Television
Love on the Spectrum U.S. generates the same joy as its Aussie version: all of the singletons are enormously likable.
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Ozark supplied some vital, if depressing insights, about what liberal Americans really value: money and power, rather than what they say they treasure, family and equality. The catch is that this is no longer news.
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Like the films of the 2000s, Senior Year is filled with chuckles but eschews substance.
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It is not unusual for most series to hit a sophomore slump, but Hacks manages to avoid this fate, partly because of how deftly it expands on its original premise.
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The show never grapples with the casualties of corporate crashes because it would mean critiquing a system that is making a lot of people at the top rich (looking at you, Apple).
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Season three of Barry is just as dark as its predecessors. In fact, in some ways it may even be darker.
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The Survivor examines what happens to someone who made the decision to survive in Auschwitz — no matter how.
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The emphasis isn’t on gratuitous sensuality: Gentleman Jack’s throes of passion are designed to reveal more about the psychological makeup of its characters.
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Russian Doll’s script still crackles with dark, cynical hilarity, and New York is still the gritty, gorgeous backdrop, the city where, clearly, anything can happen.
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Without letter-perfect performances from the actors I’m not sure Severance would work anywhere near as well as it does.
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