6 Best TV Shows Similar to Glee
Conan O'Brien Must Go
It's been four long years since Conan O'Brien has graced our television screens, ever since his late-night TBS show, Conan, ended in 2021. Since then, he's kept busy, of course, with podcasts like Conan O'Brien Needs a Friend and guest spots on shows like Murderville. But the late-night legend couldn't possibly keep away from the limelight for long; even at the ripe age of sixty, the guy is still the same spry, lanky chaos demon he always was, a tall column of Irish awkwardness more than willing to play the fool for a laugh. That's most acutely felt in his remote travel segments, like Conan Without Borders, where he travels everywhere from Finland to Ireland to suss out the sights, tastes, and people of Earth. Think of him like Anthony Bourdain, with absolutely zero shame or culinary knowledge. For those who missed those segments, rest easy, as Max has gifted us with four episodes of full-length travelogue mayhem in the form of Conan O'Brien Must Go. Each installment, funny enough, spins off from an episode of his podcast, Conan O'Brien Needs a Fan: He speaks to an interesting new guy or gal from a foreign country, then flies out to meet them and take in the surrounding environs. Of course, he does this the only way he knows how: By making a complete spectacle of himself. Conan O'Brien Must Go (Max) In the show's opening minutes, a deceptively Werner Herzog-ian voice purrs to us that to appreciate the grandeur of our mother Earth, you must sometimes defile it. Cut to Conan: "Behold the defiler." That's the tack Must Go takes in its exploration of countries as exotic and beautiful as Norway, Argentina, Thailand, and Ireland: Let Conan loose in these nations, sometimes (but not always) with a game companion or fan along the way, and witness the devastation. One week, he'll make a Norwegian hip-hop song with an enthusiastic fan; the next, he'll try to help another fan get his podcast from four listeners to a whopping five -- all through the power of aggressive ad reads for yerba mate. Continue Reading →
The Completely Made-Up Adventures of Dick Turpin
There is perhaps no more annoying phrase to hear from someone recommending a TV series in the streaming age than, “It’s very good, but you do have to wait a few episodes.” Regretfully, this writer nonetheless must employ it in reviewing The Completely Made-Up Adventures of Dick Turpin. When the series finds its footing, it is equally adept at the goofy gag and the droll declaration. It’s just that it doesn’t settle into that groove until the third of six episodes provided to critics. The premise revolves around a decidedly ahistorical take on the British outlaw Dick Turpin (Noel Fielding, late of The Great British Baking Show). For those not steeped in 18th-century English criminal lore, Turpin was a highwayman who became something of a legend after his execution at the age of 33. Fans of new wave pop star Adam Ant may recall the singer briefly made Turpin a sartorial touchpoint with the inclusion of a tri-corner hat in his rotation. In co-creators Claire Downes, Ian Jarvis, and Stuart Lane’s The Completely Made-Up Adventures of Dick Turpin, Fielding’s interpretation of the character hardly reflects the historical or legendary figure. Rather Turpin patrols the lawless outskirts of the Georgian era as a thoroughly modern man. A vegan who’s terrible with a gun and worse with his fists, he seems more drawn to the theatrics of criminality than the violence or even the money. As a result, he frequently confounds the odds through his stubborn insistence on making unusual choices and a healthy dose of good luck. Continue Reading →
Hazbin Hotel
Messy writing keeps this solid cast from shepherding Hotel to strong Yelp scores. Hazbin Hotel is not for me. That is not a bad thing. If every piece of media appealed to everyone, the homogeneity would be stifling. I can see the appeal of a big, bombastic, gleefully violent, heart-on-its-sleeve musical cartoon for grown-ups (heck, I've enjoyed my fair share of them)—I just don't click with the show's ice-pop made-of-blood aesthetic, and I'm not a huge show-tune guy. Acknowledging the disconnect between the show's vibe and my personal tastes, as a critic, I have two primary takeaways from Hazbin Hotel's first four episodes: In terms of animation and voicework, Hazbin Hotel is solid—and Keith David's turn as the burnt-out bartending demon Husk is a standout among a game cast. In terms of writing, Hazbin Hotel is a mess, awkwardly careening between silly and dramatic without precision—most noticeably when it delves into the horrific life of one of its lead players. Hazbin Hotel's aesthetic is built on contrasts—primarily between series heroine Charlie Morningstar (Erika Henningsen)'s deliberate good cheer, bright smiles, and crayon drawings and the continual viciousness of Hell and most of its denizens. Visually, the cast (both the show's core ensemble and the wider community of Hell) is expressive and distinct. Hell's assorted players and agents are united across factions by the frequent use of red and black either alone or in concert in costume design. Each faction, in turn, has its own visual signifiers—the staff and residents of the Hotel tend towards a hybrid of casual and professional wear, while a powerful gangster clique goes all in on decadence. Heaven's murderous, brotastic angels, meanwhile, opt for a more uniform style. Continue Reading →
Everything Now
As the TV series Everything Now begins, Mia (Sophie Wilde) is eager for freedom. After spending months in a hospital undergoing treatment for her anorexia, her supervisor, Dr. Nell (Stephen Fry), has decided she’s well enough to return to school with her best friends Becca (Lauryn Ajufo), Cam (Harry Cadby), and Will (Noah Thomas). Cooped up inside for what seemed like an eternity, Mia is bursting with enthusiasm about finally undergoing many teenage rites of passage like first dates and big parties. Continue Reading →
Frasier
When Frasier premiered in the fall of 1993 it had massive shoes to fill. That's probably an understatement. Its parent show, Cheers, was a critical and commercial monster in a way that can only happen when there are only three shows for two hundred million people to choose from. It was nominated for almost two hundred Emmys over the course of its eleven-year run, and its series finale aired to 90 million people (40% of the country’s then population) three months before Frasier’s start. So yeah, expectations were pretty high, and Frasier ended up pretty much meeting them all. While never as popular as Cheers (nothing has been as popular as Cheers since Cheers), it was nevertheless a solid commercial hit that carved out its own identity and won more Emmys than its parent show over the course of its own eleven-year run. A lot of that success was rooted in Frasier’s ability as its own, independent show with its own characters and rhythms instead of being Cheers 2.0. Continue Reading →
Sex Education
There’s a moment in Sex Education Season 4’s first episode where a dark thought crosses one mind. “Wait…was this always JUST a sitcom?” Continue Reading →