Entertainment
2000s Sitcom Inspired By An Insurance Commercial Is More Disappointing Than Your Deductible
By Robert Scucci
| Published
If there’s one thing I hate more than anything else in the world, it’s insurance. All kinds. To me, and hopefully to you, insurance is a big bully hovering over you at all times saying, “Hey, want to feel safe and secure in life? Well, it’s gonna cost ya. Oh, and when something bad happens, it’s also going to cost you, even though you’ve been funneling money to us for decades.” Little did I know that this past weekend, I’d finally find something more disappointing than my deductible, and it’s the short-lived 2007 sitcom, Cavemen.
In case you’re wondering why I opened with a rant about how much I hate insurance, it’s not because I’m having a stroke. Cavemen, and the characters in it, didn’t start out as a sitcom. It started as a Geico commercial. In the commercial, the spokesperson says, “It’s so easy to use Geico.com, a caveman could do it.” Then the camera pans over, revealing that a crew member working on the set is a caveman, and he storms off because the joke is that the spokesman basically used a slur against his species.
I’ll admit it: when these commercials were making the rounds, I laughed. They’re funny in that “haha, that’s so random” kind of way. One thing I didn’t think, however, was, “Wow, I really hope they make a sitcom out of this.” Just like I don’t want to pay out of pocket for a rental car while I wait to get reimbursed like the last time I got rear-ended, I didn’t want to sit down with Cavemen while winding down this past weekend. But I do this for a living, and for the love of the game, so let’s get into it, shall we?
From Geico Commercial To Commercial Failure
The premise to Cavemen is about as stupid as you’d expect. We’re introduced to brothers Joel (Bill English) and Andy (Sam Huntington) Claybrook, along with their pretentious, know-it-all, dissertation-writing roommate Nick (Nick Kroll). As the show’s lore explains in the intro sequence ahead of every episode, cavemen were never fully replaced by modern humans, but instead integrated as a subspecies coexisting alongside them. In other words, they’re minorities, and this is where the alleged humor is supposed to come from.
Nick is a grad student with a superior intellect, while Joel and Andy hold down jobs and try to survive the dating scene. They live in a modern apartment and play Nintendo Wii. They stick together because they feel ostracized, and the gags are written in the same style as the Geico commercials. The boys go about their lives, realize they don’t belong, stare at the camera in disgust, and then learn a thing or two.
For example, when Nick takes on a substitute teaching job, he discovers that the school’s mascot is a caveman and completely loses it. When the mascot follows him around during an event, pantomiming caveman behavior, Nick beats it silly with its own club, only to discover he just beat the hell out of a high school girl. Then, he has to face public scrutiny because the most common stereotype is that cavemen are aggressive. Real high-brow stuff.
As much as our protagonists preach tolerance, though, they have no problem cannibalizing their own. They discriminate against “shavers,” fellow cavemen who shave their entire bodies to blend in with Homo sapiens. Whenever they run into an alleged shaver, they make it clear they’re superior for refusing to assimilate with modern humans. They even suggest that musician John Tesh is a shaver, which makes them feel conflicted because they identify with his music on a primal level but are ashamed that he doesn’t fully embrace his inner Cro-Magnon.
How Did This Get 13 Episodes?
What’s truly baffling to me is how Conan O’Brien’s Lookwell was unceremoniously shelved after its pilot aired in 1991, but Cavemen essentially got a full season. I guess they had plenty of that sweet, sweet Geico money floating around to make that happen, but I’m just cracking wise here. The series, developed by Joe Lawson, Josh Gordon, and Will Speck (we need to call them out whenever the opportunity presents itself), plays out like those awkward Big Bang Theory clips with the laugh track removed.
The jokes are awkward, their use of the word “Magger” as a prehistoric slur is a ridiculous portmanteau, and the humor is painfully one-note, almost like it worked better in the context of a 20-second commercial than a 22-minute sitcom episode.
If you want to watch Cavemen out of morbid curiosity alone, it’s nowhere to be found on any major streaming platform. My recommendation is to head over to the series’ Wikipedia page and search the episode titles on YouTube. The entire series has been uploaded by various users (God bless them), though some episodes are broken into three parts. If you’re willing to put in the effort as I did and watch a good 75 percent of this series, I have the number for a pretty good therapist when you’re done. The barrier to entry alone should tell any sane person to leave this one buried.
Entertainment
House of the Dragon review: Season 3 atones for the sins of Season 2
Let’s face it: Season 2 of House of the Dragon promised fire and blood, but its baffling finale felt more like a puff of smoke.
The season fizzled to an ending with zero catharsis, forced Game of Thrones references, and a highlight reel of what was to come. In some ways, that structure mirrored the season’s core conflict. For all of Season 2, Queen Rhaenyra Targaryen (Emma D’Arcy) and Alicent Hightower (Olivia Cooke) tried everything they could to prevent all-out war. But while their stalling to prevent the inevitable was rooted deeply in the story, the show’s own reluctance to leap into the next phase of George R.R. Martin’s Fire and Blood felt more like it was spinning its wheels until Season 3.
Now, the third season of House of the Dragon is finally here, and its first four episodes manage to make up for Season 2’s finale and then some, delivering jaw-dropping spectacle and somber truths about the cost of war.
House of the Dragon‘s Battle of the Gullet is spectacular.
Steve Toussaint in “House of the Dragon.”
Credit: Ollie Upton / HBO
Remember how barely an episode of House of the Dragon Season 2 went by without a mention of Corlys Velaryon’s (Steve Toussaint) naval blockade in the Gullet? We finally get the payoff for that blockade at the top of Season 3, as the Triarchy’s fleet bears down on the Sea Snake’s forces. The ensuing clash, known as the Battle of the Gullet, is one of the defining fights of the Dance of the Dragons — the royal succession civil war between Rhaenyra Targaryen (Emma D’Arcy) and Aegon II Targaryen (Tom Glynn-Carney).
Given that so much of Season 2 was building to this point — hence the fan frustration that it wasn’t included — the pressure on House of the Dragon to pull off this battle is immense. Thankfully, the series more than delivers, with a sequence that had me yelling and pacing around my living room while also thinking, “We’re so back.”
Mashable Top Stories
A dazzling set piece involving ships, human soldiers, and multiple dragons, the Battle of the Gullet sets a new bar for Westerosi action. Every element is honed for maximum impact, from long takes of sailors boarding enemy ships to sweeping shots of dragons dive bombing the fleet. The battle, directed by Loni Peristere, wrings epic terror and awe from those big moments, but it also strikes gold in quieter moments, like a suspenseful boat chase that quickly becomes a stealth highlight of the episode.
Oh, and did I mention that this all takes place during the day, so you can make out every ounce of action taking place onscreen? For a franchise whose biggest battles have often been marred by darkness (looking at you, Battle of Winterfell), the Battle of the Gullet is a welcome adjustment. And, based on the first four episodes sent to critics for review, it’s only the beginning for House of the Dragon Season 3’s big action sequences.
House of the Dragon Season 3 pushes Rhaenyra to the brink.
Emma D’Arcy in “House of the Dragon.”
Credit: HBO
The Battle of the Gullet isn’t just an emphatic statement to open Season 3. It’s also a major turning point for the Dance of the Dragons, and for Rhaenyra in particular. All throughout House of the Dragon, she has balked at violence, worried at the havoc dragon warfare would wreak on the wider realm. By Season 3, though, Rhaenyra has lost so much to this conflict that she needs to do whatever she can to see it through. Only by taking the Iron Throne can she justify the pain she’s experienced. That means making impossible choices and committing to violence she once would have shunned, sometimes carrying it out with her own hands. As she does, House of the Dragon asks, even after all this, will victory be worth it?
It’s a haunting question, one that House of the Dragon teases out with tinges of psychological horror in the aftermath of the Battle of the Gullet. D’Arcy has always been magnificent as Rhaenyra, but here, they reach new heights with their raw portrayal of the queen’s grief and rage. Their trembling hands and wracking sobs were just as wrenching as some of the Battle of the Gullet’s most devastating moments, proving that House of the Dragon can match its biggest set pieces with pure human drama.
While the first half of House of the Dragon Season 3 manages to atone for Season 2’s ending, it still commits its share of familiar sins. Threats of sexual violence towards women abound unnecessarily in these episodes, a trend that harkens back to Game of Thrones‘ worst moments. (Although thankfully nothing here is nearly as graphic.) Elsewhere, several plot threads feel stagnant, with once major players like Criston Cole (Fabien Frankel) getting so little to do they may as well be set dressing. Their decreased roles may wind up paying off down the road, though, just like the many, many changes the show makes from Fire and Blood. While the latter reportedly strained the relationship between Martin and showrunner Ryan Condal, these changes do muddy the Targaryens’ already very complicated relationships in intriguing ways, to the point that I’m more fascinated at how the writers came to these new arcs than mad at not getting a precise adaptation.
Despite the occasional low point and my misgivings following Season 2, House of the Dragon Season 3 flies high. Instead of spinning its wheels, it roars into the Targaryens’ bloody future with action and creeping dread to spare, and that assurance and forward momentum turns out to be exactly what the show needs.
Topics
HBO
House of the Dragon
Entertainment
The Best New Show Of The Year Is A Supernatural Comedy Horror On AppleTV
By Jonathan Klotz
| Published
The 2026 television season has been a little lackluster so far when it comes to original, new series. The Boroughs was a fun binge on Netflix, Margo’s Got Money Troubles was a good comedy, but nothing can compare to the surprising success of Widow’s Bay on AppleTV. It’s a horror comedy, which might be the hardest combination of genres to pull off, that plays out like Twin Peaks meets Parks and Recreation. No show will leave you laughing so hard in one episode, before traumatizing you in the next.
Widow’s Bay Is The Most Original Show In Years
That odd mix of shows makes sense since Widow’s Bay was created by Katie Dippold, a writer for Parks and Recreation. The series takes place in the island town of Widow’s Bay in New England when Mayor Tom (Matthew Rhys) decides to boost tourism to the small community. The catch is that the community, primarily Wyck (Stephen Root) believes the island is cursed.
It’s not a spoiler to say that yes, yes it is cursed, and yes, there are real horrors at work on the island. That’s not surprising. What is surprising is the dry humor and Matthew Rhys’ perfect facial expressions, as the town’s residents will deliver the most absurd lines with a perfectly straight face. If you vibed with the humor of Parks and Recreation, you know what you’re getting into with the odd residents of Widow’s Bay, especially Kate O’Flynn as Tom’s assistant, Patricia. There’s a sequence with her involving a shotgun that is destined to be a social media hit for years to come, and one of those moments that you’ll think, “I’d do the same thing.”
Slapstick Comedy, Horror, And Amazing Sight Gags
Before starting your binge of the first season, avoid as many spoilers as you can. Widow’s Bay sets up mysteries early on with the chained church bell, the strange basement room, a rolling fogbank, and, while it’s not a supernatural mystery, how many Diet Cokes can Town Hall employee Dale consume? His desk is filled to the brim with cans. That can’t be healthy.
Keep your eyes peeled while watching Widow’s Bay as the production team was heavily influenced by The Simpsons usage of sight gags. Some are called out with blatant shots, others exist in the background of a conversation, but put together, they make the town of Widow’s Bay an absurdist version of Twin Peaks.
No one had supernatural slapstick down on their 2026 Bingo card, but here we are. While Netflix pulled the plug on The Boroughs, Widow’s Bay has already been confirmed for a second season, which is good considering the stakes-raising season finale ends by revealing a whole new layer to the mystery of the island. We have a long wait until Season 2 premieres, giving you plenty of time to watch the show of the Summer, and you can still convince your friends you were a fan of Widow’s Bay before it was cool. ]
Widow’s Bay Season 1 is now streaming on AppleTV.
Entertainment
Don’t pay $199 for Windows 11 Pro when it’s currently just $13
TL;DR: Microsoft Windows 11 Pro is down to just $12.97, giving users an easy OS upgrade with advanced security, productivity tools, gaming features, and Copilot AI.
Some upgrades just feel right. This is one of them.
If your PC has been running a little sluggish or you’ve been meaning to bring your system up to speed, Windows 11 Pro is just $12.97 (reg. $199) — a rare, time-sensitive offer that rewards quick, savvy decisions.
Mashable Deals
This isn’t about chasing trends; it’s more about giving your computer the modern foundation it deserves. Windows 11 Pro brings a sleeker UI, better multitasking, and enhanced security — all in a one-time lifetime license.
Think of it as the difference between driving a reliable car and suddenly upgrading to one with a smarter dashboard, smoother handling, and built-in security features.
For professionals, creators, and power users, this upgrade also unlocks features like Hyper-V, Windows Sandbox, BitLocker encryption, and seamless Azure AD integration — tools that make a real difference when you’re working across projects or managing sensitive data.
And yes, Windows 11 comes with Copilot, Microsoft’s AI-powered assistant that can summarize pages, change settings, or even help you generate code on the fly. It’s like having a co-pilot (literally) inside your OS.
Mashable Deals
But you don’t need convincing — you already know a smart upgrade when you see one. Get Windows 11 Pro for just $12.97 (reg. $199).
StackSocial prices subject to change.
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