If your binge high is over after watching The $treet and now you are chasing that feeling, check out this list of shows.
The Morning Show
Aaron Sorkin learned the hard way that no one takes TV as seriously as TV people. When he followed up his critically acclaimed The West Wing, a show about the inner workings of the White House, with Studio 60 on the Sunset Strip he discovered that you can’t treat everything with the gravity of a cabinet meeting and the wit of a theater major who gets straight Bs. His backstage drama about a fake sketch show pleased no one. When he tried to course correct with The Newsroom he tried to portray the American news media out to be brave warriors for the cause of truth. Both shows have lived rich second lives as meme generators about what Andrew Sarris would call "strained seriousness." Continue Reading →
Seeing creators pull together disparate threads into a cohesive whole can often feel like a magic trick. “Oh, that woman on the train platform was the same one waiting outside the bodega. I get it!” and all that. For the attentive viewer, it can feel like an affirmation of one’s thoughtful focus. For the more casual audience members, it can impress and beguile. Push it too far, though, and one might feel less rewarded and more led by the nose. Full Circle dances on that line before stumbling, too far, into EVERYTHING is connected territory. Thankfully, several strong performances and director Steven Soderbergh’s gift for conveying immediacy through his imagery prove enough to redeem the series’ far too nicely wrapped up with a bow conclusion. Continue Reading →
A lot of the discourse surrounding Pose tends to focus on how groundbreaking it is, and rest assured Ryan Murphy’s drama is certainly that. Prior to the 2010s, queer media almost exclusively focused on the G in LGBT+ and most of those gay men were white and cis. By contrast, Pose’s main cast stars people of color, most of whom are trans. This diversity is behind the camera as well, being partially created by Steve Canals with writing and directing credits by Janet Mock and Our Lady J. Continue Reading →