183 Best TV Shows Similar to Breaking Bad (Page 9)

In 1979, the Village People released the song “Ready for the 80’s” on their double-LP Live and Sleazy. The song is upbeat and bright, full of hope and promise. The group sings “I’m ready for the 80s / Ready for the time of my life” throughout the chorus, and one verse starts “Everything is gonna work out fine / I have faith in this old world of mine / We'll be loving in the bright sunshine.” Listening to this song over 40 years later, you can’t shake a sense of dramatic irony. In the end, the 80’s weren’t kind to the Village People, disco, or queer men in general. As I watched the opening episode of Russell T. Davies' latest mini-series, It’s a Sin, I kept thinking of this song and its optimistic outlook for a new decade, an optimism echoed in the fresh faces of its cast, blissfully unaware of the heartbreak awaiting them.  Continue Reading →

Netflix’s new romantic drama Firefly Lane, based on the 2008 novel by Kristin Hannah, follows the multi-decade friendship of brash and bold Tully (Katherine Heigl) and smart and nerdy Kate (Sarah Chalke). They meet at age fourteen living on Firefly Lane. From there they spend years cultivating their journeys: Tully is a journalist with a wildly popular daytime talk show, and Kate took a break in her career to marry fellow journalist Ryan (a stilted Ben Lawson) and raise a daughter.  Continue Reading →

The death of the brilliant, award-winning Swedish journalist Kim Wall made a worldwide headline in 2017, mostly because the details of her murder were so gruesome that it almost felt like a work of fiction. But in Tobias Lindholm’s The Investigation — a grim six-part miniseries based on the killing of Kim Wall — the brutality of that crime is never the main focus. Instead of trying to exploit the drama behind this tragedy, Lindholm chooses to focus on the other side of the story: the hard work and determination shown by the team of police who worked together to seek the justice that Kim Wall and her family deserved to have. Continue Reading →

On Christmas Day in 1831, tens of thousands of slaves in Jamaica rebelled against their masters, burning acres and acres of sugar cane. By the end of the first week of January, the rebellion had been brutally quashed by Britain. But from that point on, it was clear that the days of slavery in the colonies were coming to an end. In 1833, that’s exactly what happened. The Long Song tells the story of July (Tamara Lawrance), a slave woman who lives through this transitory period as the primary maid to Caroline Mortimer (Hayley Atwell), the mistress of the plantation. The series frames these events through the narration of an older and wiser July (Doña Croll), decades after the events of we're witness to. Continue Reading →

The first thing you need to know about Painting With John is that you won’t come away from it learning how to paint. Host John Lurie admits in the second episode that, because most of his art is intuitive, he doesn’t know how to teach it, nor does he think just anyone can paint. You won’t learn anything about the history of painting, or the process, or even what supplies one needs to pick up painting as a hobby. This show is strictly about vibing, and somehow, it works. Continue Reading →

To watch the Apple TV+ series Servant is to frequently ask “What is this show about, exactly?” Is it about the dangers of gaslighting? The horror of postpartum psychosis? Something even more sinister than that? It seems to want to say something about all of these things, but in a sort of muddled, half-formed fashion. Season 2 is more of the same, while pushing the boundaries of how long the initial deception could last far beyond a realistic limit. Continue Reading →

It’s one of the most well-documented sports stories of all time: widely regarded as one of the greatest to ever pick up a golf club, Tiger Woods has spent much of the last three decades under the intense media spotlight, where everything from his meteoric professional rise to his disturbing downfall has been chronicled—and scrutinized—in painstaking detail. With the help of investigative interviews with people from Woods’ past, directors Matthew Heineken and Matthew Hamachek attempt to pull back the curtain on the golfing great’s extraordinary journey in their new HBO docuseries, Tiger. Continue Reading →

Some television shows feel remarkably of the moment. They seem to reflect the zeitgeist so perfectly there is almost something supernatural about them. Others anticipate the future with a kind of clarity that borders on psychic. It can feel like a magic trick. Continue Reading →

If anybody could find something new to add to pop culture’s fixation with serial killers and true crime, it would likely be David Fincher. Se7en announced him as a major director while Zodiac revealed him as a master. The Fincher style – dark lighting and sickly colors, obsessive attention to detail, unblinking looks at violence – has served as a template not just for other movies, but also for TV shows of both the prestigious and potboiler variety and for the ever-increasing number of investigative podcasts and Netflix documentaries. In 2017, Fincher returned to the serial killer subgenre by taking his project Mindhunter to the streaming service. Continue Reading →

As TV’s best series about mental illness and addiction comes to an end, our hero BoJack doesn’t get closure, exactly (because there’s really no such thing), but is further down the road to self-awareness and real insight than he ever was. He may end up making yet another bad decision based both on self-loathing and selfishness, but there has to be some reason he keeps getting another chance, another hit at the reset button. If you’ve ever struggled with depression and/or addiction, then you know how both wonderful and absolutely terrifying that feels. Though the final season stumbles a bit with extended bits on cancel culture and open relationships, it ends on a subtle, melancholy note: “Life’s a bitch, and then you go on living.” [Gena Radcliffe] Continue Reading →

Viewers expecting the season finale to have an exciting climax will be disappointed, as characters and grim reality drive the ending. Warning: don’t read until you’ve seen the episode! I’m just going to come right out and say it: I know I’m going to be a lot easier on “Must/Can’t,” the finale of The Outsider, than other people. With the last few episodes a whole lot of nothing (well-acted nothing, but nothing all the same), expectations that the show would end with a horror movie-like confrontation between heroes and monster were high. Well, surprise -- it’s over barely halfway through the episode, and not the most action-packed ten minutes or so of television you’ll ever see. Despite its spooky, supernatural themes, The Outsider ended up being less about monsters and more about people, for better or worse. But let’s move on and take a look at the casualty list that’s racked up before we even get to the opening credits. Deader than disco are Alec, Detective Andy (sad face!), Howie, and Seale. So, basically everybody you expected to get killed. Yunis (Yul Vazquez) is wounded, but alive. Also in very bad shape is Jack (Marc Menchaca) who, after successfully killing off more than half the team, is rewarded for his trouble with multiple rattlesnake bites. There are bosses from Hell, and then there’s El Cuco. Continue Reading →

Apple TV+'s reboot of the Spielberg-created anthology series gets off to a lackluster start. There’s something really special about an anthology series: it allows show creators to let their imaginations run wild and try different concepts that may not work for a movie or longer series. Apple TV+’s latest series, Amazing Stories, has the fledgling streaming service trying its hand at the format, but the episode available for preview doesn’t live up to the show’s title.  It’s actually kind of odd that Apple is rebooting Amazing Stories. The 1985 original run wasn’t a hit and while reruns played on The Sci-Fi Channel before it became Syfy, it doesn’t seem to have a large cult appeal. Still, the series does boast a producing credit by Steven Spielberg and its showrunners are Edward Kitsis and Adam Horowitz of Lost fame, so at least Apple has some star power to bolster the lagging nostalgic appeal.  Name recognition can only get you so far, however, and the success of the show will have to rely on its 5 episode run. Apple has only supplied one episode for critics, titled “The Cellar”, which was directed by Chris Long (The Americans). The story follows carpenter Sam Taylor (Dylan O’Brien, Bumblebee), who is restoring an old house with his brother Jack (Michah Stock, The Right Stuff).  Continue Reading →

FX's true crime documentary examines one man's obsessive search for the truth about his birth father. Is there more to belonging than being told you belong? Is there truly a feeling that we are out of place, out of sync, out of favor with those who surround us? Or is it a lie that gets repeated so often it becomes true? For Gary Stewart of Baton Rouge, Louisiana, these questions are what drive him beyond a simple desire to know and to belong. FX’s new four-part documentary miniseries, The Most Dangerous Animal of All, explores Stewart’s quest for understanding and the fallout of his obsession.  Told in a quiet, confessional style, Stewart stares directly into the camera, his voice occasionally choking with emotion. Abandoned as a baby, Stewart’s trust issues are understandably deep-rooted—and they’re as much a part of his identity as the color of his eyes. Despite being adopted at three months old into a loving family who raised him with strong values, he struggled with the feelings of being unloved, of not belonging anywhere and to anyone. He even has a string of broken marriages to prove it.  One thing that series creators Ross M. Dinerstein and Kief Davidson make clear from the beginning is that identity is a slippery concept. Do our genetics determine who we are or does our environment? Would Gary Stewart have been a more stable adult if he’d never discovered that his birth parents were once a sensational news story, or would the wound of not knowing where he comes from continue to fester?  Continue Reading →

Al Pacino leads a team of Nazi hunters in a brassy Amazon series stuffed with Holocaust pathos and comic-book sleaze. (Editor's note: this review is based on the first five episodes of the show, which is what was provided to critics prior to the show's premiere.) Amazon’s Hunters is a lot. That’s not bad, by any means, but it is a heads up. It’s funny and heartbreaking and stressful, a love letter to exploitation films, comic books, and revenge fantasies, and it is a lot. It’s also very much something that people need to see right now. Created and written by David Weil and produced by Jordan Peele, Hunters was inspired by his grandmother’s stories about World War II and the Holocaust, stories that Weil saw as a battle between good and evil (much like the comics that the show references and draws visual inspiration from). Nothing is as simple as good versus evil, of course, but Hunters does an excellent job of addressing the battles head-on. Set in 1977, the show revels in its primary NYC setting, full of grit and cigarettes and flickering subway car lights, and the visits to other locales are given equal ‘70s glory by production designer Curt Beech and set decorator Cathy T. Marshall, with loud wallpaper and lights shaped like grapes and so much carpeting. The most real and lived-in location is the modest house where 19-year old Jonah Heidelbaum (Logan Lerman) lives with his grandmother Ruth (Jeannie Berlin). After Ruth is murdered and the police handwave her death as a burglary, Jonah is approached by Meyer Offerman (Al Pacino), who knew Ruth from their time in a concentration camp and who, Jonah comes to learn, is the financier and now leader (in Ruth’s absence) of a group of Nazi hunters. While the Hunters are working from a list of Nazis who were active during the war and are now living in the United States, it becomes clear that there is a wider network at play and larger stakes than even the Hunters had suspected.  Continue Reading →

Ralph’s stubbornness becomes a liability, and Jack finds a sympathetic ear in a disappointingly below par episode. Warning: don’t read until you’ve seen the episode! At what point does folding one’s arms and refusing to give in start to become actively harmful? Ralph’s noble pursuit of truth and logic despite the increasing weirdness of the Peterson case is now hindering the investigation, while Glory’s refusal to pull up stakes and leave town is causing her needless pain. Both of them are unwittingly setting up a veritable banquet for the The Grief Eater in “In the Pines, In the Pines,” a shorter than normal episode written by mystery author Dennis Lehane (Mystic River, Shutter Island) that feels a bit like filler. It’s the morning after Holly’s disastrous presentation, and no one really knows what to do next. Though Ralph (Ben Mendelsohn) told Yunis (Yul Vazquez) that he was going to return to “real police shit” in the ongoing investigation, he mostly just wanders around his house in a troubled fog. Jeannie (Mare Winningham) is so shaken by the discovery that her nighttime visitor was real that she’s gotten rid of the chair it was sitting in, to which Ralph reacts to his with his usual, slightly condescending harrumphing. It’s unclear at this point if Ralph is troubled because he thinks there might be some truth to what Holly’s saying, or because the only person left on his side is Howard (Bill Camp), who, being the Maitland Family’s attorney, is technically his adversary. Continue Reading →