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Brotherhood is currently available on Showtime, Hulu, YouTube TV, and Amazon.

Welcome to IGN’s new recommendation series, Binge It! Movies, TV shows, books, comics, music… if you can binge it, we’re here to talk about it. In each installment of Binge It!, we’ll discuss a piece of content we’re passionate about… and why you should check it out.

You can’t celebrate out at the pub — because of you know what — on this St. Patrick’s Day. Instead, you’re at home trying to figure out something to watch — and maybe have a pint or two — to compensate for that. Luckily, I’ve just the show you can start to binge-watch on this very holiday.

Before The Departed, before Black Mass — and before the real-life Irish-American gangster James “Whitey” Bulger who inspired both films was caught, incarcerated, and killed behind bars — there was Brotherhood.

Brotherhood, which ran for three seasons on Showtime, transposed the now widely known story of gangster Whitey Bulger and his politician kid brother Billy from South Boston to Providence, Rhode Island, and followed the parallel rises to power of Irish-American mobster Tommy Caffee (Jason Isaacs) and his politician brother Michael (Jason Clarke).

And like Whitey corrupting his FBI handler and fellow Southie resident John Connolly, Tommy and Michael have a complicated relationship with their childhood pal Declan Giggs (Ethan Embry), a Rhode Island state trooper who often finds the lines between right and wrong, loyalty to the badge and to his friends, blurred.

Running from 2006-2008, Brotherhood was a serialized story about the complicated bond between brothers, each of whom are corrupt and righteous in their own ways. Indeed, the “bad” brother and the “good” brother weren’t always so easy to distinguish. The series wasn’t just about the brothers, mind you, but also their conniving mother Rose (the great Fionnula Flanagan), their criminal cousin Colin from Belfast (Brian F. O’Byrne), Tommy’s no-nonsense boss Freddie Cork (Kevin Chapman), Michael’s estranged wife Eileen (Annabeth Gish), their kids, their neighbors, and assorted other morally challenged characters they interact with for power, money, love, or to settle scores.

There was plenty of violence and scheming, as well as a host of powerful performances from the entire stellar ensemble. Brotherhood is an engaging crime drama about family, tribal loyalties, and the pursuit of power. Give it a binge.

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Microsoft has revealed the full tech specs for Xbox Series X and we are pumped. We discuss the ingredients of the next-gen Xbox that have us the most hyped for the new console, from Xbox Velocity Architecture to raytracing. P.S. Please bear with us on our first-ever remote-location episode!

Subscribe on any of your favorite podcast feeds, or grab an MP3 download of this week’s episode. For more awesome content, check out the latest episode of IGN Unfiltered, featuring an interview with DOOM Eternal director Hugo Martin and executive producer Marty Stratton:

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It’s already an incredibly fun year of Xbox coverage, and the best is yet to come. Join us!

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Ryan McCaffrey is IGN’s Executive Editor of Previews. Follow him on Twitter at @DMC_Ryan, catch him on Unlocked, and drop-ship him Taylor Ham sandwiches from New Jersey whenever possible.

Moving Out, the whimsical, ’80s-inspired co-op game where you play as a member of a moving team known as F.A.R.T, has launched a free demo to help give people an idea about what it’s all about. The free demo is available now across the PlayStation Store, the Xbox Store, and the Nintendo eShop.

Developed by Australian outfit SMG Studios, Moving Out is also getting a pre-order bonus. Everyone who pre-orders the game will get the “Employees of the Month” pack, which includes an Australian character named Bruce the Koala. The name comes from the Monty Python sketch about a group of Aussies named Bruce. The bundle also includes Professor Inkle (an octopus), Sprinkles (a doughnut), and Dials (a CRT TV). Check out the trailer below to see more of each character and the game overall.

Moving Out has you playing as Furniture Arrangement and Relocation Technician (F.A.R.T). With up to three others, you must work together to move objects from inside a building to a moving truck outside. It’s not always so simple or straightforward, however, as some objects require two people to move and you must also coordinate your timing to toss objects over obstacles or into the truck.

There is also an Assist mode that allows players to turn down the difficulty or extend the timers, among other things that should help everyone have a good time. There are also character customization tools that allow you to change hairstyles and color, while you can also give your creature a wheelchair or a hijab.

Moving Out launches on April 24 for $25 USD. The game bears a resemblance to another popular co-op game, Overcooked. The two games share the same publisher, Team17. You can check out some brand-new gameplay in the videos embedded above.

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Warning: this review contains full spoilers for The Flash: Season 6, Episode 15! If you need a refresher on where we left off, here’s our review for Season 6, Episode 14.

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The Flash has really shaken things up in Season 6, with the show being divided into pre-Crisis and post-Crisis halves and focusing on two major villains. That approach has benefited the series in some ways. It’s effectively forced the writers to adopt a faster and more economical storytelling pace. On the other hand, it’s also resulted in some very crowded episodes, with multiple storylines bumping into each other in the race to the finish. “The Exorcism of Nash Wells” initially seems like the clearest case yet of Season 6 trying to cover too much ground at once. But in the end, this episode manages to balance a number of moving pieces, bringing one thread to a natural conclusion while teeing up big things elsewhere in Central City.

The concern coming into this episode is that, as much as Reverse-Flash is always a welcome presence in the Arrowverse, the last thing The Flash really needs right now is another rematch with Barry’s oldest nemesis. That’s why it’s such a relief to see Thawne’s return more or less fully handled within this episode. There’s no way the series can really do justice to Thawne while furthering its parallel Mirror Master and Balck Hole story threads. Rather than treat him as a lingering threat on the show, this episode uses him as a one-and-done antagonist aimed at furthering Nash and Barry’s respective emotional arcs. Sure, the door is left wide open for Thawne to return again, but that’s a seed for a future season to explore.

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In both respects, Thawne is used well here. It’s a lot of fun watching Tom Cavanagh play hero and villain and remind us just how unique each incarnations of Harrison Wells has been. The brief flashbacks to his past with his daughter Maya also help add a bit more depth to Nash. While the “Wells pines after his estranged daughter” thing still feels a bit too redundant, at least we have more context for the Nash/Maya/Allegra relationship and a better sense of what differentiates this struggle from that of Harry Wells and Jessie Quick. And the notion that all previous Wells now live on in Nash is a welcome development. It allows these other characters to live on in some form. At this point, it seems very likely the series will stick with Nash going forward rather than continue to cycle through new Wellses, but we’ll see.

Barry’s struggle this week also works well despite touching on some pretty familiar beats. No, this is hardly the first time he’s dealt with the prospect of losing his speed. But tying that struggle into the return of Thawne and the still gaping wound that is losing Nora helps keep this particular conflict fresh. It’s refreshing to see Barry get in touch with his inner scientist and defeat a meta villain solely through the power of prep time. Grant Gustin really shines in this episode whenever Barry confronts Thawne, particularly at the end when he finally moves on and refuses to let the tragedy of Nora haunt him any longer. As flawed as Season 5 was, this feels like a fitting and necessary coda.

I do wish this episode had done more with Frost and her attempt to step up and fill Barry’s shoes. It feels like more attention should have been paid to the conflict between Caitlin and Barry over his unwillingness to sit back and trust her abilities. That’s to say nothing of the consequences of Barry hiding a spare dose of Velocity-X in STAR Labs. The past few years have trained me never to expect much from Caitlin’s storylines, but it’s still disappointing when she isn’t put to better use.

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Even with Thawne hogging much of the spotlight this week, this episode does find a little room to further the Mirror Master/Black Hole threads. We see Mirror-Kamilla recruited as another pawn in Eva’s mysterious plans. Hopefully it won’t be much longer before the series pivots and Barry and Cisco start to catch on that things aren’t right with their respective significant others. This episode does raise some new questions about the nature of these mirror doppelgangers. Iris delivers exactly the heartfelt speech Barry needs to hear right when he needs to hear it. Is she simply doing what needs to be done to carry out her mission, or does this version of Iris feel love for Barry in her own way?

As for new villain Sunshine (Natalie Sharp), she’s cut from the exact same cloth as the show’s other Black Hole assassins. There’s not much to the character beyond the fancy costume and powers, and it’s just as well she’s taken off the board relatively early on. Sunshine serves her purpose here, but it would be nice to see a little more emphasis on Black Hole’s leaders rather than these interchangeable enforcers.