One of the joys of stories like this is how it unfolds like the pages of a book; every episode is a chapter, revealing deeper meaning to scenes you previously thought were simple.
“The Righteous Gemstones” is funny, wry, clever, disgusting, moving, shocking, and endearing in ways that are purely aspirational for most comedies on TV, and I’m sorry to say goodbye to it.
A look at great South African films, all available on Netflix.
The ambitious nine-part series lands plenty of punches if you go in knowing that it positions comic-book fare not as escapist entertainment but as bloody, political commentary.
Unafraid to dive head first into its fantastical and emotional core, “Dark Winds” feels like a miracle in the current era of television.
New titles on Netflix this month include “Den of Thieves 2,” “How to Have Sex,” “Do the Right Thing,” and “The Outrun.”
For a show hellbent on whitewashing the clearly sociopathic behaviors of sports team owners, “Running Point” is frequently funny.
It’s old-fashioned dramatic entertainment.
“Suits: LA” is pleasant enough, soothing even, but you better bring your own things to think about, because it offers nothing more.
An objectively beautiful series filled with awe-inspiring landscapes and handsomely depicted wildlife whose existence is flattened by a repetitive approach.
If this was released in its original form, then I would be proud to call “Win or Lose” a home run.
It’s not a disaster, but it won’t stand out enough in the TV garden.
Stands out as a thrilling and heartfelt examination of race and class in 19th-century London.
The intensity of this season has an immense impact on its characters, and although they unfortunately suffer, it makes for some of the best television of the year.
Its final five installments are classic “Cobra Kai”—melodramatic, cheesier than a charcuterie board, and deeply affectionate towards its sprawling dojo of misfits.
Might be my favorite season yet.
The romance feels real, kinetic, in the way only new relationships can.
Links to reviews of the biggest titles on Netflix this month.
It’s a show produced by algorithms and focus groups, a product with no pulse whatsoever.
It’s truly the best animated iteration of Peter Parker since “The Spectacular Spider-Man.”
