NAUTILUS Makes a Pit Stop in Sneak Peek of Episode 4, 'Slippery When Wet'
RELATED: TV Review: Nautilus Episode 3, 'What Lies Beneath'
But worriers are gonna worry. In the case of Turan (Arlo Green), his concern that he is the most likely crew member to get eaten by a bear drives him to believe he should be armed. Nemo (Shazad Latif) doesn't agree. Probably on either point, but most definitely on the matter of the gun. Image Credit: Courtesy of AMC/AMC+ Nautilus, 'Slippery When Wet'
As captain, Nemo's orders aren't getting the traction he would like. After telling the others to gather food while he looks for a fresh water source, several of them choose to follow him instead. First, it's Turan with his inane demands for the revolver. Then Humility (Georgia Flood) and Blaster (Kayden Price) insist on coming with him. Humility doesn't want to miss out on an opportunity to discover a new species of anything. What a trained engineer cares about new species is a mystery to me. Blaster tags along because that's what he does, apparently. Image Credit: Courtesy of AMC/AMC+
The episode's synopsis from AMC/AMC+ says, ' The starving crew venture onto a seemingly deserted island in search of food, but Blaster is kidnapped by the survivors of a Company shipwreck. Nemo and Humility attempt a daring rescue mission but end up disturbing a giant electric eel. ' So, the clip introduces the island and the food. One can assume Blaster gets kidnapped because he's not with the rest of the crew, gathering food like Nemo directed.
RELATED: TV Review: Nautilus Series Premiere Image Credit: Courtesy of AMC/AMC+
How Archie the dog's allergies to the island's flora play into the plot remains to be seen. The idea of travelling via submarine with a dog on board boggles the mind.
New episodes of Nautilus air on AMC and AMC+ at 9 pm ET/PT on Sundays. 'Slippery When Wet' drops on July 13.
Ben Barnes and Joe Freeman on Starring in THE INSTITUTE Diana lives in Vancouver, BC, Canada, where she invests her time and energy in teaching, writing, parenting, and indulging her love of all Trek and a myriad of other fandoms. She is a lifelong fan of smart sci-fi and fantasy media, an upstanding citizen of the United Federation of Planets, and a supporter of AFC Richmond 'til she dies. Her guilty pleasures include female-led procedurals, old-school sitcoms, and Bluey. She teaches, knits, and dreams big. You can also find her writing at The Televixen, Women at Warp, TV Fanatic, and TV Goodness.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Chicago Tribune
3 minutes ago
- Chicago Tribune
‘Demascus' review: A sci-fi comedy about one man's alternate realities
In the sci-fi comedy 'Demascus,' a man attending therapy tries a new technology that allows him to visit alternate versions of his life that exist in his subconscious in an effort to figure out why he's feeling so bleh. But which version is closest to his real life? Actually, which one is his real life, anyway? The show premieres on the free, ad-supported streaming platform Tubi, but it almost never made it to light. From writer-producers Tearrance Arvelle Chisholm and Mark Johnson, it was originally created for AMC and shot in its entirety, and then canceled in early 2023 before it could air (the network cited cost-cutting measures). It languished on the shelf until now. Kudos to Tubi, which offers only a limited number of originals, for taking a chance on it. But while the premise of 'Demascus' is enticing — what might our lives look like with small changes? — the six-episode series doesn't live up to its initial promise. There is a 'solution' offered by the final episode that explains everything we've seen up to that point, but instead of resonating, it felt somewhat pat. Okieriete Onaodowan plays the title character, a 33-year-old Everyman who moves through his days in a numb haze. His therapist (Janet Hubert) asks: Are you unhappy? What's making you unhappy? 'It's 2023 and I'm a Black man,' he says. 'The world is as inhospitable as ever.' Then he offers up an anecdote from work: Walking toward the break room, he hears someone sharing an anecdote about him, of which he only hears the last line: 'Y'all know how Demascus is, right?' Everyone in the break room laughs uproariously. 'Nobody knows me,' Demascus tells his therapist, confused by what this person could have meant. 'My one dominant quality is I'm unknowable.' You pride yourself on that, comes the response? 'Yeah, actually, I do. I can be anybody. Or nobody. And that's a good quality for a Black man to have, right?' But in your effort to remain unknowable, his therapist says, perhaps you have made yourself unknown even to you. This is good, interesting stuff and had me locked in. Then his therapist places a white contraption on his head that sends him into something called digital immersive reality therapy. 'By identifying commonalities across your alternate timelines, you'll be able to combat the issues you're facing in your everyday life.' It also comes with a warning. 'Attempting to take control of the narrative can permanently corrupt your primary reality.' In one of those alternate realities, he has a sister whose boyfriend has been roughing her up; she wants Demascus to round up some friends to set the guy straight. Demascus is reluctant — this is not his thing — but agrees and calls up Uncle Forty (Martin Lawrence), an aging no-bull type, and his best friend Redd (Caleb Eberhardt), who is ready, willing and eager. Not surprisingly, things go horribly, comically awry. And so it continues. We meet his girlfriend Budhi (Sasha Hutchings), who he is seriously involved with in one timeline, less so in another. In another timeline, it's Demascus and Redd who are a couple. In yet another, Demascus is a priest. In another, he and Budhi are on an instant marriage reality show. Everyone's styling is different each time. At one point, Demascus does the therapy while he's already in a therapy session, which is like staring into an infinity mirror, or waking from a dream, only to still be dreaming — when does the trance stop? The show is commenting on all kinds of ideas, from how we run away from (or suppress) our deepest pain, to the psychological issues — the addiction — that can result from people pretending they have a relationship with computer-generated reality. As his therapist said early on, he's created a world where he's unknowable not only to those around him but to himself as well. The larger issue is that he also remains unknowable to the viewer, and I think that is where the show loses me. Ultimately, who are we supposed to become invested in? 'Demascus' — 2 stars (out of 4) Where to watch: Tubi
Los Angeles Times
33 minutes ago
- Los Angeles Times
With the must-watch ‘Demascus,' Tubi rescues a reality-bending comedy
The road to 'Demascus' — premiering Thursday on Tubi — runs through AMC, which had commissioned the series and then, though a six-episode season was completed, declined to air it. Not being privy to any boardroom discussions or the thoughts of executives and accountants, I won't claim to know why that was — most everything these days is a calculation instead of a gamble. But simply as regards its quality, AMC was wrong and Tubi is right. Created by playwright Tearrance Arvelle Chisholm ('Hooded: Or Being Black for Dummies'), it sits alongside some of the most interesting series of the last several years — comedies from Black creators that mess with form and time and space and reality — 'I'm a Virgo,' 'Government Cheese,' 'The Vince Staples Show' and 'Atlanta' and the cartoons 'Lazor Wulf' and 'Oh My God ... Yes!' Perhaps if one already feels outside the system, there's less temptation to play it safe. It's not necessarily a recipe for success in the show-business terms, but it can produce good results. Demascus (Okieriete Onaodowan), 33, is entering his 'Jesus year, my year to be a martyr, and I've chosen this to be my martyrdom.' That martyrdom is therapy, he tells Dr. Bonnetville (Janet Hubert), as the series begins in a jungle — though this turns out to be a Holodeck projection. We're in a version of 2023 — the year the series was first set to air — in which self-driving cars fill the road and a voice-activated assistant (here called Shekinah, played by Brie Eley) is everywhere, setting the stage for the series' science-fictional central conceit. 'Nobody knows me. My one dominant quality is I'm unknowable,' Demascus tells her. 'I can be anybody or nobody. … That's a good quality for a Black man to have, right?' But does he know himself? Bonnetville suggests that Demascus might be a candidate for DIRT (Digital Immersive Reality Therapy), an experimental psychological virtual alternate reality rig that 'follows the path of your conscious and subconscious impulses, allowing you to visit alternate visions of yourself, but only as a voyeur. … Attempting to take control of a narrative can permanently corrupt your primary reality.' (Of course he will do just that.) But just what reality is primary is something the series purposely confuses and doesn't quite settle or really needs to. The gizmo is an excuse for episodes and parts of episodes set in various contexts that work both as short stories and pieces of a bigger puzzle, and as a bonus allows the main cast to try on different roles — in repertory, if you will. In what may or may not be his primary reality, Demascus is a graphic artist employed by the government — he's working on a campaign to encourage Black participation in the space program — which makes for some office-based satire. He has a best friend, Redd (Caleb Eberhardt), a District of Columbia public defender, who will reappear in other forms (in one episode, 'Thanksgiving,' they're a couple); an uncle, Forty (Martin Lawrence), now dissolute, now respectable; and, in some scenarios, a sister, Shaena (Brittany Adebumola). He's slowly losing interest in his 'algorithmically compatible' girlfriend, Budhi (Sasha Hutchings), and becoming interested in Naomi (Shakira Ja'nai Paye), who appears variously as an artist, a nun and a nurse in a psychiatric ward. There's a tentative pan-dimensional love story between them, the sort of thing that could easily be overdone, but is just … nice. The series itself takes different forms — a relationship reality show, a 'sad Thanksgiving' domestic comedy, a setting out of 'One Flew Over the Cuckoo's Nest.' Notwithstanding a change of hair or profession, Demascus remains more or less himself as shapes shift around him — the protagonist, basically a good guy, a little buttoned-up, a little insecure. He's surrounded by more colorful, unpredictable characters, more acted upon than acting and dealing with the same issues from scenario to scenario. 'There are rules and I know some of them and there are rules that I don't know and they're just ever-changing,' he tells Dr. Bonnetville. According to press materials, the show explores the 'gulf between Black male perspectives' and as with any culturally specific work, it may play to an audience that shares those specifics. But like all good art, it doesn't limit its meanings to the artist's statement. 'Demascus' isn't parochial or polemical; the emotional beats are accessible to any moderately sensitive human. And there's pure pleasure to be found in the writing, which is sharp and smart and natural; the direction, which shapes and is shaped by the evolving material without getting in its way; and uniformly marvelous performances. I finished the sixth episode, titled 'Season Two Prequel' (following the penultimate episode, 'Penultimate'), wanting more, though that possibility, given the series' previous wandering in the wilderness, seems an open question. A line of dialogue hearkens back to the beginning in a way that might be thought of as closure, as a circle closes without going anywhere, and yet things are not the same. An ending you can take as a beginning, as with any fairy tale or romantic comedy, it's a beautifully managed moment, as J. Cole's 'Love Yourz' — 'No such thing as a life that's better than yours' and 'It's beauty in the struggle' — makes its complementary points on the soundtrack.
Geek Tyrant
33 minutes ago
- Geek Tyrant
AMC Theatres is Planning to Shorten Its Pre-Show Ads Following Blowback From Studios — GeekTyrant
Everyone who frequents movie theaters these days is well aware that when the lights dim, there's still a fair amount of time before your movie begins. You have ads, trailers, and the theatre's commercial to sit through before you even get to the movie you came for, and sometimes I am left wondering what it is I came to watch after seeing all the content that came before it. But one of the country's biggest chains is looking to downsize that wait time. After blowback from some major Hollywood studios over AMC Theatres' decision to book more ads before each movie's showtime, Deadline reports that the No. 1 circuit is working to shorten its preshow. It's still early and specific details are unknown, but there's hope that a shave can be done by year's end. News leaked back in June that as of July 1, AMC had worked a deal with National CineMedia Inc. to run spots during each movie's pre-shows, specifically a platinum spot. AMC's rivals, i.e. the repsective No. 2 and 3 chains Regal and Cinemark, already were participating in this ad revenue stream. AMC didn't see any business deteriorating for the competition, and it opted into the National CineMedia pact. Execs at the major studios were upset by the move, angry that moviegoers no longer were sitting through their in-cinema trailers for future movies due to lengthy preshows — a very powerful piece of marketing as moviegoing begets more moviegoing. Adding more fuel to the fire was AMC running a notice on its ticket-buying portal: 'Please allow 25-30 extra minutes for trailers and additional content before the movie starts.' Some studio execs read that notice as, 'Hey, moviegoers, why don't you just skip the pre-show until the movie starts?' Myriad studios launched their own studies last month noticing that the preshows for the top three chains ran from 24-28 minutes before one particular new wide release that weekend in SoCal. One internal study observed that only 80% of the audience were in their seats to watch trailers a mere four minutes before a movie began. 80% sounds solid to me, and I would assume that those 20% are either running late, buying concessions, or hitting the bathroom before the movie starts. No one is truly paying attention to those ads, as people do their best these days to avoid commercials and ads wherever they come across them. But AMC shortening their intro sounds like a positive move to me, and executives can go on to pretend that the ads that remain are making a difference.
