I shouldn’t like Succession as much as I do. — Matt Miller, Alan Moore and Dave Gibbons's Watchmen comics revolutionized the medium. It’s set in the late-17th century, where an emperor has gone ghoul but his advisers keep his transformation a secret so they can execute a secret takeover of the realm. Despite that, the show itself felt as complete as a television show can be. They've seen him drink his broth, they've seen him coo in his little crib. As with all great TV shows gone too soon, I will mourn for its lost future and be grateful for what it gave me while it was on: beach-noir magical realism that felt like hanging out with your friends. Bruh Barry Brewer, Caroline Harris, Mahdi Cocci. Because so much of TV is now big — big premises, big run times, big battle scenes, big budgets, big stars, big name recognition — something about the small, polished perfection of Fleabag let it stick in my mind. —Tyler Coates. Tartakovsky and his collaborators have crafted a story about a caveman and a T. rex who form an unlikely partnership in the wake of trauma and try to survive the terrors off their prehistoric world. The series is boldly meta, and it takes big risks — look no further than its ecstatic introduction of Danny, a sentient, genderqueer, teleporting street — but what makes Doom Patrol ultimately stand out is its sincere exploration of mental-health concerns, trauma, and the ache of loss. But what works for this film-to-TV move in particular is that the vampire-turned-mostly-good narrative is rooted in pure charm. While Season One felt like a cat and mouse game between MI6 newbie Eve and hired hitman Villanelle, Season Two feels like a strange, homicidal love story intent on keeping its two lovers apart. For more lighthearted currently airing shows, you can check out Real Husbands of Hollywood, an acclaimed reality television series that parodies the Real Housewives franchise. And those won’t be congratulatory series finale nods; every one is earned. I tried to figure out a way around it but eventually surrendered to the reality that the premium cable network still produces more great TV than anyone else in the game. This Week in Comedy Podcasts: Jeselnik Returns. Justin Kirkland is a writer for Esquire, where he focuses on entertainment, television, and pop culture. Rooted in incredible acting, Years and Years is more than an offshoot of its horrifying dystopian TV counterparts. The show is visually astounding, brimming with ingenious transitions and striking blocking. Bonus points: James Marsden plays a perfectly smarmy husband who will hopefully find a way to return in some capacity for the upcoming Season Two. Succession is almost too of this world. And yet I loved Succession’s excellent second season, which worked on a canvas similar to season one but produced a piece of art both brighter and richer. How can we find joy? Waller-Bridge’s Fleabag is unapologetic about her candor, carving out a new place for a lovably unlikable heroine whose big quest is simply trudging through the bullshit of every day. Its sketches, all written by black women and directed by another black woman, Dime Davis, often started in one spot and escalated to a place impossible to see coming. You\'ll receive the next newsletter in your inbox. Documentary Now’s third season was its most audacious, with creators Bill Hader, Fred Armisen, Seth Meyers, and Rhys Thomas exploring new parodic terrain; the highlights were a send-up of D.A. The third season of writer-director-star Pamela Adlon’s series about a 50-year-old actress and single mother was the series’ best, finding increasingly inventive yet controlled ways to tell stories of parenting, work, relationships, and intergenerational tension. The longer Eve and Villanelle venture to find each other, the more their intoxicating infatuation grows. Nixing cisgender, white characters that existed primarily on the peripheral, Pose’s Season Two focuses squarely on the main cast, the plight on trans women in 1990, and the rise of advocacy amidst the AIDS crisis. By moving forward. We may earn a commission from these links. Maybe you’ll even find time to watch them before 2021. When I started Unbelievable, I couldn’t focus on anything else until I finished it, but it was not the mindless, compulsive sensation of a junky binge. The best entertainment of 2019, as chosen by Vulture's critics. The Collider staff picks the best TV shows of the 2010s, from the award-winning hits like Fleabag and Atlanta to the gems that slipped under the radar. With Barry, Hader consistently delivers something uniquely affecting, and it just keeps getting better. Of all the reasons there are to love this show, Ncuti Gatwa's performance as Eric Effiong stands out among them. 23-year-old Jane Villaneuva is a teacher and aspiring writer waitressing at a hotel restaurant to make ends meet, but her hyper-planned life is thrown off track when her gynecologist accidentally inseminates her at a routine check-up. Everywhere I look, there it is, in the way I think about romance, self-knowledge, faith, storytelling, foxes, jumpsuits, sisters, and the possibilities of what great TV can do. It is rare in life for something to exceed expectations, but Fleabag season two did that rare thing. Masterminded by star Natasha Lyonne and her co-executive producers Lesley Headlund and Amy Poehler, this trippy series about a New York computer programmer coming unstuck in time was a tribute to the classic films that shaped their sensibilities — in particular, All That Jazz, The Shining, and Defending Your Life — but it immediately established its own sensibility and managed to neutralize even the most obsessive plot-guessers in the audience by springing surprises that came from characterization, philosophy, theology, and physics.
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