bad, and a little bit mad.”

“Cruella” maintained a brisk pace throughout. When I hear a movie runs two-plus hours, I’m often concerned about ‘narrative drag.‘ But the film’s overall momentum kept me interested (and I have the attention span of a gnat). 

Part of the appeal of “Cruella” is its overall look. The production design and fashions are a visual feast for the eyes. The costumes are essentially a character unto themselves, and provide more dimension to the film's characters. 

Costume designer Jenny Beavan created 277 costumes for the movie (including 47 for Stone’s character). Beavan is a two-time Oscar winner who previously designed for “Mad Max: Fury Road” and period dramas like “Gosford Park.” 

This Disney featurette focuses on some of the costumes in the film: 

I also enjoyed the soundtrack for “Cruella.” The filmmakers weave in a seemingly endless supply of songs from the 1960s and 70s. The musical stylings also include the newly recorded “Call Me Cruella” by indie rock band Florence + the Machine. 

While the script itself doesn’t have a whole lot of depth, the performances in the film are able to overcome the deficiencies. 

Emma Stone is one of today’s underrated performers. She has more range than she gets credit for, and gives off a certain je ne sais quoi in “Cruella” that has you rooting for her character throughout (read more about Stone in my 2018 blog post “The Lost Review: Is ‘La La Land‘ All That?“). 

Emma Thompson is solid, as usual, and is spot-on as an egomaniacal fashion designer. We don’t see her in films nearly enough these days, but she starred in two of my favorite films of the 1990s — 1991’s “Dead Again” and 1993‘s “The Remains of the Day.”

In addition to the two Emmas, the supporting players in “Cruella” give notable performances (often with scant material to work with). 

In particular, Paul Walker Hauser has a number of “scene-stealing” quips as Horace. I’ve written about him before in my 2019 review of Cobra Kai Season 2. While I wasn’t quite sold on his character in “Cobra Kai,” there is an affable goofiness about his performance in “Cruella” that aids the overall vibe. 

I also enjoyed the understated performance of Joel Fry as Jasper. Horace and Jasper could have been silly simpletons, but I appreciate that the filmmakers chose to give them a bit more texture.

Another one of Estella’s cohorts is Artie (John McCrea), the owner of a vintage fashion store called 2nd Time Around. While the character doesn’t garner much screen time, his Bowie-esque look ads to the film’s punk-rock aesthetic. 

I think “Cruella” is a textbook case of a movie becoming something greater than the sum of its parts. I can’t quite put my finger on exactly why it works, but it works. 

It also had more of an ‘edge’ than I was expecting.

Some of you will remember the G-rated “101 Dalmatians” reboot Glenn Close headlined in the 1990s. While that movie (and a sequel) was built to be “kid-friendly,” this film veers in a grown-up direction. 

“Cruella” is rated PG-13 and is more nuanced than any of its predecessors. That said, this is Disney we’re talking about, so the film doesn’t push the envelope too much. Still, it was nice to see something a little more sophisticated this time around.

I enjoyed Disney’s “Cruella.” 

Maybe my fondness is due to the fact that I went in with low expectations (and without any preconceived notions), but I had a good time with “Cruella.”

P.S. – Be sure to watch for a mid-credit scene after the movie! 

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

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 

Previous post: This is the Way! My “Star Wars: The Mandalorian” Cereal Review 

This is the Way! My "Star Wars: The Mandalorian" Cereal Review

May The 4th Be With You!

A year ago today I reviewed General Mills's early 2020 incarnation of "Star Wars" cereal — the artwork on the box was from 2019's "Star Wars: The Rise of Skywalker." 

I enjoyed that cereal more than other "novelty" cereals I've reviewed on the blog (a number of which have been pretty bad). I wrote "it's fun, it tastes good, and it won't offend you." 

The latest "Star Wars" cereal landed on store shelves toward the end of 2020. It was a tie-in to the Disney+ series "Star Wars: The Mandalorian" and prominently features artwork of Grogu (Baby Yoda). 

I've noticed the cereal going for a premium on a number of websites, so I assume it is currently off the market (although I saw a customer buying it recently at a nearby Sam's Club). 

Luckily, I had a brand new box sitting in storage. Its expiration date is next month, so I figured it was high time to review it! 

The cereal itself is nothing spectacular to look at. The marshmallows are shaped like Baby Yoda's head. The crunchy pieces are little yellow balls (which are essentially Trix) that have a fruity flavor. 

If I were to describe the flavor of the crunchy pieces, it is sort of what I'd imagine "Pledge Furniture Polish Cereal" tasting like — an artificial lemon flavor that is just “okay.” 

I will also note that there aren't nearly enough marshmallow pieces in the box. I had to dig through the box to find enough of the little pieces for the photos I took. 

There aren't any fun coloring pages, activities, or games on (or in) the box. The only thing is this artwork of Mando and Grogu with the number "11" and the title "The Child" on the back. The same art appears on the rear of each box that is sold, so it isn't part of a "collection" of boxes with different artwork. 

While I don't know if this is the way to a satisfying breakfast experience, you could do probably worse than General Mills's "The Mandalorian" cereal (see my "Does General Mills Mermaid Cereal Taste Like Real Mermaids?" review for more information). 

Is it great? No (and there were missed opportunities to make the packaging more fun), but it might satisfy the little ones in your life. 

I have spoken... 

Previous post: Movie Review: "Nobody" is an Addictive Thriller 

Movie Review: “Nobody” is an Addictive Thriller

It isn’t often that I’ve gone into a movie theater totally “blind” as it regards the plot of a movie I’m about to watch. 

I typically know something about the movies I go see. Maybe I watch a trailer; maybe I read a synopsis. I generally know something. 

That wasn’t the case with new action thriller “Nobody” starring Bob Odenkirk. I purposely avoided any sort of publicity for the film (it’s nice to be surprised sometimes). 

The ballsy, bloody, funny, and thoroughly addictive thriller sees Odenkirk as Hutch Mansell, an everyday man who seems to be living a “life of quiet desperation” (to reference the famous Henry David Thoreau quote). 

Hutch is married to Becca (Connie Nielsen) and the two have teenage son Blake (Gage Munroe) and pre-teen daughter Sammy (Paisley Cadorath). 

Early on in the film, we experience Hutch’s staid daily suburban existence in a series of quick-cut shots, flipping by in fast sequence. Nothing at all exciting to occupy each day — wash, rinse, repeat. 

One particular night, the Mansell residence is broken into by a man and woman wearing cat burglar gear. Hutch, held at gunpoint, gives them the watch off his wrist (and a few bucks sitting in a metal dish near the front door).  

His son Blake tackles the thieves as they depart through the hallway. Hutch is about to join his son and attack the pair with a golf club, but pulls back at the last second, allowing the burglars to leave (losing the respect of his son in the process). 

This turns out to be the narrative’s key event, sparking a high-octane revenge story that is sort of a cross between the 1993 movie “Falling Down,” the “John Wick” franchise, and a dash of “Die Hard” sprinkled in for good measure. 

The similarities to “Wick” are particularly evident, and it wasn’t surprising to learn that the scribe behind “Nobody” — Derek Kolstad — also penned the “John Wick” franchise. 

(Kolstad’s screenwriting talents are also on display on the new Disney+ series “The Falcon and the Winter Soldier.” Of note, he wrote the terrific fourth episode of the series titled “The Whole World is Watching,” which might be one of the best hours of scripted TV on Disney+ to date). 

Believing the burglars took his daughter’s kitty cat bracelet, Hutch sets out on a one-man mission to find the criminals who invaded his house. (In the original “John Wick” movie the catalyst was a dog, here it is a child’s trinket). 

This sets up a chain reaction where we discover that our protagonist is more than an ordinary suburban husband dealing with an existential crisis. He has a mysterious past that is revealed in dribs and drabs throughout the movie. 

Maybe it’s just because I haven’t been out of the house much the past 12 months, but I had a really good time watching “Nobody.”

The action sequences are brutal and violent (not surprising in this territory), and there are some entertaining performances (even if they can veer a bit over-the-top). 

Of note, I enjoyed Christopher Lloyd as Hutch’s father David — a nice supporting part for the actor. Lloyd manages to bring a palpable edge to the character — something unexpected from the actor best known for playing Doc Brown in the “Back to the Future” trilogy. 

In addition, the casting of Bob Odenkirk in the lead role is unexpected for an action movie of this variety. He definitely doesn’t fit the pattern of the typical action hero, and going against type keeps the movie feeling fresh. 

One minor weakness in the story is the development of main villain Yulian Kuznetsov (Alexey Serebryakov). Antagonists in these sorts of films sometimes lack dimension, and that is the case with this character. 

“Nobody” will never be mistaken for high art, but there is a certain charm to this action thriller. As I mentioned earlier, there are similarities to the “John Wick” movies, but the overall effect of this movie feels more grounded and believable. 

“Nobody” runs a quick 90 minutes. As far as I am concerned, too many movies these days feel long and bloated. It is satisfying to watch a movie that is happy being what it is. 

If you are itching to get out of the house and venture back into a movie theater, “Nobody” is a really good time. It will remind you why you enjoy watching movies on the big screen. 

Previous post: Received Our 1-Year Patch For Supporting "Lifestyle Overland" 

Received Our 1-Year Patch For Supporting “Lifestyle Overland”

I get a lot of inspiration watching a number of enterprising creators on YouTube. 

It’s fun to see people crafting interesting content on the platform. It’s also neat to see the production values that can be achieved with hardware and software packages available to regular consumers. 

I’ve been meaning to write about some of the creators I enjoy watching. 

Bridget and I recently received our “1-year patch” for supporting the Lifestyle Overland YouTube channel via Patreon. 

The patch came in this envelope that featured a Lifestyle Overland Topo Bear decal on the flap: 

Inside the package was our 1-year anniversary patch, two decals with the anniversary artwork, and a “Thank You” card from the McCuiston family: 

I find bits of swag like this to be a lot of fun. 

I stumbled upon the Lifestyle Overland channel about a year ago, and quickly found the off-road adventures of the McCuiston family (Kevin, Sarah, and daughter Caroline) to be compelling viewing. 

The production value of each video is excellent (they started uploading in 4K for the current season’s videos), and the music selections are spot on (I particularly enjoy the opening theme song). 

The family has geared their collective life towards the overlanding experience. It’s fascinating to see people steer towards their passion. 

Bridge and I aren’t terribly “outdoorsy” ourselves. So it’s kind of nice to be able to live vicariously through “camp life” aficionados like the McCuiston family. 

There are a lot of interesting videos to explore on the Lifestyle Overland channel. As of this writing, the family is currently enjoying the scenic wonders of Utah: 

The 50-part “Overlanding the North Country” series (which takes you to Northern Canada and Alaska) is a particular favorite of mine, and shows the positives and negatives of an overlanding lifestyle: 

To experience the entire slate of Lifestyle Overland videos for yourself, head on over to their YouTube channel at www.youtube.com/lifestyleoverland. 

If you'd like to learn more about Lifestyle Overland and the McCuiston family, visit www.lifestyleoverland.com (the site includes a blog and links to purchase Lifestyle Overland branded merch). And if you want to support them on Patreon, visit their page here.

I really enjoyed the anniversary patch we received from Lifestyle Overland. It’s nice to be able to support content creators (even in a small way). Bridget and I have enjoyed their adventure thus far, and are looking forward to seeing where the family’s travels take them this year. 

Previous post: Review: Let's Talk About That 9-Episode Season of “WandaVision” 

Review: Let’s Talk About That 9-Episode Season of “WandaVision”

In the past, I’ve reviewed certain TV shows episode-by-episode on this blog. 

Two, actually. I’ve done individual episode reviews of the Disney+ series “The Mandalorian” and the CBS All Access (now Paramount+) series “Star Trek: Picard.”

I felt like it was a good way to “dig into” the show in a more detailed manner. It also had the benefit of giving me some structure in my blog writing. If the show was released a single episode at a time, week-by-week, it meant I didn’t have to reinvent the wheel when it came to my writing. 

Truth be told, I had considered doing the same for “WandaVision,” the first Marvel Cinematic Universe series to grace Disney+. In fact, I wrote a review of the first episode back in January that I never published. 

Honestly, for those of you who watched the 9-episode season of “WandaVision,” you can probably understand my reluctance to analyze each episode individually. 

“WandaVision” tries diligently to chart new territory in Marvel’s multi-threaded superhero saga. Instead of taking a familiar structure, the entire season (I’m assuming this is a one-off show) was built around popular TV sitcoms — from the 1950s to today. 

When Disney+ dropped the first two episodes on Jan. 15, some fans were left scratching their heads as they watched a pair of comic book characters in the idyllic town of Westview hamming it up in a black-and-white sitcom that channeled “I Love Lucy” and “The Dick Van Dyke Show.” 

It’s not like Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) were the most developed characters in the MCU coming into this series, nor were they the most popular. 

Sure, we all knew there was more to the story. The hyper-fictionalized sitcom life of Wanda and Vision couldn't be “real.”

My litmus test for any entertainment property is whether or not someone can enjoy it on a “surface level” — can someone with no prior knowledge of this franchise find things to like about the specific property in question. 

We’ve all seen examples (in the world of filmed entertainment) where writers create something that is too ”inside baseball” for casual viewers to understand. Sometimes (especially in the realm of science fictions and fantasy) screenwriters are gearing things toward a specific audience that has to have a preset knowledge of the franchise. 

This is a scenario that proved problematic for the entire “Star Trek” franchise in the 1990s. The longer that franchise went on — as movies and TV series were layered on — the harder it became for “non-versed” viewers to relate. 

Throughout much of the “WandaVision” series run, I thought this was something of a problem. 

I know some will suggest that you don’t have to be a die-hard Marvel fan to understand “riffing” on classic sitcoms, but a lot of those moments weren’t particularly compelling. 

“WandaVision” was a slow build. Until viewers gained insight into was going on in the town of Westview — and what was happening outside of Westview — you had to be patient. 

The series became more interesting as the narrative struck a balance between both threads. 

I realize there were oodles of fan theories (and YouTube videos showcasing those theories) as each episode was released. Bridget and I watched a number of the videos ScreenCrush produced outlining various trivia nuggets and references to comic book lore. 

I have no doubt that the “fan boy (and girl) class” on the internet found digging up those hidden clues to be fascinating. 

I’ll be honest, I don’t like watching a show with the idea that I need to read a “subreddit” to understand what's going on — or to get the full experience. 

For example, we had to go back and re-watch “Avengers: Age of Ultron” so we could gain more insight into Wanda Maximoff, her brother Pietro, and the creation of Vision. 

I love what Marvel Studios honcho Kevin Feige has done with the Marvel Cinematic Universe. The movies are entertaining and among my favorites of the past decade. 

I just wondered each week if “WandaVision” was too bogged down in its clever premise for its own good. 

To be sure, there were a number of bright spots in “WandaVision.”

Elizabeth Olsen and Paul Bettany were both terrific as they navigated suburban life in Westview (or “the hex,” as it became affectionately known). The existential crisis Wanda and Vision experienced during the season added depth and dimension to both characters. 

I thought Kathryn Hahn’s performance as quirky next-door neighbor “Agnes” ended up being the most layered of the season. Hahn’s ability to convey volumes of emotion with a single facial expression was pretty effective. 

In addition, I enjoyed the return of FBI Agent Jimmy Woo (Randall Park), a character last seen in “Ant-Man and the Wasp” (read my review). 

Woo has one of the best lines in the 9-episode season when he quips, “So you're saying the universe created a sitcom starring two Avengers?”

I was also pleased to see Kat Dennings back in the role of Darcy Lewis. I liked her brand of snarky humor in “Thor” and “Thor: The Dark World,” and hope we see more of her in the MCU. When S.W.O.R.D. brought her in to assist in their investigation of Westview during “WandaVision’s” fourth episode, I thought the story perked up considerably. 

I also liked seeing a grown-up Monica Rambeau (Teyonah Parris) in the series. When the character appeared in 2019’s “Captain Marvel” (read my review), speculation swirled that we’d soon see more of the character. 

I thought the way Rambeau was integrated into the “WandaVision” plot provided a firm foundation for future integration into the Marvel Cinematic Universe. Parris’s performance was solid — so much so that she could headline her own series. 

Despite all the positives mentioned above (I intentionally left out other strengths that would have been spoilers), I think the filmmakers could have done a better job crafting a show that worked better on a “surface level.”

One of the joys of “The Mandalorian” is that you don’t have to be a die-hard “Star Wars” fan to buy in. It works brilliantly on the most basic level. 

There is nothing more disheartening as a fan than feeling like you have to slog through multiple movies and TV series *before* you can watch the latest incarnation. This is a hurdle that can also afflict popular book series (“Do I need to go back and read all 17 previous novels before I can read the newest release?”) 

Like the episodic sitcoms that Wanda Maximoff channels in “WandaVision,” the series needed to work better on a level that would satisfy casual observers. At least early on... 

Here's hoping “The Falcon and the Winter Soldier” (set to debut March 19 on Disney+) gets the balance in check... 

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