3 Best TV Shows Similar to Mike
The Big Cigar
A frequently offered solution to the problem of stale biopics involves ditching the cradle-to-the-grave format. Instead, focus on a specific era or significant event in the life of an important figure. Let that story define viewers’ understanding of the person, giving the audience an insightful perspective without the exercise of box-checking. The Big Cigar takes this advice, narrowing its vision of Huey P. Newton (André Holland) to (mostly) 1974. That year, Newton faced multiple criminal charges and became increasingly convinced the government was targeting him for more than arrest. In response, the Black Panther Party co-founder left the U.S. for exile in Cuba. Joshuah Bearman’s Playboy essay gives co-creators Janine Sherman Barrois and Jim Hecht a fascinating launching pad for The Big Cigar. It’s not difficult to understand why Newton’s Hollywood-fueled escape just ahead of the FBI’s clutches would be a draw. Unfortunately, in adapting it for television, the creative team's tonal and structural choices undermine the series. P.J. Byrne's on the line! (AppleTV+) Hecht, coming off his work on Winning Time: The Rise of the Lakers’ Dynasty, seems to have brought over some tonal impulses from his collaborator on that project, Adam McKay. As a result, The Big Cigar frequently tries to balance humor with dead serious topics like possible political assassination, government-orchestrated harassment, and gun violence. While the show manages those tonal juxtapositions better than McKay’s disastrous Don’t Look Up, it never delivers as well as The Big Short. Several jokes land without feeling disrespectful of the series’ more earnest moments or themes. Unfortunately, it is never as funny as it wants to be. That frequently creates a gulf between its humorous and solemn moments. They can’t seem to get both sides to integrate satisfyingly. Continue Reading →
The New Look
Apple TV+'s latest miniseries blends fashion with fascism in its dramatization of the couture wars of the 1940s and '50s. Across the crowded ballroom, Christian Dior (Ben Mendelsohn) spies Coco Chanel (Juliette Binoche) in the arms of a Nazi officer. War and occupation are chaos for everyone, yet these two legends of fashion couldn’t have chosen more different paths through the fog. Todd A. Kessler’s new series for AppleTV, The New Look, fashions history and gossip and tells the diverging stories of these designers with a simplicity that blossoms as the series completes its ten-episode parade. The first three episodes, which make up the pilot drop, see us through the Nazi occupation of Paris and the end of World War II. The rest of the series will trace the fallout from the choices made during the war and return us to the 1950s, where our series begins with Dior, now the face of fashion, lecturing to students at The Sorbonne. After a dizzying display of fabulous designs, cementing that this series considers fashion a wearable art, Monsieur Dior opens the floor for questions. Immediately, he is confronted with accusations that he kept designing for Nazi girlfriends while others like Coco Chanel closed their shop. But, as Dior says with a sigh, there is a “truth behind the truth.” Continue Reading →
FEUD
Gus Van Sant & Jon Robin Baitz collaborate on a miniseries rich in both vintage style & human drama. Nora Ephron once said “Everything is copy.” When you’re a writer, anything you see, experience, or hear, even in confidence, might be filed away to use as creative fodder later, despite the potentially sketchy ethics of it. If you’re lucky, maybe your friends won’t recognize themselves quite as easily as the friends of Truman Capote did when he wrote “La Côte Basque, 1965,” a short story published in Esquire. Though the story purported to be fiction, it was thinly veiled fiction at best. So thin, in fact, you could see right through it. The events leading up to the publication of Capote’s work in 1975, and the fallout afterward, is the focus of Feud: Capote vs. The Swans, a limited series that at first blush looks like it’s going to be camp nonsense in the vein of the interminable Real Housewives franchise, but has a deep sense of melancholy at its core. With the first four episodes directed by Gus Van Sant, where an easy approach would be to clearly delineate villains and heroes from the beginning, instead it offers something a little more complicated, and asks some uncomfortable questions about friendship, creativity, and trust. Continue Reading →