Sarah Osman
The real-life friends play fictionalized versions of themselves in a genial but thin comedy built around a long-running family rumor.
Lili Reinhart charms as a cancer-curing Stanford Ph.D. candidate, but Amazon’s uneven adaptation works best when it follows Olive’s friendship with Anh—not her contrived fake-dating romance.
Casper Kelly’s wildly unhinged horror-comedy, featuring Keegan-Michael Key as a murderous orange unicorn, finds dark laughs—and a sharp study of abuse—inside the artificial warmth of 1990s kids’ programming.
Sunny Sandler gives a quietly affecting performance in a heartfelt, unsentimental coming-of-age drama about a high school musical, a mother’s cancer recurrence, and the precarious coexistence of sorrow and joy.
HBO’s docuseries on the illegal reptile trade is less wild than its predecessors, but its sorrowful, criminal undertow makes it unsettling in a different way.
Kelly McWilliams’s “No One Leaves the Manor” turns a haunted-house setup into a sharp, lyrical reckoning with race, class, disability, and trauma.
“The Dink” turns pickleball rivalries into an easygoing comedy about aging, ego, and unexpected connection.
Strong performances and sharper realism redefine Little House on the Prairie for a new generation.
The “Legally Blonde” prequel “Elle” spotlights a charming Lexi Minetree, but struggles to justify its place in the Blonde-verse.
Netflix’s raunchy comedy gives the comedian some room to flail, but there’s not enough weirdness to fully unleash his chaotic brilliance.
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