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   Your Late-Summer TV Obsession is Here
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   ‘Sterling’ is gold.
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                     <p style="margin:0;margin-bottom:16px">
                      August 5, 2003: 26-year-old Josh Schwartz, then the youngest showrunner in TV history, lobs up a late-summer buzzer-beater, and with five instantly-classic words—“Welcome to the O.C., bitch,” of course—delivers a new Hall of Fame teen drama. Fast forward two decades and a dozen more series in between, and Big Schwartz hasn’t lost his fastball. Twenty-three years to the day of
                      <a style="text-decoration: underline; color: #000000;">
                       <em>
                        The O.C.
                       </em>
                      </a>
                      ’s seminal series premiere, Schwartz and his producing partner Stephanie Savage are once again closing out the summer with another arresting teen melodrama in
                      <em>
                       Sterling Point,
                      </em>
                      a new Prime series from
                      <em>
                       My Old Ass
                      </em>
                      writer-director Megan Park.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      As a graduate of 90s/aughts-era WB, any soapy serial about late-stage adolescents trying to figure it all out will always have a special place in my heart. Bonus points if there’s an actual mystery to figure out on top of the existentialism and will-they-won’t-theys. So far,
                      <em>
                       Sterling Point
                      </em>
                      is restoring the feeling, down to having
                      <a style="text-decoration: underline; color: #000000;">
                       Jeffrey Dean Morgan
                      </a>
                      in the cast and a Tom Welling variant as one of the love interests.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      Our hero is Annie (Ella Rubin), a neurotic Type-A
                      <a style="text-decoration: underline; color: #000000;">
                       Brooklyn
                      </a>
                      private school overachiever whose summer frees up just in time for her to learn that she and her twin brother have mysterious family ties to a secluded, idyllic Canadian island, the titular Sterling Point. This being a TV show about rich kids, of course Annie jets up north in first class to fill in the blanks about the dead mother she never knew, even though she doesn’t even have a drivers license and it takes three episodes for her dad to figure out where she is.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <em>
                       Sterling Point
                      </em>
                      has everything you want in a good teen drama. Existential angst from people barely old enough to vote. Class tension (the island locals spend the summer begrudgingly catering to vacationing one-percenters). At least two love triangles. Shady parents with secrets. A dead relative moving plot pieces around from beyond the grave. A sage parent played by a beloved character actor (Morgan). And—most crucially—a gorgeous, inviting universe for all the fuckery to unfold in. Characters trade deep breaths and awkward silences while boating to and from the mainland; estranged siblings commiserate in between afternoon cliff jumping; every 10 minutes there’s a pan across some beautiful island foliage. One of the things missing from a show like
                      <a style="text-decoration: underline; color: #000000;">
                       <em>
                        Euphoria
                       </em>
                      </a>
                      was that it felt like an Anywhere, USA suburb with no real landmarks; contrast that with a show like
                      <em>
                       Veronica Mars
                      </em>
                      , whose fictional high school and the surrounding town were as distinct as the characters that populated them.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      But
                      <em>
                       Veronica Mars
                      </em>
                      , classic as it is, is a noir murder mystery at its core.
                      <em>
                       Cruel Summer
                      </em>
                      , one of the more recent teen shows to move me, is a multi-timeline ordeal centered around a teenage girl’s kidnapping.
                      <em>
                       Sterling Point
                      </em>
                      is blessedly devoid of the darkness that most shows in this vein tend to get saddled with. No one is missing or being nefariously manipulated. There’s no edge, just emotions. To that end, it reminds me most of
                      <em>
                       Everwood
                      </em>
                      , the underrated WB series anchored by the late great Treat Williams (alongside then-newcomers
                      <a style="text-decoration: underline; color: #000000;">
                       Chris Pratt
                      </a>
                      and Emily Van Camp): a good-looking cast, feeling angsty big feelings in the midst of beautiful nature.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      Plot is secondary to likable characters in these types of shows, and this one hangs together mostly on the strength of Ella Rubin, whose Annie straddles the line between dream girl and spaz. She plays Annie like an endearingly neurotic mess, often always tripping over her own words and stuttering her lines out in double-time as the character second-guesses herself in real time—when she’s not tearing into a heartwrenching monologue about loss, grief and emotional despair (the back half of the season is good for at least one reel-worthy scene per episode). In lesser hands Annie could come off snooty and privileged, but in Rubin’s, she’s alluring.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      The same goes for Keen Ruffalo as Annie’s twin Connor (yes, that's
                      <a style="text-decoration: underline; color: #000000;">
                       “Ruffalo” as in Mark
                      </a>
                      —another nepo has hit the Screen Actors Guild), who plays a shamelessly self-centered rich dolt like he’s been doing it his whole life. A more basic show would cast Connor as an antagonist and outlier less taken with the island’s charms than Annie; instead the series really started clicking for me once Connor gets more involved and immediately ingratiates himself among Annie’s new friends (with awful dating advice and
                      <em>
                       Camp Rock
                      </em>
                      references). Watching him sport cliched rich-bro brands like Marni or Margiela, unbothered and sipping white wine with Annie’s maybe-boyfriend’s mom as everyone else around him is tearing each other’s hearts out, he’s the closest thing this show has to comedic relief.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      I’ve only watched six of the show’s eight episodes at press time (There’s nothing I hate more than a binge drop; even though the show is already picking up steam, imagine how much motion the series would build if it was week to week—but I digress). But I’d be shocked if the show fumbles badly in the home stretch. Park is a burgeoning auteur in her own right, so it’s unclear how much of
                      <em>
                       Sterling Point
                      </em>
                      bears Schwartz and Savage’s DNA. The soundtrack isn’t as distinct as some of their past work (“Man I Need,” you don’t say?) but the wry, unforced banter is; I also love a show that knows how to get in and out in a broadcast-TV-ish 40-something minutes. But whatever the creative alchemy is, Sterling Point couldn’t have come at a better time. After a relatively quiet summer for TV, there’s no better way to ride out the last few weeks before the prestige guns come back blazing than with a show that’s just a great hang.
                     </p>
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                      <strong>
                       Between the Taps
                      </strong>
                     </p>
                     <p style="margin:0">
                      (
                      <em>
                       A weekly roundup of everything else I consumed since the last Tap In)
                      </em>
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                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        The End of Oak Street
                       </em>
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      I missed an early screening of this on the lot a month ago while I was still in New York, but the effusive praise from some of my media peers who saw it last week gassed me to hit a matinee on Friday with my fellow moviegoing civilians at The Grove. And for the first hour or so sitting through hackneyed dialog, goofy plotting and the thinnest of Spielbergian suburban family archetypes  (oh no, Mom and Dad hate each other and actually want a divorce!), I was upset I fell for the critic groupthink which I usually have a better bullshit detector for. Where was this so-called thrill ride and unrelenting throwback blockbuster entertainment? This is a movie inviting you to turn your brain off from the jump—a suburban neighborhood in 1980s Anywhere, USA gets time-travel dropped into the middle of a prehistoric jungle, just because—but even still, there was no craft or any other distinction to make it rise above exceedingly basic. Then the last 30 minutes hit, and man—shit hits the fan and gets pretty fun. Mostly because it gets
                      <em>
                       nasty
                      </em>
                      . Just as I was starting to get annoyed with how Disney the movie began to treat this whole concept, the third act turns up the gas and it’s just one pressure cooker scenario after another where everything that can go wrong does, down to a moment in the climax that’s so delightfully mean-spirited I legit laughed out loud. These are the types of movies AMC A-list exists for.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       Ariana Grande,
                      </strong>
                      <strong>
                       <em>
                        Petal
                       </em>
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      There was one point where Ariana Grande was the reigning pop girl supreme, a wave that crested with
                      <em>
                       thank u, next.
                      </em>
                      Her music hasn’t reached those heights since; she’s too good to ever make a dud but her 2024 album Eternal Sunshine was the first time she delivered something that felt truly inessential.
                      <em>
                       Petal
                      </em>
                      is promising at least as a gesture at returning to form, even if she isn’t quite there yet. There’s nothing on here that has me breaking my neck to run it back on repeat, but it’s at least listenable top to bottom.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        Tony
                       </em>
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      My co-workers loved this. I loved… Antonio Banderas, and left the theater eager to see Leo Woodall in more things and that’s about it.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       Odeal,
                      </strong>
                      <strong>
                       <em>
                        For a Good Time…
                       </em>
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      The British singer Odeal is making some of the freshest R&amp;B out right now, feeding the streets every six months or so with a breezy EP that somehow restores old aughts feelings while sounding like a forward-leaning mix of R&amp;B, afrobeats and amapiano. This latest tape is no different, with songs like “Trying Things” that wouldn’t have sounded out of place on a Musiq Soulchild or Koffee Brown project but hardly sound dated here.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       Jim Legaxcy, “idk idk”
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      Speaking of Brits in their bag…Jim had one of 2025’s best projects in Black British Music and this single he dropped not too long ago picks up where that album left off, with angsty bars about getting on and loves lost, over some truly sunny, Sunday-morning ready production.
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       <em>
                        Lanterns
                       </em>
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      I’ve had the first four episodes of this show for awhile now, but unlike other screeners, they’re on a one week expiry that you have to email HBO reps to refresh if you miss, and who has time for that? Writer problems, I know but with deadlines, interviews and other more urgent shit to do, considering I’m not covering the show myself yet this is how one ends up here, watching the show on its Sunday night premiere with the rest of gen pop. I’m a Damon Lindelof Stan so I’m in either way but this was a pretty meh episode and after the summer Gunn’s DCU is having, I’m not especially hype just yet. Kyle Chandler is his bag, but when isn’t he? I like the way the show just throws you into Green Lantern lore without any pedantic origin story crap but otherwise, the worldbuilding in this pilot is off to a kind of rote and unexciting start. But this is from the same team that gave us Watchmen on this network just six years ago, so…
                     </p>
                     <p style="margin:0;margin-bottom:16px">
                      <strong>
                       Al Green, live at The Hollywood Bowl
                      </strong>
                     </p>
                     <p style="margin:0;margin-bottom:16px">
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