The London-set tragicomedy about a struggling single mom is less a plea for sympathy than a showcase for flawed humanity and (occasionally outrageous) gallows humor.
The drama, starring Steven Yeun and Ali Wong, is a study of male loneliness—a familiar theme in prestige TV that finds renewed urgency in an Asian American context.
“Seems so SURREAL,” the former President wrote before his arraignment, with a curious self-alienation, as if he were not actually experiencing the event but watching it on TV (which he probably was).
The HBO series has been stuck in a frustrating loop. Now, with its fourth and final season, the Roy family saga is finding a more generous palette of feeling and situation.
The series’ protagonist is depressingly one-dimensional, despite being modelled on Stevie Nicks. But Amazon is still betting that women will want to look like Daisy—because they want to feel like her.
The horror-thriller series, which Glover created with Janine Nabers, about a mega-fan’s violent devotion to a Beyoncé-like pop star, succeeds neither as satire nor as psychological study.
“Everybody fucking knows. . . . I got smacked, like, a year ago,” the comedian finally says at the end of his Netflix special, as if that’s not the reason we’re all here.
Nikole Hannah-Jones’s documentary series offers a damning portrait of American racism, but its emphasis on the past at times obscures the complexity of the present.