Every year, someone tries to declare the death of broadcast network television; every year, there’s at least one new broadcast show that begs to differ.
Exhaustive but sharp and crisp, this six-episode documentary assays the pop artist using his own words.
A series whose frankness about its own ambition makes it undeniable. In its third season, “Barry” is at once a dissection of contemporary Hollywood in the streaming era.
Dropping all at once on Hulu somewhat unceremoniously, the eight-episode season of Christopher Storer and Joanna Calo’s “The Bear” is nonetheless as confident as it gets.
There have been so many scripted adaptations of true crime stories that at some point, we frankly gave up on trying to keep count.
Sam Levinson’s fervid onscreen nightmare of high school life returned for a second season, with heightened drama and deeper commitment to its wild vision.
It would’ve been understandable if “Hacks” had run out of some steam after its first runaway success of a season.
Director Olivier Assayas’ adaptation of his own 1996 film brings big-screen “Irma Vep’s” concerns with the state of the film industry into the present day.
Elle Fanning is outright Emmy-worthy in this drama about the baleful real-life case of Michelle Carter.
With the caveat that there are three episodes left to go, the first half of the series has been a delight.
The document charges the woman whose accusations led to the Black teenager’s murder with his kidnapping. The warrant was never served and she is still alive.
It’s clear while watching “Rothaniel” that making it was one of the hardest, most cathartic things Jerrod Carmichael could do.
Matching the highs of “Russian Doll” Season 1, which was as perfect a close-ended story as could be, was a near impossible task.
One of the year’s slowest burns turned out to be one of its most disturbing and unforgettable.
The action of this show kicks into gear when we start spending serious time with Rebekah Neumann (Anne Hathaway).
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