Television
The Canadian sports comedy Shoresy works as its own series, but it doesn’t match the sharp wit of its predecessor, Letterkenny.
Love on the Spectrum U.S. generates the same joy as its Aussie version: all of the singletons are enormously likable.
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.
Like the films of the 2000s, Senior Year is filled with chuckles but eschews substance.
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.
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).
Season three of Barry is just as dark as its predecessors. In fact, in some ways it may even be darker.
The Survivor examines what happens to someone who made the decision to survive in Auschwitz — no matter how.
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.
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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