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De Avondshow met Arjen Lubach is a polished production that positions itself as a sharp and witty take on current events, but it falters under the weight of its own ideological bias. While satire thrives on pushing boundaries, this show often feels more like a sermon than a comedic critique, with Lubach's left-leaning perspective overshadowing any attempts at nuanced commentary.

The humor frequently misses the mark, relying on predictable jokes and pandering to an audience that already shares the show's political stance. This lack of diversity in perspective not only alienates viewers with differing opinions but also limits the depth of the satire. Rather than challenging ideas or providing fresh insights, De Avondshow comes across as self-congratulatory, prioritizing virtue signaling over genuine engagement with complex issues.

What's most frustrating is the missed potential. Lubach is undeniably talented, and the production values are high, but the content often feels shallow and one-sided. For viewers seeking balanced, thought-provoking humor that tackles societal issues with wit and intelligence, this show is unlikely to satisfy. Instead, it feels like a missed opportunity to elevate Dutch satire to something truly impactful.

Christopher Nolan's Oppenheimer was one of the most anticipated films of the year, promising a deep dive into the life of J. Robert Oppenheimer and the moral complexities of creating the atomic bomb. However, what audiences received was a bloated, convoluted, and surprisingly dull experience.

At over three hours, the film feels like a marathon of courtroom drama interspersed with brief glimpses of scientific breakthroughs. While Nolan's trademark nonlinear storytelling works in films like Memento, here it creates confusion and makes it difficult to emotionally connect with the narrative. Instead of focusing on the monumental stakes of building the bomb, the film spends an inordinate amount of time on political intrigue and bureaucratic disputes, which, while historically relevant, lack the dramatic tension one would hope for.

The much-anticipated explosion sequence is visually stunning but lasts only a few minutes in a film that should have been centered around such moments. The rest feels like an overly academic exercise, alienating viewers who aren't already well-versed in the history and physics involved. It's a missed opportunity to bring one of history's most complex figures and his controversial creation to life in a truly engaging way.

While The Big Parade holds historical significance as a landmark silent film about World War I, it falls painfully short in its ability to engage a modern audience. The story follows the transformation of an American soldier from a carefree young man to a battle-hardened veteran, but its execution feels dated and uninspired.

The romance subplot, which could have provided emotional depth, is overly melodramatic and fails to connect. The pacing is excruciatingly slow, with long stretches of mundane scenes that fail to build tension or advance the plot. For a film about one of the most devastating wars in history, it somehow lacks the grit and raw emotion necessary to leave an impact.

While its technical achievements might appeal to cinema historians, The Big Parade feels more like a tedious homework assignment than a compelling story. It's difficult to see why this film is often hailed as a classic when its narrative is so unremarkable.