Let's Netflix & Chill Podcast

Lidia Poët, Italy's first qualified lawyer, is banned from practising law because she is a woman. At the same time she investigates murders

Two siblings who haven't seen each other in 15 years mend their relationship while fulfilling a childhood dream: a motorcycle road trip through Mexico

Opening Shot: 2052. A shot of Earth from space. We pan back and see it’s through the window of a dark space capsule, a seemingly comatose astronaut inside.

Suddenly, screens and lights turn on in the capsule. The astronaut wakes up. On Earth, the people at SkyCOMM get a signal that their long-lost capsule, which they thought was destroyed in 2022 when a test of their new cloaking technology went awry, is on its way back to Earth.

Marta (Magdalena Cielecka) is woken up by her home’s AI system; it takes the initiative of showing her pictures of her lost love Nikoden (Jędrzej Hycnar), but she tells it to piss off. When she sees on the news that the SkyCOMM capsule that Niko was in has reemerged, she asks her husband Bogdan (Andrzej Chyra) why he lied to her about Niko being dead. “I loved him and you,” she tells him. “You lied to me.”

Flash back to 2022. Both Niko and Bogdan (Jakub Sasak) are young and brash fighter pilots. They’re among a group that was selected by the Polish government to train to be in the first space capsule launched by the Russian corporation SkyCOMM. As with most of this group of pilots, Niko and Bogdan are the alphaest of alpha males, though Bogdan is more buttoned up than Niko is.

After a stint in the UK, young Marta (Vanessa Alexander) crashes at the mansion owned by the family of her buddy Karola (Zofia Jastrzebska). The first morning she’s there, she meets Karola’s brother Niko, and they hit it off immediately. The two women go clubbing that night, where Marta meets Bogdan, a friend of Karola and Niko’s. She’s as intrigued by Bogdan as she is by Niko. Despite the fact that he doesn’t drink and seems a bit uptight, they get on the dance floor and he cuts loose.

The attraction between the two of them is undeniable, which sets off a competition between Niko and Bogdan to see which of them can impress Marta more. She stops them on a bridge, gets up on the railing and says “Who will jump in with me?”

Cut back to 2052. As the people at SkyCOMM, including Nadia (Daria Polunina), the granddaughter of one of the company’s bigwigs, try to figure out what happened, Niko lies in a coma, not having aged a day in 30 years.

A year after Will Smith slapped him at the Oscars, Rock responded fiercely in a new stand-up special, Netflix’s first experiment in live entertainment.
It began with an awkward preshow hosted by Ronny Chieng, who soldiered through by poking fun at the marketing around him. “We’re doing a comedy show on Saturday night — live,” he said, before sarcastically marveling at this “revolutionary” innovation. An all-star team of comics (Ali Wong, Leslie Jones, Jerry Seinfeld), actors (Matthew McConaughey) and music stars (Paul McCartney, Ice-T) hyped up the proceedings, featuring enough earnest tributes for a lifetime achievement award. As if this weren’t enough puffery, Netflix had the comedians Dana Carvey and David Spade host a panel of more celebrations posing as post-show analysis.

If there’s one consistent thread through Rock’s entire career, it’s following the money, how economics motivates even love and social issues. On abortion, he finds his way to the financial angle, advising women: “If you have to pay for your own abortion, you should have an abortion.”
A commanding theater performer who sets up bits as well as anyone, Rock picked up momentum midway through, while always hinting at the Smith material to come, with a reoccurring refrain of poking fun at Snoop Dogg and Jay-Z before making clear it’s just for fun: “Last thing I need is another mad rapper.” Another running theme is his contempt for victimhood. His jokes about Meghan Markle are very funny, mocking her surprise that the royal family is racist, terming them its originators, the “Sugarhill Gang of racism.”
On tour, his few jokes about Smith were once tied to his points about victimhood. But here, he follows one of his most polished and funny jokes, comparing the dating prospects of Jay-Z and Beyoncé if they weren’t stars but worked at Burger King, with a long, sustained section on the Oscars that closes the show. Here, he offers his theory on Will Smith, which is essentially that the slap was an act of displacement, shifting his anger from his wife cheating on him and broadcasting it onto Rock. The comic says his joke was never really the issue. “She hurt him way more than he hurt me,” Rock said, using his considerable powers of description to describe the humiliation of Smith in a manner that seemed designed to do it again.
There’s a comic nastiness to Rock’s insults, some of which is studied, but other times appeared to be the product of his own bottled-up anger. In this special, Rock seemed more raw than usual, sloppier, cursing more often and less precisely. This was a side of him you hadn’t seen before. The way his fury became directed at Pinkett Smith makes you wonder if this was also a kind of displacement. Going back into the weeds of Oscar history, Rock traced his conflict with her and Smith to when he said she wanted Rock to quit as Oscar host in 2016 because Smith was not nominated for the movie “Concussion” (the title that he mangled).
That her boycotting that year’s Oscars was part of a larger protest against the Academy for not nominating Black artists went unsaid, implying it was merely a pretext. Rock often establishes his arguments with the deftness and nuance of a skilled trial lawyer, but he’s not trying to give a fair, fleshed out version of events. He’s out for blood. There’s a coldness here that is bracing. Describing his jokes about Smith’s wife at the ceremony in 2016, he put it bluntly: “She started it. I finished it.” But, of course, as would become obvious years later, he didn’t.
Did he finish it in this special? We’ll see, but I think we’re in for another cycle of discourse as we head into the Academy Awards next week.
At one point, Rock said there are four ways people can get attention in our culture: “Showing your ass,” being infamous, being excellent or playing the victim. It’s a good list, but this special demonstrates a conspicuous omission: Nothing draws a crowd like a fight.

The discovery that their house is haunted by a ghost named Ernest makes Kevin's family a social media sensation. But when Kevin and Ernest get to the bottom of the mystery of Ernest's past, they become targets of the CIA.

One year after the last owners fled in terror, the Presleys are shown a house. Suspicious of the low price, the estate agent insists that recently prices have been low. On the first night Kevin, the youngest, investigates a sound in the attic. Using his mobile phone light, a ghost appears. When he fails to scare Kevin but instead gets met with a laugh, he vanishes. Kevin returns to the attic and sits down to talk with the ghost. He can't talk and doesn't remember anything about his life. Kevin calls him Ernest as that is the name on his bowling shirt. Suddenly Kevin's big brother Fulton barges in. As he's bullying Kevin for his phone, Ernest helps him. Fulton finds a video Kevin had recorded of Ernest when he first saw him and soon shows their father Frank that their new home is haunted by a ghost. Frank creates a YouTube channel, gets more video of him and, after convincing the mother Mel they could profit from him, makes the ghost and his family Internet-famous.
In high school Kevin meets Joy, the neighbor. She refers to his home as the house of death. Once the video of Ernest goes viral, they cross paths in the library and Joy quickly finds that the house's owner Ernest S. lived there from '65 to '71 and is now residing elsewhere. The West Bay cable TV medium Judy Romano comes to film meeting Ernest. Kevin shows him various horror clips to help him be scarier. It doesn't take long for Ernest to scare her crew, but even Judy reacts in terror, jumping out the window. The post of the madam's reaction goes record-breaking viral. Joy convinces Kevin that they need to take Ernest out to a bar once belonging to the house's past owner to try and jog his memory. They start to uncover the truth about Ernest's past, first a photo of him with the previous house owner, then he becomes fixated on a little blonde girl in the park.
However, Dr. Leslie Monroe visits Frank and Mel, telling them about an old program she ran with the CIA. Called Wizard Clip, its goal was to catch a ghost. When cost of the program was made known to the public they scrapped it, making her the scapegoat. When she tries to convince them that Ernest is dangerous, Frank throws her out. A viral video of Ernest with the girl in the park sets the CIA in motion. They break into the Presley home, but Kevin, Joy and Ernest have already left for Oklahoma to find the past house owner. The next morning the Presley's are coerced into doing an appeal to apprehend the trio. The broadcast comes on a convenience store TV and they outrun the many police cruisers chasing them.
Arriving at the house in Oklahoma, the man tells the story of Randy (our Ernest), who he says became a drunk not able to cope with his wife's death from giving birth. He left his four-year-old daughter with them and disappeared. Ernest makes himself visible, and the CIA swoops in. Back home, Kevin is depressed. Frank apologizes to him, recognizing he's been selfish at the family's expense. He also tells Kevin he's a much better man than he is.
In the CIA facility, an aggressive agent is wearing a pin which triggers his memory. His old friend's wife carried June away while he killed him with a blow to the head. Ernest is being acted upon for not complying, but Dr. Monroe helps him as they had had a positive interaction earlier and she senses his goodness. Ernest S. shows up at the house to kill Kevin, believing he's helping ghost Ernest get revenge. He chases him to the attic, where Ernest and Frank tackle him out of the window. The CIA interrogate Kevin, seeking Ernest the ghost. He doesn't divulge anything, but a flashback reveals that Kevin and Frank reunited him with his now 50+ year-old daughter June. Happy at last, Ernest finally is at peace and goes.
The Presleys have a new moving day, but this time only a few miles away. Kevin and Joy are now a couple. As Kevin leaves the house, a light flickers in the attic.

1. Rory McIlroy has still got it.

We had to wait until the end of Full Swing’s inaugural season to get the Rory Episode, one you were undoubtedly waiting for if you spent any time following the PGA Tour last season. McIlroy didn’t just play well in 2022, though he certainly did that, winning three tournaments, including the Tour Championship in Atlanta in August, and finishing in the top eight in each of the four major championships. But he was also the primary face and voice of the PGA Tour in a season when it was under attack by the Saudi Arabia–funded LIV Golf.

McIlroy spent much of last year promoting the Tour, criticizing the players who jumped ship for money (something he says he regrets in a candid Full Swing moment), and perhaps most important, working to change the Tour to entice other top golfers to stick around.

And his episode doesn’t disappoint. We get plenty of gym time with Rory (even if some of his workouts may seem a little unorthodox—are you supposed to throw medicine balls into a mirror?); we see him chatting with other PGA Tour professionals and get a glimpse into the way they’ve started to defer to Rory as a steward of the game; and we also get this scene, which will live in comedic infamy:

Even if his episode isn’t the most illuminating overall—we don’t get any family or real personal time with him like we do with some of the younger guys on Tour—it’s clear who the big get of this season was for the Full Swing team. Rory delivers.
2. Brooks Koepka is going through it.
WHEW. “Win or Go Home,” Full Swing’s second episode and one that focuses largely on Koepka, is an incredible piece of television. It’s a portrait of a broken man, one who has lost his game because of injury and mental fatigue and is trying, and failing, to find it again. Plenty of images will stick with me from this episode: a bleached-blond Brooks getting testy with reporters after a disappointing performance at the Waste Management Phoenix Open, a tournament he had won twice previously; Brooks melting down at the Masters, admitting he was embarrassed by his game for the first time; Brooks walking his dog out to the end of a long dock at his Jupiter, Florida, home just to stare out at the water.
But two scenes trump the rest. The first comes 12 minutes into the episode and shows Brooks chatting with his then-fiancée (and now wife), Jena Sims, at their home. He’s perched on a fluffy swing (as one does) and is talking with Jena about outfits she plans to wear on a forthcoming excursion—I’m assuming her bachelorette party, but that remains unconfirmed. He seems rather dazed, paying little attention to much around him aside from the toy he’s tossing to his dog, and the Full Swing producers overlay this scene with audio from an interview in which Brooks explains his obsession with his game: the fact that he’ll be at home, trying to live his life, but he can think only about the course, his swing, everything that’s going wrong. It’s a powerful juxtaposition.
The other scene is a conversation between Brooks and his mother. They sit on his couch, in front of a largely empty trophy display, dissecting the latest PGA Tour happenings. Brooks openly yearns for the quiet confidence and calm mental waters displayed by Scottie Scheffler, the no. 1 player in the world and his counterpart in this episode. “That kid,” Brooks laments, “I guarantee you if you ask him what he’s thinking about, he goes, ‘Nothing.’ The best player in the world doesn’t have any damn thoughts in his head, so why would you, right? … If Scottie ain’t doing it, why the hell am I doing it? I don’t know.”
All in all, “Win or Go Home” made me feel like I understood Koepka’s decision to join LIV a whole lot more. LIV came along at a time when he was at his lowest in his game—a far cry from the 2017, 2018, and 2019 seasons, when he won four majors and looked like he’d dominate the Tour for a long time to come. And rather than continue to put himself through such anguish, he chose to jump ship and secure his monetary future. Was it the right decision? I don’t know, and according to recent reports, he may not know either. But it certainly made more sense after this episode.
3. There aren’t a lot of LIV revelations.
A number of LIV golfers participated in Full Swing, from Koepka to Dustin Johnson to Ian Poulter to smaller characters like Joaquin Niemann. Most of those players’ story lines culminated in their jumps to LIV and the reasons they ultimately chose to make the leap.
The most common explanation, unsurprisingly, was providing for their families. Poulter’s episode shows him palling around with his four children, interspersed with shots of him struggling in tournaments and ultimately failing to qualify for the Masters, making it apparent that golf may not be the cash cow it once was for him. We’ve already covered Koepka’s struggles, and he’s similarly said that he made the choice to provide for the family he’s starting and the generations to come. Johnson is probably the most honest of the bunch, admitting that his decision came down to the offer they made him—nothing more. “For me it was playing less, making more money,” Johnson says. “Pretty simple.”
Outside of those story arcs, though, if you were hoping for much more insight into the LIV-PGA battles or what pros were really saying about the squabbles, you won’t see much here. Full Swing airs clips from a couple of contentious press conferences and gets into the PGA Tour’s response later in the season, but there isn’t a whole lot more than that.
4. Phil Mickelson notably didn’t participate—and neither did Tiger Woods.
Tiger’s specter looms large across Full Swing, from his post-accident Masters appearance to his role in helping reshape the PGA Tour in the wake of LIV to interviews with the next generation, who all cite him as their inspiration. It’s notable that he doesn’t sit down for an interview for the show, but it’s not all that surprising: Tiger was going through a lot last year, and it’s not like he needs the publicity.
There is, however, an even bigger absence than Woods in Full Swing: Phil Mickelson. The man who led the charge away from the Tour and to LIV Golf is the biggest missing voice from the series. Now, given that Full Swing was created in conjunction with the PGA Tour, it’s not at all shocking that Mickelson would choose not to be included (I assume the show’s creators would have reached out). But it is tough not to get his firsthand perspective on all the goings-on—even if there’s little chance we would have gotten more transparency than there was in his quotes in this piece.
5. Joel Dahmen and the rookies will undoubtedly have lots of new fans.
One of the biggest successes of Drive to Survive, the Netflix docuseries about Formula One (made by Box to Box productions, which also produced Full Swing), is its ability to make you care about the midfield. You don’t see the drivers from Mercedes or Ferrari at all in the first season, other than in canned Sky Sports clips about their on-track performance; instead, the show introduces you to the other guys behind the wheel—Daniel Ricciardo, Romain Grosjean, young Charles Leclerc—and gets you invested in their respective journeys.
This is a big win for Full Swing as well, which spends multiple episodes following rookies Sahith Theegala and Mito Pereira and PGA Tour everyman Joel Dahmen. Dahmen, in particular, will likely become a fan favorite, not just for his bucket hats and on-again, off-again mustache, but also because of his laid-back attitude and self-deprecating mental state. It never feels like he’s sandbagging when he says he doesn’t believe he has what it takes to win major championships or to become one of the top 30 or so golfers in the world. His caddie, Geno Bonnalie, speculates at one point that Dahmen may not even want to be in that company. It just makes it that much sweeter, then, when we watch Dahmen surge to the top of the 2022 U.S. Open leaderboard and ultimately finish tied for 10th.
The rookies similarly paint heartwarming pictures. Theegala and his family are incredibly emotional about golf, not afraid to show how much the game means to them and how much Theegala wants to succeed. And there’s Pereira, who has the tournament of his life at the PGA Championship only to see it come to a teeth-grinding halt at the 72nd hole.
All three of these guys are likable and great at golf, and the Full Swing fan base is undoubtedly invested in their success now.
6. The “Who is this for?” discourse has a point.
Whenever a show like this is made, there’s always one central question: Who is this for? Was it created for newbies who are just coming to the sport? Or for the old guard who’s been around awhile? The answer is usually somewhere in between—or at least that’s what the companies behind the series will say; after all, they’re trying to attract the biggest audience possible. But with Full Swing, the discourse around this question has been notable, and in some ways the criticism is fair.
If you’re new to golf and you watched this season, you probably learned a lot about the structure of tournaments, the notable personalities on Tour, and how the sport generally functions. What you didn’t learn, though, was much about the ways tournaments differentiate themselves from one another—sure, they often say the majors are important, but when it comes to individual players’ story lines, Tony Finau’s win at the 3M Championship carries a weight similar to that of Matt Fitzpatrick’s U.S. Open victory. You also may not fully understand why LIV is such an existential threat to the PGA Tour (outside of poaching its talent) or why the sides have had such contentious back-and-forths.
If you’re more familiar with golf, you may feel like you weren’t told much about the players that you didn’t already know. Sure, it was cool to see the old notebooks we’ve heard about Fitzpatrick writing in for so many years, to witness Finau’s unflinching commitment to his family, to get deeper insight into Koepka’s demise. But really, if you didn’t already know that Jordan Spieth and Justin Thomas are close friends, it seems like that’s on you.
Will this show end up creating new golf fans, à la the Formula One boom in the United States? Only time will tell. Will existing golf fans start to feel like the material is more suited to them in later seasons? I think there’s a good chance of that. But I understand those who feel a bit stuck in the middle at this point and are questioning who this series is trying to serve.
7. There are too many Jupiter, Florida, title cards to count.
OK, that’s a lie; I did count, and there are seven. That’s right, people: seven Jupiter cards in eight episodes. If you feel like every golfer you’ve ever heard of resides in Jupiter, you’re probably right.

8. I can’t wait for Season 2.
I’ve levied a few critiques in this piece, and this first season wasn’t perfect by any means. But as a Drive to Survive fan who’s watched that show evolve over four (soon to be five) seasons, I’m optimistic that Full Swing can do the same.
The challenge of any first season of a show like this is introducing a cast of characters—giving the audience people they’ll want to follow over the years—and to simultaneously educate new fans on the game and the structures behind it. Full Swing has started that process. The question now is whether they can build on it in a way that pushes the show forward and eventually allows for more complexities. Box to Box has done this once already, and with that formula (sorry) already in place, I don’t think there’s any reason they shouldn’t be able to continue in the same way with golf.

Physical: 100 is a Netflix reality television series shot in South Korea. The survival show was created by MBC's producer Jang Ho-gi. In the show, 100 competitors with well-developed physical attributes go head-to-head against each other in various individual and team challenges of strength, agility, and strategy.The event is built like a tournament. Following each trial, some participants are eliminated, until only one remains, to win 300,000,000 won.

Alice in Borderland (Japanese: 今際の国のアリス, Hepburn: Imawa no Kuni no Arisu) is a 2020 Japanese science fiction thriller drama streaming television series based on the manga by Haro Aso. The series was directed by Shinsuke Sato. It stars Kento Yamazaki and Tao Tsuchiya as allies trapped in an abandoned Tokyo forced to compete in dangerous games, the type and difficulty represented by playing cards, to extend "visas" that, if expired, result in the player's execution by lasers being shot from the sky.