Before Netflix brought about its downfall, the most pressing entertainment dilemma was navigating the local Blockbuster and being beaten at every option. Drama? Comedy? Documentary film? Where to start? You might get lost walking down those hallways and wonder, “But is this the most productive option?”
The same can happen now when you scroll through Netflix; the features seem endless (and they almost are, so much so that new Netflix series get lost!). And even with the convenient streamer categories (presented similarly to the various genre-based sections of those forgotten video stores), it’s still incredibly easy to get lost in the amount of content to peruse. What you want is to be able to log in and know exactly what you want to start bingeing without wasting time scrolling.
Enter Paste: Our TV editors are ready to help you find what you need. Below, we rank 50 of the most productive TVs on Netflix, but that’s just the beginning. Bookmark this page and come back as more series are added to Netflix (and some possibly removed) each month. And a vital note: the list now begins with our #1 pick!
Looking for streaming series on other networks? You can also check out our TV show lists on Hulu, TV shows on Amazon, and our weekly strength ratings for even more recommendations.
Some argue that The Wire is TV’s best drama of all time; others stand up for Mad Men or The Sopranos, the latter of which has the benefit of being so important historically that it begins many textbooks’ modern TV eras. But Breaking Bad made its bones quickly, publicly, and with plenty of pizzazz. It entered the TV landscape with just a few episodes of tonally questionable wobbling—the balance-finding of an ambitious acrobat searching for the tightrope’s center—and stuck the landing on the remaining five seasons. Who cares if the first season’s DVD case called it a dramedy? America knew what it was immediately, even if we didn’t know exactly where it was going. How has the tragic ballad of science teacher-turned-meth kingpin Walter White (Bryan Cranston) weathered its title over the years? If the current TV landscape is anything to judge by, it’s a proud grandfather, looking over its progeny with the same glee and gentle judgment of any overachieving patriarch. Breaking Bad may not have set the paradigm of unlikable anti-heroism in pop drama, but it certainly put the “pop” in the designation. (And don’t forget to watch the show’s probably unnecessary but nevertheless wonderful follow-up film El Camino). —Jacob Oller
Known across the Atlantic as The Great British Bake-Off, the appeal of the popular reality series (most of its seasons are now available on Netflix) lies in its refusal to engage in dramatic artifice. Opposite Gordon Ramsay’s homes on Fox, Chopped, and even Top Chef, with their constant murmuring and damaged dreams, GBBS contestants are cheerful, supportive (though extremely competent) fans; In any episode, the worst tantrum is when he judges Paul Hollywood, sticks his finger in a bun, and declares it “undercooked” (or literally pronounces it “overworked and overcooked”). Even with new presenters and a new judging option when the screen moved from the BBC to ITV, GBBS is still a wonderful, inspiring, refreshing, whimsical and utterly lighthearted series. —Matt Brennan and Allison Keene
There’s a moment in Netflix’s The Dark Crystal: Age of Resistance, a prequel to Jim Henson’s beloved Dark Crystal (which is wonderful, but you won’t want to have noticed it before this), where two ancient characters tell a story for our heroes. It is the beautiful land of Thra and an occasion many years ago that caused imbalance and degradation within the crystal in the middle of your world. All the answers they seek “will come to life through this supremely ancient and sacred art. . . ,” they are told, with a dramatic pause as the character looks directly into the camera and exhales, “Puppet!”
“Oh no!” Our heroes moan and one of them falls asleep instantly.
This is the prejudice that Age of Resistance recognizes it faces; However, friends, get over it. Let this incredible production take you on an epic fantasy journey, capable of exploring much more deeply and completely the global imagined through Henson and Frank Oz with the original film. You can compare it to The Lord of the Rings, Game of Thrones or any fantasy series you like, but after 10 magical hours, it actually presents itself as a magnificent, innovative, emotional, joyful and exceptional marvel. If this sounds hyperbolic, it’s only because that’s precisely the kind of sincere enthusiasm the exhibition generates. Overcome any doubts about the puppets (which are exceptional, since the CGI only serves to blend the backgrounds and the action), activate the subtitles to help you not forget all the character names and immerse yourself in this incredible world that we are. . I am very lucky to have her. —Allison Keene
When Bob Odenkirk appeared near the end of Breaking Bad’s second season, as sleazy lawyer Saul Goodman, it was a bit of a surprise to the formula for anyone who had long enjoyed his work as an editor and comedy actor on the shows. like SNL and Mr. Show. Little did we know that this was just the beginning of a tragic and hilarious story that would begin to take on the scope of a Russian epic novel. This prequel to Vince Gilligan’s meth drama completed the impossible, expanding the original Breaking Bad backdrop with dynamic, heartbreaking results. And let’s give Odenkirk (and his co-stars Michael McKean, Rhea Seehorn and Jonathan Banks) all the credit for further showing how fragile a person’s morals can be, especially when gigantic sums of cash are involved. —Robert Jambon
On any given day of the week, there’s a good chance I’m watching a rerun of Seinfeld that I’ve seen at least 20 times before, and I’m not the only one with this habit. The fact that the series has been rebroadcast and syndicated continuously since its finale, which garnered 76 million viewers, shows how beloved it remains to this day: Seinfeld is still making money for networks two decades after its end. His understanding of pop culture trivia was on a whole new level, as was his distaste for typical sitcom conventions. Long-term relationships and love triangles were practically non-existent on Seinfeld. The characters never made lame excuses. They never learned from their mistakes! Instead, Larry David and company committed themselves to telling stories of casual, everyday misanthropy of other people who were sometimes considered decent or average, but who were pretty horrible people. Without even going into detail about the show’s transformative effect on the cultural lexicon, known as “Seinlanguage,” it’s easy to see how Seinfeld stands out uniquely among each of its peers. —Jim Vorel
Some of the most productive sitcoms in history are about bad people. M. A. S. H. , Seinfeld, Arrested Development: It would be hard to argue that most of your characters are involved, bigoted, or downright jerky. It’s too early to enter The Good. Si while it sits in such a pantheon, it’s applicable to understand why Michael Schur’s most recent comedy (The Office, Parks
There’s something slightly revolutionary about Unbelievable. It’s tough to watch the kind of series that’s likely to stay with you long after its final moments have ended; For a story focused on rape, this is not unusual. The painting of its three notable main actors is glorious but not unique either; Other television shows and movies have hired exceptional artists to tell those stories. Instead, Unbelievable steps aside by simply making one very big assumption: that everyone watching already knows that rape is a terrible rape. This assumes that you have dealt with this. This assumes that you’ve noticed The Handmaid’s Tale or Boys Don’t Cry, or more recently, The Nightingale, and take great delight in seeing rape depicted in the media in visceral, nightmarish ways. She is fully aware that among the people on the other side of the screen, one in six women and one in 33 men will have personally experienced rape or attempted rape in their lifetime. She surely has no interest in immersing her audience in trauma and violation. Amazing knows that you know rape is bad. She doesn’t act like a voyeur. Directed by showrunner Susannah Grant, the film is much more interested in the survivor’s point of view: about what happened to her, yes, and how she persists, but also about the rapes that followed.
Based on a Pulitzer Prize-winning journalism article written by T. Christian Miller and Ken Armstrong (of ProPublica and The Marshall Project, respectively), Unbelievable is a series of such quiet force that its full effect may not subside until later. its conclusion. —Allison Cobbler
Adapted from the novel The Talented Mr. Ripley, the Netflix edition of the series follows Thomas Ripley (Andrew Scott), a hapless con artist who is paid to bring home the son of a wealthy businessman, Dickie (Johnny Flynn). ItalyRipley takes advantage of the possibility and travels around the world where she meets Dickie and his friend Marge (Dakota Fanning), and the three form a complicated relationship. At first, our scammer discovers that his new living situation is quite pleasant, but the good times he lived thanks him. Dickie’s fortune can’t last forever. As the scenario deteriorates, Ripley devises a plan with fatal consequences, imagining a long-term in which she assumes the identity and wealth of the other. The exhibit is bathed in sumptuous black-and-white cinematography, providing monochromatic images that perfectly complement the 1960s theme and setting. —Elijah Gonzalez
Who would have imagined that football, a game famous for its idiocies and brute force, could be the cornerstone of one of television’s most sensitive and moving dramas?Heartbreaking, infuriating, and full of life-changing setbacks and wondrous triumphs, Friday Night Lights is all of that, and in that sense, it’s like the game around which the small town of Dillon, Texas, revolves. “Cuddly” and “nuanced” aren’t words sometimes applied to grilling, but they work here too. Full of central but slightly cloying, shot magnificently but hyper-realistic, and with a talented cast among which teenagers and parents are (thankfully, completely) obviously defined, the series manages to convince episode after episode that, yes, American football, in one way or another. , is life. Clear eyes, full center, I can’t miss it. —Raquel Maddux
Netflix’s Russian Doll was almost too smart to be renewed. Sure, renew Natasha Lyonne. Renew Amy Poehler. Renew Leslye’s advice. Renew Charlie Barnett. Recasts Rebecca Henderson and Greta Lee as modern arty friends, able to throw parties across the Netflix spectrum that are even spicier and brighter. Recast Elizabeth Ashley as the no-nonsense therapist mother figure to each and every Netflix heroine (but make it trendy). Refreshing, witty and funny women, led by witty and funny women, written through witty and funny women. Renew that hair. It renews each and every aspect of Russian Doll that helped make it such a strident triumph of black comedy, macabre ennui, and existential optimism. (All Dave Becky in a producer’s chair; if Broad City can replace precedent after four seasons, new screens can avoid setting one. ) Renewing Russian Doll in its entirety is more complicated. It is, in the 8 shaggy, cleverly constructed episodes of its first season, almost perfect. —Alexis Gunderson
You can’t look away from When They See Us or hide from the blinding truth. On April 19, 1989, Trisha Meli, 28, was jogging in Central Park when she was brutally raped and left for dead. In a coma for 12 days, Meli had no memory of what had happened to her and was unable to identify her attacker(s). The series does not shy away from the horrors of what happened to Meli. A successful white woman left for dead in America’s most famous public area was not a good fit for New York City. Everyone (the mayor, the prosecutor, the police) tried to stop her attackers. But at some point, Manhattan District Attorney Linda Fairstein (Felicity Huffman, in her first post-scandal role) and NYPD detectives lost sight of their preference for tracking down the real criminal and set out to solve the crime. crime by any means necessary. The story itself is incredibly powerful. But there are several key decisions made through Ava DuVernay that make When They See Us one of the shows of the year, if not the most productive of the decade. One of them is the selection of five unknown actors to play the boys.
The “Central Park Five” were between 14 and 16 years old in 1989, and Rodriguez, Herisse, Jerome, Blackk and Harris not only look young, but they also depict the utter vulnerability and worry that their real-life counterparts will have to have. We feel. We also see their families, who have fought so hard for their children. Niecy Nash as Delores, Korey’s mother. John Leguizamo as Raymond’s father, who remarries while Raymond is away and struggles to balance his old circle of relatives with his new one. Aunjanue Ellis as Sharon Salaam, the only mother who understood the formula enough to make sure her son didn’t make a false confession. DuVernay doesn’t make them saints. Everyone makes terrible mistakes and painful decisions. But his love for his children is not in doubt. When they see us it is incredibly difficult to see. It moved me deeply. When you see him, I’m sure he’ll do the same to you. —Amy Amatangelo
You’d be forgiven for thinking that The Queen’s Gambit is based on a real chess player, presenting us with a forgotten but essential decision in the game. Thankfully, this is not the case, freeing you from the constraints of what may simply be heavy biographical traps. Instead, the seven-episode limited series, based on Walter Tevis’ 1983 novel of the same name, soars positively.
Beautifully filmed and lovingly directed, The Queen’s Gambit is set in the 1950s and 1960s and centers on a young chess prodigy, Beth Harmon (Anya Taylor-Joy). Tragedy and fantasy interact in a confusing dance in Scott Frank’s scripts. , while Beth is fed (and temporarily developed an addiction to) tranquilizers at the age of 8, anything that opens up her brain but (obviously) torments her in her youth and adult life.
And yet, The Queen’s Gambit is secretly a sports story. Chess has never been so kinetically captivating. Skillfully edited and packed with sublime edits, the movements that are so fluid to Beth aren’t simple for viewers. There is an intensity of wisdom that defies superficial comprehension, but it is never a hindrance. Beth has an almost supernatural talent, she is brilliant at chess but is hindered by a spirit that also finds solace in addictions of all kinds. It’s a story that’s regularly told about a man, but it’s part of who he is. What’s refreshing about The Queen’s Gambit is that, despite a quick comment or two, it’s not really about Beth being a woman (or more accurately, a girl). The series doesn’t want to make a statement.
Because The Queen’s Gambit is a fictional frame (this title, by the way, is analyzed 33 minutes into the first episode and then shipped with it), it tells exactly the gripping story of the character you want, and how. It seems obvious, but it’s nothing. Paced and self-assured from the start, The Queen’s Gambit is a fascinating, radiant, and simply mesmerizing art painting. Like Beth, she succeeds because of her determination. to the love of the game. —Allison Keene
Say what you will about the complexities of its storytelling, Stranger Things is still an unapologetic 1980s birthday party, from its own taste- and story-related cinematic references to a cavalcade of literal references to the era. Its brave characters, young people and teenagers, fight monsters (real or internal) and go to the mall. It is a nostalgic dream and a terrifying nightmare. But whether set during Halloween or in the middle of summer in the mid-’80s, the show’s painstakingly crafted aesthetic serves to enhance the light-hearted nature of the show’s non-monstrous moments. And that’s where Stranger Things shines. The creepiness is strong (and rarely even scary or super passive), but it acts as an almost playful juxtaposition to the otherwise cheerful look at suburban life. But it’s basically the friendships and coming-of-age stories, relationships and family bonds that really make Stranger Things great. For better or worse, the Netflix horror series is as tasty, messy, and fleeting as an ice cream cone on a hot summer day. Ahoy!—Allison Keene
A fast-moving French comedy-drama about a Parisian talent company and the lovable, infuriating people who work there. Created through Fanny Herrero, Call My Agent (aka “Dix Pour Cent” – ten percent) does a wonderful job of balancing and integrating character paintings and Actor of the Week stories, where genuine French celebrities (some of whom, later seasons, have become better known to American audiences) play enhanced versions of themselves. A behind-the-scenes look at French cinema, Call My Agent also focuses on the various private dramas of ASK – a company at war first with a rival company and then against itself – and its unbalanced “tableaux, i. e. life”. Array With four short seasons (each consisting of six episodes), the series is entertaining and a savvy take on the industry, but what makes it wonderful is how it bases that narrative on relatable characters and the never-ending carousel of their triumphs and misfortunes. Matrix In other words, yes, subtitles are worth it.
“Happy” is an underused and underrated term when it comes to television series. Too many demonstrations confuse “prestige” with heartbreak, violence and horror when it can also (and should) mean happiness and splendor. Legends of Tomorrow, however, is a drama that actually understands the meaning of joy. The series, which follows a ragtag organization of misfits in the area and time seeking to “fix” ancient anomalies caused by villains and supernatural beings, can be frivolous and frivolous, but it can also be emotionally devastating. The bottom line is that it’s simply over. For those who were put off during the first few episodes or even the first season, dive into the second season (or even the third season, if you’re really short on time) and move on from there. This is much, much better. Legends is the rare series that learns from its mistakes, capable of growing and innovating to bring us the craziest but most glorious television. And unlike most other shows (especially those about superheroes), it’s not afraid to replace its cast when things don’t work out, making each season feel brand new as the stakes are raised. they remain high.
Legends of Tomorrow is fun, strange, weird, beautiful and silly. She makes puppets, unicorns, and severed sensitive nipples, but she also explores the devastation of wasting those we enjoy, championing those who need a voice and constant evolution. adventure of self-discovery. Join us on the journey. —Allison Keene
In its first two seasons, author Peter Morgan’s lavish treatment of Queen Elizabeth II’s reign has relied on Claire Foy’s absolutely captivating performance as the flinty monarch; the impeccable details of the period; a sense of ancient importance that goes beyond her forebears, Morgan’s 2006 film The Queen and 2013 play The Audience. But calling The Crown simply “luxurious” is unfair. Rather, as time passes from the early days of Elizabeth’s reign, we move to the Suez crisis of 1956 and the Profumo affair of 1963. Throughout the series, her elaborate and considered taste and design. The episodic series fleshes out the secondary characters, particularly Isabel. her husband, Philip (Matt Smith), and her sister, Margaret (the remarkable Vanessa Kirthrough), diverting attention from the queen herself. It is a strangely profound examination of British public life and the personal lives of its public figures.
The second bankruptcy of Netflix’s opulent monarchy birthday party begins in 1964 and ends with its silver anniversary in 1977. In a frenetic time, Peter Morgan’s old drama continues to stand out as a series faithful to episodic storytelling, acting almost like an anthology. within Netflix. himself. To that end, season 3 introduces us to a new cast that reflects the new temporality: Olivia Colman as Queen Elizabeth II, Tobias Menzies as Prince Philip, Margaret transforms into Helena Bonham Carter and we are led to Prince Charles (Josh O’Connor) and Princess Anne (Erin Doherty). In season 5, the series transforms as the royal family ages and time passes. Imelda Staunton reprises the role of Elizabeth, Jonathan Pryce plays Philip and Lesley Manville is the new Margaret. Meanwhile, Dominic West replaces O’Connor in the role of Charles, while Elizabeth Debicki takes on the role of Princess Diana (played in season four by Emma Corrin).
The weight of the crown itself is felt throughout the series, basically because it makes all the very privileged people who constantly “don’t live life” unhappy. Each of those elements offers a brief glimpse of possibilities that can never materialize due to the realities of position and duty, yet that sacrifice in the face of something greater becomes increasingly difficult to protect as the years go by. But Elizabeth is at a point where all she knows is that she has to stay through. And so, in fact, as the series strives to achieve, the crown will have to be the crown. —Matt Brennan and Allison Keene
BoJack Horseguy is one of the most underrated comedies ever made and it pains me so much that it doesn’t deserve more praise. From the title sequence, which documents BoJack’s unhappy decline from network comedy star to drunk, to the gorgeous theme song written by Black Keys’ Patrick Carney, this is one of the most thoughtful comedies ever made. Which is rarely very, very, very, I mean, it’s rarely very, very, very, very hilarious, of course. Will Arnett is the most productive voice of BoJack, and Paul F. Tompkins, who in my opinion is the funniest guy on planet Earth, couldn’t be more suitable as the boy Mr. Peanut Butter. It’s an exhibition that’s rarely far, far, far above a joke, a cruel joke, or a wonderfully reasonable laugh, but it also looks some very harsh realities of life squarely in the eye. There are times when you hate BoJack; This is rarely an undeniable redemption story, and as soon as you think he’s on the rise, he’s sure to do anything terrible to let you down. (There’s a special irony in the fact that a horse is one of the most embracing characters on television, and the unflinching examination of his character makes “Escape from L. A. ” one of the most productive episodes on television. ) So why don’t you like them? ? Beyond a strong sect? Maybe it’s the anthropomorphism that puts others off, or maybe it’s the animation, but I implore you: look beyond those elements, settle into the story and let yourself be surprised through a comedy that crosses the line between hilarious and how sad. like no other. —Shane Ryan
The charming, silly, funny, and heartwarming Derry Girls is a short series (its first two seasons have six episodes, while the third and final one has seven) that focuses on an organization of schoolgirls in Northern Ireland in the 90s, the final days of the Troubles. But in Lisa McGee’s series, this darkness is relegated to the background. Instead, more classic teen conflicts, school life, and the craziness of kids take center stage, along with plenty of incredibly expressive language and jokes about this region and this time (you). You’ll definitely need to watch it with subtitles. ) Derry Girls is a warm and fun time jump carried through a dreamlike playlist of the 90s and the gigantic air of mystery of its little protagonists. —Allison Keene
Geralt of Rivia, a witcher played by Henry Cavill, travels around the world killing monsters for rewards. That’s all he’s smart for; That’s what it’s made for. Mutant Aragorn is all gruff talk, stubble, and exciting swordplay. It’s difficult to paint a character known for his lack of emotion, even more difficult when he is also called the Shepherd in a fantasy universe. But Cavill and showrunner Lauren Schmidt Hissrich’s adaptation of Andrzej Sapkowski’s Witcher novels (which in turn became a beloved video game series) falls short due to its willingness to comply with regulations at its source, making Netflix-superior fantasy laughs for anyone who needs it. triumph over some obstacles.
Shows become exponentially less difficult to watch when the protagonist is having so much fun. Cavill revels in each and every grimace as his dirty, bitter Geralt traverses familiar locations for any Dungeons campaign
Whether you have a background in fantasy, a knack for hanging out with crazy stuff, or a general love of all things Witchery, and you like the tone, there’s a lot to love about The Witcher. It can be cheesy, with life-and-death conversations turning into a magically induced Eyes Wide Shut orgy. He can be badass, with a tough wizard who combines gender politics, fantasy lore, and deep characterization when he tells Geralt to “fuck off” in the middle of a magical battle. These two can combine like werewolves and silver, but when they work together, The Witcher is a wildly entertaining treat for newcomers and long-time enthusiasts alike. —Jacob Oller
Hello everyone, Bridgerton, Netflix’s lush and decadent adaptation of a series of romance novels. The thirsty series centers on a London circle of relatives of eight children, all with smart genes and five (or six?) of whom are already of marriageable age. And so, in this Regency-era setting, the game takes its stand with the mysterious and charming rumor Lady Whistledown as its guide. There are bullets, rakes and other things that had an absolutely different meaning in the 19th century, but one thing that has not. repositioned is how electrifying it can be to wear a glove or gently touch your hand in the right context. The series also gets quite particular at times, but it does so with an almost revolutionary female gaze for a period drama. As such, it is as rich an exhibit as it appears (not a family-friendly exhibit circle).
Although all of the Bridgerton siblings appear over the course of the series’ 8 episodes, the first season focuses primarily on eldest daughter Daphne (Phoebe Dynevor) as she enters society and attempts to secure a marriage proposal. Initially, she is talked about in town as a lot, but her reputation plummets with the arrival of a charming newcomer. So, to escape a loveless marriage to a nasty guy selected for her through her older brother, Daphne makes a deal with the very handsome and newly titled Duke of Hastings. (Regé-Jean Page), a committed bachelor with twice the heartbreaking hero power a man deserves to possess. In a classic fake dating scenario, the duke aims to woo Daphne to increase her price on the marriage market, while his agreement helps prevent women from throwing themselves at him. It’s a win-win situation. . . until the two of you expand genuine emotions for each other, of course. Bridgerton is rarely very perfect, yet it’s a gloriously anachronistic candy-colored romp that brings new vitality to hat dramas (maximum hats aside, for starters) and is a lot of fun. —Allison Keene and Kaitlin Thomas
Our intrepid TV editor at the time, Matt Brennan, recently embarked on a journey. Since he had never noticed Gilmore Girls before, he watched all 154 episodes of the original, as well as the 4 new installments of A Year in the Life. (You can read his hilarious stream of consciousness here. ) And I have to admit, he was jealous. For me, the original screen is now a distant and cherished memory. Oh, what a joy to notice it for the first time! I envy everyone who will see Lorelai (Lauren Graham), her daughter Rory (Alexis Bledel), and family matriarch Emily (the incomparable Kelly Bishop) honestly portraying three generations of strong women. This is the only exhibit you can see with your teenage daughter and your mom and rest assured that everyone will be equally entertained. In addition to the skillful storytelling, there are never-before-matched jokes and pop culture references that permeate throughout the dialogue. And the love stories! Lorelai and Luke (Scott Patterson) are one of the greatest love stories on television. And will you be #TeamJess, #TeamDean or #TeamLogan? Even though I didn’t like the (very) imperfect A Year in the Life and despised the last 4 words, I was still pleased to see my friends in Stars Hollow. The screen has become a component of my life. And it will also be part of yours. —Amy Amatangelo
Honey snacks, candy-colored walls, and a giant doll that looks like a child’s fantasy come true. But in the world of Squid Game on Netflix, irreproachable nostalgia comes with a reckoning: 456 Americans compete to the death in children’s games for 45. 6 billion Korean won (or 38. 6 million US dollars). All on the brink of monetary ruin and desperate for a way out, players pit each other against each other through the rich and tough for entertainment, until only one victor remains.
Although it hasn’t been released in a long time, the South Korean drama is already enjoying a lot of praise. It’s the first Korean series to make it into Netflix’s Top 10 in the United States, it’s the platform’s number one series worldwide, and it’s lately on its way to becoming the most popular Netflix series of all time, usurping the roguyce of the Bridgerton era. Created by filmmaker Hwang Dong-hyuk, the plot of Squid Game will be familiar to anyone who has seen The Hunger Games or Battle Royale. the Japanese cult favorite that popularized the Battle Royale genre. However, instead of taking a position in a sensible and disproportionate scenario, Squid Game bases its premises on a fresh and genuine environment. The “last man standing” hook means that there is predictability about how everything will unfold. , however, Hwang is less involved in changing the formula of War Royale than in exploring the huge problems that make it work.
Manipulated through the small print, the contestants of Squid Game are not aware of the life-or-death consequences they have signed up for. After heavy losses in the first game, a loophole gives them the opportunity to withdraw from the game and safely return to their empty bank accounts. From the outside, the choice is obvious. But as the pivotal moment episode reveals, there are no intelligent characteristics for those living on the margins of society, and a carefree existence, where cash is not a daily stressor, turns out to be an achievement. obtain. Games are bad, but who’s to say that the real world is rarely worse?—Annie Lyons
Netflix’s bubbly birthday party from a long-forgotten corner of global wrestling takes a while to come to fruition, but once it does, it’s a natural joy. That’s not to say there’s rarely much drama among the magnificents. Ladies of Wrestling (GLOW): the story begins with an infidelity that affects two of the best friends; However, once the bright colors and ambitious power of the ’80s series kick in, there’s no stopping them. Cast (performing their own stunts), the series never shies away from the deeper issues of race, gender, and the realities of a career on stage. But what unites the series are their friendships, especially among its main actors. , brought national attention to Betty Gilpin, for which we will be grateful. )
GLOW will be an exhibition that understands femininity in a way that few do, and at times, it’s a smart pop-filled moment. Sometimes it’s complicated, but that’s what GLOW is all about. Women fail, fail and fail again. They face sadness and chaos. Decisions are made, mistakes are made. And they check it again. And again. —Allison Keene
In Beef, the brilliant Ali Wong, as wealthy businesswoman Amy Lau, clashed with suicidal businessman Danny Cho, played by the equally perfect Steven Yeun. It started with a case of road rage, in which Lau nearly killed Cho, and escalated from there. One is rich and the other poor, but deep down they are both prisoners and have no control over their lives. What this violence contrary to each other demonstrates is that, in short, it is resurrected; they want that. It’s not healthy, it’s going to hurt any of them, but you know without a doubt that they’re going to continue at this point for as long as they can. A raw emotion brought them back to life, from a possible meeting in a parking lot, and thanks to this, they will even be able to count on each other.
As for the premise, it just can’t be improved and there’s very little you want to know about the series beyond that. They fight, fight, and fight, and as the stifling environment of fancy living continues to disappoint them, if you leave them dissatisfied and confused, they will look for convenience in others, but that convenience will come in the form of violence. Because what they both want is a hot and exciting clash that can be fought between two other people without the restrictions imposed by society and society. Double restrictions of wealth and poverty have been implemented. —Shane Ryan
Based on the popular book series by Diana Gabaldon, Outlander follows the story of Claire Randall, a nurse in 1940s England who, while vacationing in Scotland, is sent via mystical stones to the 1740s. There, as she struggles to survive and return home, she meets a tall, dark, handsome mountain man named James Fraser, and the rest is hitale. Except Outlander actually does a truly glorious job of tracking the couple’s position in the hitale, offering tense, gripping and, yes, romantic storytelling along the way. The truly glorious cast of the series is elevated to the stratosphere through its leads, whose chemistry will make you believe in love at first sight. Filled with battles, political intrigue, and enchanting at each and every level, the exhibit is a gloriously comfortable (and sexy) adventure. From its hauntingly beautiful theme via Bear McCreary, Outlander will transport you to its dangerous and unexpected world as temporally as those magical stones. —Allison Keene
Orange Is the New Black is the best match for Netflix’s streaming system, if only because it would be nerve-wracking to wait a week for each new episode. But there is still more; The build-up feels cinematic and compared to your average show, and I still can’t help but think that the all-in-one release plan freed up the creators to create something less episodic and more fluid, which has since become the signature from Netflix. Taylor Schilling plays Piper Chapman, a woman living a happy, elegant life when her man behind her suddenly rears up to attack her from behind her; A decade earlier, she was briefly a drug mule for her lover Alex Vause (the perfect Laura Prepon), and when Vause had to defend her sentence, she abandoned Piper. The story is based on real events by Piper Kerman, whose book of the same name was the inspiration, but the truth is that the film edition is much better. Schilling is the engine that drives the plot, and her mix of herbal serenity combined with growing anger and depression at the far-beyond-due turn her life has taken sets the best tone for life in the women’s prison.
In the early episodes, Criminal is treated as an almost unconventional novelty that you’ll have to live with for 15 months, and the smartest picking director, Jenji Kohan, did (and there are many) to raise the stakes so that what starts out as a quirky adventure soon takes on the serious proportions that a criminal life demands. And while Schilling and Prepon are together, the supporting cast is so universally correct that it’s almost unbelievable. There are too many characters who earn gold with their limited screen time. I can’t mention them individually, but suffice it to say that there’s enough comedy, pathos, and tragedy here for a dozen shows. The fact that they’re so compatible into one makes NBITO a make-or-break win for Netflix. —Shane Ryan
From a Tumblr webcomic to a graphic novel to a Netflix show, Alice Oseman’s uplifting queer story has amassed an engaged fanbase that will only grow with the arrival of the Netflix adaptation. The sweet romance between Charlie (Joe Locke) and Nick (Kit Connor) is beautifully learned in this heartfelt and serious coming-of-age drama directed by Euros Lyn and written by Oseman. Much of Oseman’s original spark can be discovered in the moving photographs that are complemented by a soundtrack, a perfectly detailed production design by the young man. rooms and a talented cast.
As Nick and Charlie grow closer and their emotions become ignorant, they have a plethora of friends to confide in. The organization includes the benevolent Elle (Yasmin Finney), the eccentric Tao (Will Gao), the quiet Issac (Tobie Donovan). ), and two friends: the cheerful Darcy (Kizzy Edgell) and the considerate Tara (Corinna Brown). Heartstopper updates the replaced gender clichés of adulthood to offer considered and considered thinking about young people’s self-acceptance, exploring what it means to be a component. of the LGBTQ network today. —Emily Maskell
Don’t be put off by M. Night Shayamalan’s “clumsy 2010 live-action adaptation”: this richly animated TV series fuses Hayao Miyazaki’s wild imagination, world-building from anime’s most epic stories, and humor from some of Cartoon Network’s most unique originals. . Following the exploits of the Avatar, the young savior Aang who controls the four elements: fire, water, earth and wind, the series is full of political intrigue, personal expansion and endless challenges. Spirits and strange animal hybrids pose dangers, as do other people who seek strength for themselves. This is one you will enjoy watching with your kids or alone. —Josh Jackson
A perfectionist Virgo with a golden center shouldn’t be so observable. However, it uploads a pinch of the old story of synthetic insemination, combined with the imaginable risk of a grandmother’s deportation, as the protagonist tries to pivot her writing career and motherhood, and you have it. of the most desirable characters on television. The wonderful thing about Jane is that she handles everything with impressive sensitivity and you can’t help but fall in love with her positive outlook on life. If there is a will, there is a way, and Jane takes the cards she has been dealt in life without ever forgetting or abandoning the deep kindness that Abela instilled in her. We’ve noticed that this character celebrates life’s big moments with everything from dancing to crying intensely, without shame in her vulnerability, but make no mistake about her bad side. —Iris A. Barreto
With the help of legendary producer Norman Lear, Mike Royce and Gloria Calderón Kellett, the warm and guttural update of One Day at a Time, which follows a Cuban-American family in Los Angeles, has only gained confidence throughout its moment. and third season. . In fact, with its mix of topicality and timelessness, ridiculous and heartfelt, Netflix’s multi-camera comedy has become the main driving force behind the genre’s resurgence. Covering everything from LGBTQ rights and immigration to dating and depression, the series is anchored through the two ordinary women at its center: Rita Moreno and Justina Machado, whose chemistry as mother and daughter discovers its fullest expression in two heartbreaking end-of-season entries. If the two inseparables do not remain in the television canon, an investigation deserves to be carried out through a butler. Thank goodness, PopTV picked up the series for a fourth season after Netflix unceremoniously abandoned it. —Matt Brennan
Being 15 years old is boring. You don’t know who you are, what you’re doing, or who you deserve to do it with, but you’re one hundred percent sure that everyone around you is still focused on each and every embarrassing mistake you make. do. Mindy Kaling’s new coming-of-age sitcom taps into the painful awkwardness of figuring it all out with the same blend of seriousness, genuineness, and humor as Freaks and Geeks and The Wonder Years, but filtered through a rarely noticed cultural lens on American television. Array Devi Vishwakumar not only suffers from typical youth drama, but she is also caught between two cultures of which she never feels like a full member: the American life into which she was born and raised and her family’s Indian heritage. Maitreyi Ramakrishnan magnificently captures this anxiety and charm, this combination of constant misfortune and unearned confidence, in what is surprisingly her first role as a professional actress. If you are looking for a youth comedy that reflects the ups and downs of real life and is really funny, this is your chance. —Garrett Martin
Borgen, one of television’s most productive political dramas, is traditionally difficult to locate in the United States, however that replaced in 2020 when Netflix claimed the streaming rights for the show’s first three seasons and even signed on to produce a fourth. . Following Birgitte Nyborg (Sidse Babett Knudson), a minor centrist politician who, thanks to a series of opportune circumstances, becomes Denmark’s first female prime minister, the series is one of the few Danish series that helped redefine the landscape. global television in the early 2010s. Throughout the 30 episodes that make up the first broadcast of the program, Birgitte fights to maintain her strength without compromising her principles and ideals, facing attacks not only from the left and right, but also from within his own closet and from the opinionated press.
But while political intrigue is what ultimately drives Borgen’s overall narrative, one of the most compelling aspects of the series is its investigation into how Birgitte approaches her career and family life, becoming involved in the dual popularity that the Women can’t have it all. although she probably understands how unfair it is that Birgitte has to deal with those issues while the men in the same scenario don’t. Like the political drama at its center, it remains confusing and confusing throughout, but it helps keep you rooting for Birgitte to succeed. —Kaitlin Thomas
One popular line of criticism has it that Narcos romanticizes the violence and degradation associated with the Colombian drug wars—and drug culture in general—and I would agree that the excellent Wagner Moura plays kingpin Pablo Escobar so engagingly that he becomes a sort of Walter White-esque antihero. And the rhythms of the documentary-style narration are fast-paced in a way that’s reminiscent of Guy Ritchie, whipping us along at an almost breakneck speed. Nevertheless, this valid criticism misses the important point that we are watching a work of fiction based on historical figures—not a realdocumentary. And when viewed that way, Narcos was one of the most successful shows on TV in how it managed to flesh out some very dark characters and tell a complicated story with such urgency and clarity. This is not the hyper-realist drug fiction of Traffic or even 2015’s Sicario, but as conflict entertainment goes, it succeeds wonderfully
Likewise, the spin-off/companion series, Narcos: Mexico, investigates the rise of the tough Guadalajara cartel, which began promoting hashish and temporarily escalated to cocaine and heroin. The poster, and the story itself, develops through the conflicted character of Félix Gallardo (Luna), who needs to make a business promoting drugs (in this representation the nuances of Stringer Bell from The Wire stand out). we have to adopt a ruthless policy. nature to make it work. Gallardo is pursued by DEA agent Kiki Camarena (Peña), whose fledgling organization fails to realize how damaging these cartels and their developing network are becoming. Anchored by stellar performances like the original series, Narcos: Mexico is a deeply compelling dramatization of the drug gangs that continue to plague Mexico (and, to some extent, the United States) today, and ends with a major reveal that establishes a totally new story. game for season 2. Full of emotional twists, Narcos: Mexico perhaps even eclipses its predecessor with exceptional characterizations and a tense story told at a fast, engaging pace. —Shane Ryan and Allison Keene
As a fan of comedians Gerard Way and Gabriel Bá, I was a bit skeptical about Netflix’s adaptation of The Umbrella Academy. I assumed this would soften the comedian’s esoteric edges in an effort to make him more akin to other superhero shows. The first episode allays those fears almost immediately, revealing a series as idiosyncratic as the comedian. Imagine if Wes Anderson directed a Grant Morrison adaptation, complete with an unhappy superhero ball that spanned the entire mansion to Tiffany’s “I Think We’re Alone Now. “—Garrett Martin
Based on Richard Gadd’s real-life experience with his own stalker, Netflix’s Bathrough Reindeer traces the beginnings of a nightmare and how temporarily a single can change your life. The series follows comedian and bartender Donny (Gadd), when a woman he gave a single drink to one night becomes so fascinated with him that she begins to harass him. She shows up on her sets laughing louder than everyone else, hangs out in her office to stay informed about her life, and sends thousands upon thousands of emails, all for years. As Donny’s life continues to spiral out of his control, Martha (Jessica Gunning) becomes the sole user to blame for all the chaos, destruction, and turmoil he faces on a daily basis, without the police and those around him being able to perceive the intensity of the situation. this experience. It’s a scary, heartbreaking, and infuriating watch that will stay with you long after the credits roll for the last episode. —Anna Govert
Tim Robinson, co-star and co-creator of Comedy Central’s former Detroiters, Saturday Night Live alum Tim Robinson is equally comfortable on both sides of the camera: He’s a comic book editor who’s an equally savvy performer and has carved out a niche for himself. An exclusive niche and easily recognizable in both cases. And he puts any of those skills to clever use in his new Netflix show, I Think You Should Go with Tim Robinson.
Robinson Crusoe is a master of shame. His sketches tend to focus on two types of characters: others who tell little lies that become more and more apparent as they refuse to tell the truth, and others who are too irrational, confused, or stubborn to understand what’s going on. – or refuse to understand it because it would require admitting their own ignorance. It might sound like typical squeaky comedy terrain, but Robinson helps keep it completely new by extending concepts beyond all limits of logic, resulting in characters or situations as absolutely absurd as you don’t even think to compare them to acerbic comedy forefathers like Larry David or Ricky Gervais. —Garrett Martin
“Midwifery is an integral component of life,” demonstrates this incredibly moving and provocative series, based on the memoirs of British nurse Jennifer Worth. Set in 1950s London (read: pre-abortion, not pro-abortion), Call the Midwife centers on nurses and nuns painting in an East End convent. Vanessa Redgrave tells the adventures of Jenny Lee (Jessica Raine), a privileged young woman who will have to temporarily adapt to life in a poor neighborhood, where medical resources are valuable and newborns are abundant. Wonderfully meticulous in period details, the overall drama brims with joy and compassion while maintaining a bracing, unromantic grip on pregnancy and parenthood. Illness, complications from hard work, and tragedies such as miscarriages, stillbirths, and sudden infant death syndrome are commonplace. , as well as domestic violence, rape and unwanted pregnancies. However, the series warms as many hearts as it breaks them. Call it a feminist, call it whatever you want, Call the Midwife is brave television. —Amanda Schurr
On Crockett Island in Midnight Mass, each and every islander feels the grip of misfortune. A recent oil spill nearly wiped out the fish supply, damaging the island’s local fishing economy. Their houses shatter and peel, neglecting the elements of the ocean. The majority of the population fled the island due to lack of opportunities, leaving behind a pittance. Only two ferries can take them to the mainland. Hope is slim and a first typhoon looms on the horizon.
Anything beyond that for this seven-episode series is a real spoiler, but what can be said is that even with its supernatural touches, Midnight Mass (created through The Haunting of Hill House and Bly Manor’s Mike Flanagan, in its latest collaboration with Netflix), it is a screen that faces inwards instead of outwards. With the physical claustrophobia of Crockett’s stage and the internal suffering of the characters placed in the middle of the stage, Midnight Mass focuses on the horrors within: addictive tendencies, secret histories, and questions of forgiveness and belief. At first glance, this is a series that mines gold from Catholic guilt. In another, it is a measured, if chilling, look at organizational psychology, desire in grief, and the ethics of leadership with such vulnerable followers, assessing whether those impulses constitute human goodness, evil, or simply nothing at all.
“Blessed are those who have not realized and believed. Midnight Mass gives the opportunity to doubt Thomas or the true believer. In any case, what is the difference between a miracle and a supernatural event?—Katherine Smith
Based on Lev Grossman’s fantasy trilogy, The Magicians tells the story of Quentin (Jason Ralph) enters Brakebills, a school to learn magic. As they learn complex spells, Quentin and his friends and enemies Eliot, Marpass, Alice, Penny, Josh, Kady and Julia notice other magical worlds and complex magical disorders they never knew existed, like baby-stealing fairies. With outlandish plots and a fast-moving plot, The Magicians also draws on the intellectual aptitude disorders experienced by each of the main characters. Quentin has been depressed his entire life and was once hospitalized for depression. In season 1, he is trapped in a hospital in his head, as if he were trapped in a dream. Quentin begins to question his truth and wonders if he invented Brakebills as part of his intellectual illness. A big theme of the series is that you can’t magically make depression go away. (They tried. In season 1, several characters literally repress their feelings. When the feelings come back, it’s an almost unbearable flood. ) By adding intellectual illness to those characters’ stories, you’re not just adding an emotional fact to the story. series, but also provides drama and conflict. And I hope the rest of us know that intellectual illness is a general component of life, even in other worlds and even when there is magic. —Rae Nudson
You’re an insecure, bright, and sensitive teenager (Asa Butterfield) with an incredibly uninhibited sex guru mother (Gillian Anderson), an absent father (the epic and hilarious James Purefoy), a chronically down-to-mouth bully. friend, a limited social life, and a clinically attractive concern for his own penis. You have a sneaky weight on your school’s official girl, Way Too Precocious, who is making money. So, naturally, you open a sex clinic for the best students in school in an off-duty school bathroom, right?
From you yes.
Netflix’s Sex Education is a comedy-drama about coming of age, decidedly gripping, and absolutely adorable. Although he is not afraid of worn tropes, he is also not dependent on them to a negative degree. . . and it has Gillian Anderson as a sexologist, which would be enough for many of us even if there was nothing else on the show. Thankfully, this isn’t the case: a testament to the strength of character development, the series is fascinating. None of his superbly designed characters lose a single image. —Amy Glynn
No one else in this area is doing what Mike Flanagan does: mining our most emotional fears and unspoken desires for the kind of real-life nightmare fuel that’s much, much scarier than any monster under the bed. From questions of religion and trust to falling in love and what it really means to die, Flanagan’s deeply human horror universe is actually a beautiful thing to behold.
Although The Fall of the House of Usher is based primarily on Edgar Allan Poe’s new title about the brothers Usher, Flanagan deftly combines elements from many of the author’s other notable works, adding “The Tell-Tale Heart,” “The Raven,” ” The Rue Morgue Murders”, “The Masque of the Red Death”, “The Black Cat” and much more. The episodes are filled with Poe references, big and small, from character names to full poetry recitations, and the Bigger Story series reflects the author’s lifelong fascination with themes of guilt, death, paranoia, obsession, and deception. Part horror-tinged knockoff of Succession and part trendy morality play, House Usher Downfall is a darkly comedic critique of the ultra-rich. and a slow, emotional car crash that explores the disorder at the center of a family circle that wastes its members one by one. —Lacy Baugher Milas
More or less the Platonic ideal of the American high school drama, The CW’s All American is a bright spot of explicitly varied quasi-realism (*I’m on you, all of you, unreasonably, correspond to twenty-something Adonis) in one movie. That’s still most commonly a sea of white web superheroes, supernatural and stylized comedy.
Inspired by the life of professional football player Spencer Paysinger, All American tells the story of Spencer James (Daniel Ezra), a star football player from South Los Angeles recruited through a coach (Taye Diggs), an upcoming expat from the same neighborhood. playing for him in Beverly Hills, a plan that requires Spencer to move in with the coach and his circle of family members in order to circumvent the school’s hyper-strict zip code requirements. Much of the drama that follows, in Beverly Hills and South Los Angeles, is what you’d expect: wealthy kids who become addicted to expensive pills or fall into depression after being left alone in their homes for months through their subconscious minds. Jet-set parents, while South Los Angeles kids are stuck in a chronically underfunded and overly policed school, and are at risk of falling into gang life.
But the compassion and grace with which All American handles all of those themes, along with the grounded performances of each of the young actors, give the series plenty of opportunities to move beyond prime-time melodrama. As the lead, Ezra is excellent, as compelling in tender moments of personal vulnerability as he is in athletic feats on the field, but equally engrossing are Bre-Z as Coop, Spencer’s most productive, fast-talking, jump-in-the-wall queer friend. bars, and Samantha. Logan. as the fragile and sober Olivia Baker, the coach’s daughter and Spencer’s first friend and confidant in Beverly Hills. During the real-time run of each of its first two seasons, All American didn’t make much of a splash, but considering how it quickly shot into the Top 10 of Once Netflix added its final season and how long it stayed around. Its position there, even weeks after it was first released, it’s clear that teenagers streaming at home know exactly where the right shit is, and now you do too. —Alexis Gunderson
For decades, it was widely believed in traditional entertainment wisdom that Neil Gaiman’s seminal series, The Sandman, was necessarily unadaptable. Although stakeholders have been trying to figure out how to bring an edition of this story to the screen since the early 1990s, they have all found themselves torn apart by the epic scope, complex story, and ever-changing genres of the comic. evolution. Until now.
In the most fundamental sense, The Sandman is the story of Morpheus (Tom Sturridge), known informally as Dream, the Lord of Dreams, and one of seven immortal beings known as the Infinites who are necessarily personifications of facets of human reality. . The series begins with Dream being captured by a deadly occultist named Roderick Burgess (Charles Dance), who strips him of the symbols of service to him (a sandbag, a hard magical tour, and his very disturbing Helmet of Dreams) and sets him free. holds. he held him prisoner for the better part of a century. The episodes that follow show the Lord of Dreams attempting to rebuild the kingdom that fell into ruin in his absence, attempting to locate his missing totems of power, and reconnecting with his circle of family and members. (Fate, Death, Desire, Despair, Delirium and Destruction), who also have mixed emotions about his return.
Netflix’s sumptuous ten-episode episode, The Sandman, is rarely perfect. But it’s so much more than I ever imagined I’d get. And it’s also very close to achieving the impossible, especially in its first six episodes, which they manage to reflect the episodic nature of the comic itself, turning genres, time periods, and storytelling styles from one episode to another and creating an entire interconnected world. Hidden corners to explore and new stories to discover. Yes, there are tweaks to the source material. , adding various characters swapped between sexes, new and expanded roles for supporting characters from the past, and some notable tweaks to the way some characters are presented. But the short story tends to concentrate on expanding its narrative and filling in the gaps that it used to. is becoming on its own, and the overall of the series feels even richer and more lived-in. —Lacy Baugher Milas
For many years in the 2010s, Cinemax was home to some of the most entertaining and intriguing series on television. That the disappearance of the pay cable network, which also belongs to Warner Bros. Discovery, coinciding with Max’s progression may simply be a coincidence. We’ll probably never know the full extent of what happened in the scenes. But the good news is that Warrior, one of Cinemax’s most productive originals, was able to move to the streaming service with its third season. And now those 3 seasons are authorized for Netflix.
Based on the writings of Bruce Lee and set during the Tong War, the series stars Andrew Koji as Ah Sahm, a martial arts prodigy who travels to San Francisco in the late 1870s in search of his sister only to realize that she has become the leader of a tough group. Flip-flop. . . after being deceived by his rival. The result is a thrilling, expertly choreographed action series that deftly depicts the political and racial tensions of the era that turned the city into a powder keg. With multiple access issues and some of the most productive action footage localized on the small screen, Warrior is a TV to watch. —Kaitlin Thomas
Despite what the marketing suggests, Scott Pilgrim Takes Off is not a shot-for-shot remake, but a meta reimagining of Scott Pilgrim vs. the World that tells a (mostly) new story. The result is a delightful animated series that approaches this narrative from a new perspective. Following the movie’s plot throughout the first episode (Scott Pilgrim [Michael Cera] must defeat Ramona Flowers’ [Mary Elizabeth Winstead] seven evil exes before he can date her), it doesn’t take long until Scott Pilgrim Takes Off deviates from the established plot. The main difference here is that in this rendition, we largely follow Ramona as she confronts her previous significant others and tries to piece together why events have gone off course. It synthesizes a transmedia whirlwind as it brings back the movie’s cast and evokes the comic’s art style through creative bursts of animation. Most importantly, it retains the underlying tone and messaging of what came before as it successfully reenvisions this story with Ramona at center stage. In the end, it manages to do something tricky, transposing a more than decade-old tune while barely missing a beat. —Elijah Gonzalez
Don’t let the call stop you from listening to this one: creator and star Rachel Bloom (who was nominated for a Golden Globe for her paintings on the series) talks about it even before the theme song ends, responding to the choruses of ” she’s the crazy ex-girlfriend” with words like “it’s a sexist term” and “the setting is more nuanced than that. ” And it is: Crazy Ex-Girlfriend is a smart musical comedy (think Flight of the Conchords, if only they trusted it more). in musical theater) about Rebecca Bunch, a lawyer who turns down a partnership at her new York law firm to stick with her ex-boyfriend Josh in West Covina, California, and seeks to win him back. Over time, Rebecca learns to deal with some of the neuroses she’s carried over from her formative years and distracts herself (depending on how you look at things) through a sort of Sam and Diane: “will they win/will they win?” Aren’t they “they” have a thing for Josh’s friend Greg? The “crazy” thing about him is rarely funny, rarely sad, but it’s presented with intelligence and sensitivity, never what one might expect from a series called Crazy Ex-Girlfriend. —Bonnie Sternberg
Lupin is a series about a boy named Assane who becomes a thief and would possibly have disorders with an identity crisis, as it turns out that he is, and I mean “is” in the literal sense, a gentleman thief named Arsène Lupin (Omar Sy) from a series of short stories by publisher Maurice Leblanc. Some family disorders are at stake; he and his father were Senegalese immigrants, and the old man was accused of stealing a valuable necklace when Assane was a child, which was the beginning of his entire life. From this tragic story emerges a kind of comic book hero and his superpower. It’s a sleight of hand: the thief’s artistic talent.
In style, Lupine has some similarities to the BBC’s Sherlock, at least in the frenetic cult of intelligence that makes an hour-long show seem like a jam-packed 10 minutes. Sherlock is the smartest series, Lupine the craziest, even if Benedict Cumberbatch’s detective is a much wilder character. On both screens, however, the viewer is taken into the labyrinth of the mind, where the resolution of a thorny puzzle serves as the impetus for each plot. For all its bells and whistles, Sherlock is still the most powerful series and, as mentioned above, Lupine is never afraid to go off the rails, but the pleasure of solving the mystery is the same, even if the protapassnistas operate on opposite sides of the series. the world. law.
While Lupin tests and then destroys gullibility at the most productive times, it’s also a pretty smart way to spend an hour, especially in a year when you take what you can get. Draw that conclusion as you will, but I think as long as we keep a cool head, there’s no use in having a little fun. —Shane Ryan
When does a horror story stop being a horror story?When does a ghost stop being a ghost? If a ghost lives, breathes, and walks among the living, can it be called anything other than life?If a ghost feels so much love, fear, and remorse as a living person, is life rarely as dangerous as death?
These are some of the approximately 10,000 questions that Netflix’s The Haunting of Bly Manor would like to have spinning through your head during its nine-hour running time, in which it adapts Henry James’ The Turn of the Screw but finds time to answer them. Explore every narrative rabbit hole you can find in the grounds of a sprawling English manor house. The sequel to Mike Flanagan’s The Haunting of Hill House is vaguer than its predecessor, attempting to construct an operatic narrative with detailed stories for each and every character, but it has the same kind of devastating emotional intensity that was noted in the past. Netflix series. What it doesn’t have, however, risks disappointing a certain part of the audience (and exciting others): scares.
After all, what we have in Bly Manor is an epic and romantic gothic melodrama that doesn’t suit old horror motifs like the fight between the smart and the evil. It is a profoundly human story in which blind evil does not only exist misunderstood and fractured people, alive and dead. Even ghosts become figures of sympathy and pity, as they turn out to be the product of misdirected human feelings, such as anger, loneliness, and loss, than the supernatural boogeymen that we are more of. familiar with. —Jim Vorel
3 Body Problem, which adapts Liu Cixin’s Hugo Award-winning novel of the same name, breaks through the classic sci-fi barriers raised by busy adaptations. Throughout its 8 episodes, it presents a relentless procession of truth-bending photographs and well-presented twists and turns that capture the wonder and horror of what could await us in the stars. It’s a true fashion- and genre-bending book with confidence, acting as a comeback for Game of Thrones showrunners David Benioff and D. B. Weiss. From the jump, this series makes some massive high-level changes, the vast majority of which are done cleanly. We watch as the laws of physics seem to crumble, bright numbers plague researchers, astonishingly realistic virtual truth games emerge, and the universe flickers. It’s a rare mystery that becomes more and more compelling as its secrets are revealed and the kind of sci-fi story that will leave you staring at the night sky with an added amount of interest and dismay. —Elie González
Fusing the delicious 1980s cheese of the Karate Kid franchise with trendy narrative sensibilities is a key component of the nostalgic charm of Netflix hit Cobra Kai. Balancing the narrative between stories for adults and stories for children is something this series has always excelled at. The series has created and re-examined a wide diversity of desirable characters, and each batch of new episodes has as many laughs as you can imagine just by banking on that sandbox, mixing and remixing combinations, friendships, and alliances in turn. For Karate Kid enthusiasts in a position to hunt for Easter eggs, there’s a lot to delve into here. Some old faces return in unexpected ways, adding a wonder or two, and there are plenty of groups made up of other people from across the Miyagi-Verse of old sequels. —Trent Moore
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