Co-hosts Eileen and Dolores provide a rundown on what's on TV, which starts off as a cheerful endeavor and ends up in a state of despondency over our grim cultural moment.

We report on the third season in twenty years of THE COMEBACK, the HBO Max cringe comedy starring Lisa Kudrow as Valerie Cherish, an eternally optimistic and terminally obtuse former TV sitcom star of the late 1980s-‘90s trying to get her career going again in the age of reality TV, AI, influencers, and online everything. Dolores also describes the "death-drive" third season of HBO Max's EUPHORIA, and Eileen despairs over an assortment of hellish offerings including the LORD OF THE FLIES miniseries (Netflix), the second season of BEEF (Netflix), the new David E. Kelley series MARGO'S GOT MONEY TROUBLES (Apple TV+), and the nostalgia-driven return of the hit aughts sitcom SCRUBS (Hulu).

Filmsuck co-hosts enjoy the old-fashioned movie-fun of watching what's essentially one long chase in the new Steven Spielberg action-adventure DISCLOSURE DAY. It's his return to sci-fi alien-invasion-themed movies that are a specialty of his represented by CLOSE ENCOUNTERS OF THE THIRD KIND (1977), E.T. THE EXTRA-TERRESTRIAL (1982), and WAR OF THE WORLDS (2005). It's true that DISCLOSURE DAY might be sappy and absurdly implausible and have an ending that falls so flat it causes audience members to exclaim "What the hell?" But on the other hand, it's a Spielberg summer blockbuster just like we used to see in the olden times. Get it while you can.

Co-hosts Eileen and Dolores praise the complex and ultimately harrowing Susannah Herbert documentary NATCHEZ, currently streaming on YouTube and Apple TV+ and soon to arrive at PBS. It focuses on the engine driving this Mississippi River port town's economy, which is tourism—specifically the guided tours through plantation houses that have, for nearly a hundred years, "stuck to the script" of the romantic fantasy of the gracious Old South. However, new tour guides and local activists, several of them Black locals, have emerged recently who insist on factually accurate tours that include the history of slavery and the people held in bondage who actually built those plantation houses and kept them running. In exploring the tensions around this issue in Natchez, a town of complex demographics that is considered a politically progressive "blue dot in a sea of red," Herbert gets representative citizens to talk more and more freely—and sometimes appallingly—about what they really think of their fraught history and current experience.