Over five seasons of television, Pamela Adlon’s FX series, Better Things, has been a tribute to keeping on when you can’t anymore, and to all the people—many of them women—who carry their families because no one else will. The show is about, Adlon told me in her gravelly drawl over Zoom last month, “this woman who constantly almost gets her foot in the door, but then the door closes, and it’s funny, and it doesn’t kill her.
Many people’s experience of work over the past two years, amid a global pandemic, has been one of invasion: Their job has infiltrated the personal sphere, colonizing space that used to be distinct. Apple TV+’s new series Severance jarringly reverses this impression. The show’s setup imagines a complete split between work and life, a “severance” between one’s professional and private selves.
The Gilded Age made its debut on HBO on January 24, which is also the writer Edith Wharton’s birthday—a detail that’s hard to ascribe to coincidence. Not only does the drama borrow Wharton’s milieu of 1880s New York City, but the show’s creator is also a self-proclaimed Whartonite.
The moments I felt most viscerally in Maggie Gyllenhaal’s The Lost Daughter, an intermittently dreamy and menacing exploration of maternal ambivalence, weren’t when Leda (played by Olivia Colman) confesses, weeping, that as a young mother she abandoned her children, or when a worm wriggles out of the mouth of the doll that Leda has stolen, as if to literalize the movie’s themes of love and caretaking corrupted.
Of all the cult workout products that have dominated the American imagination over the past few decades, the one I least expected to be rooted in feminist protest was the ThighMaster. Consider this TV spot from 1991: “Great legs,” a male voice opines as a pair of disembodied, high-heeled gams stroll onto the screen.
There is a dome, post-Soviet and colorful, wired with the kind of technological doodads you might see in a Bond villain’s lair— revolving modernist chairs, disembodied voices rising out of metal speakers issuing orders for the day. A giant ball bounces ominously in the background. People disappear from time to time, but nobody leaves. Everyone seems to be constantly being watched.
This article contains spoilers through the ninth episode of Succession Season 3.If the broad strokes of Succession season finales can feel familiar by now—Kendall will be emotionally wrecked, the org chart will shift, and people will sell their soul for the promise of power—the show always excels at the details. Like that of Kendall, at the end of Season 1, returning to a wedding after witnessing a drowning, dancing with his kids to a song by Whitney Houston.
Last year, TV became essential. When the stages we used to go to—concert halls, movie theaters, sports arenas—closed amid the pandemic, the small screen became the only outlet for safe viewing entertainment. Things have begun to change this year: Artists are announcing tours, people have trickled back into cinemas, and even the Summer Olympics happened. (Sort of.)But TV, thankfully, hasn’t stopped keeping us enthralled.
This article contains spoilers through the eighth episode of Succession Season 3.What’s clear by now is that the Roys need to stay away from water. Every late-in-the-season tragedy and act of bloodshed, whether real or intangible, has been tied to the element that classically represents femininity, emotion, and intuition. These are not, of course, qualities that you’d associate with the Roys, and yet balance will have its way in the end.
It was Madonna who first introduced me to Stephen Sondheim, which sounds infinitely more chic than what happened in reality: Someone gave a 7-year-old girl a cassette of I’m Breathless, the 1990 album Madonna recorded during her gauzy showgirl period, pegged to her role as Breathless Mahoney in the movie adaptation of Dick Tracy. At the time, Cats had been running on Broadway for eight years.
This article contains spoilers through the sixth episode of Succession Season 3.The marriage between Shiv Roy and Tom Wambsgans is, at this point, built on mutual ambition and cold white wine, and the wine at least has turned poisonously sour.
Rewatching the music video for “Blurred Lines,” the totemic Robin Thicke song, is an interesting project. In 2013, when it was released, the song spawned a new microeconomy of commentary denouncing it as a distillation of rape culture, or fretting over whether enjoying its jaunty hook was defensible. (“I know you want it,” Thicke croons presumptively over and over, even though honestly, no, I do not want it at all.
In the days and weeks after the storming of the U.S. Capitol on January 6, 2021, commentators and media outlets grappled with the question of what to call that event. Language is sticky; it clarifies and obfuscates the truth depending on who’s wielding it. January 6 was described as or likened to a “riot,” a “tourist visit,” an “insurrection,” a “peaceful protest,” and a “coup attempt.
Watching Succession’s second season, which to my mind is one of the most dexterous and enthralling seasons of television in recent history, was like an immersion in all the different ways tension can manifest on-screen: a loaded conversation between two people, a fraught family event, a hunting excursion during which executives literally scuffle to bring home the bacon. You perhaps remember less about the specifics of each scene than the visceral feeling of watching them.
You don’t get to the status Kim Kardashian West occupies without knowing exactly what people think about you and using it to your advantage. So when the mogul, former reality star, and Instagram powerhouse walked out onto the Saturday Night Live stage for her hosting debut, her outfit—a skintight turtlenecked bodysuit made of fuchsia crushed velvet that covered her from the tips of her fingers to the points of her stilettos—said more about her than her monologue did.
This article contains spoilers through the Season 2 finale of Ted Lasso.In an episode halfway through the new season of Ted Lasso, Apple’s sweet and strange series about an optimistic American coach thrown into the cesspool of British soccer, the three AFC Richmond fans who compose the show’s dim-witted Greek chorus get ready to watch the FA Cup quarterfinal in a pub. “I swear, if we actually win this match, I will burn this pub to the ground,” one boasts.
It seems obvious now, in hindsight, that people expected too much from comedy in the first two decades of the new millennium—that it could make us better, make us healthier, undermine despots, change minds, enable progress, even save the republic. Those were enticing ideas, but Jon Stewart never seemed to fall for them. His job was making a comedy show, as he essentially told Tucker Carlson during a 2004 appearance on CNN’s Crossfire.
People who have heard of LuLaRoe have usually come across it for one of two reasons.
People who have heard of LuLaRoe have usually come across it for one of two reasons.
About four episodes into the new season of Apple TV+’s The Morning Show, I stopped expecting it to have the qualities of a prestige television series—narrative complexity, emotional resonance, logic—and began simply appreciating it for what it is: one of the most batshit-expensive soap operas ever made. And that’s perfect.
If you’re in the mood for ’90s nostalgia, the first episode of Impeachment: American Crime Story is a scrunchie-wearing, SlimFast-drinking, Jane magazine–reading coast down memory lane. It has shopping malls and step-aerobics classes and pagers and the Gap, where Monica Lewinsky bought a sapphire-blue collared dress that would become one of that decade’s most defining emblems.
Three years after the release of her novel Fates and Furies—a literary bisection of marriage and privilege that was praised variously by President Barack Obama and Amazon (yes, Amazon) as the best book of 2015—Lauren Groff was sitting in a lecture theater at Harvard University, thinking about medieval nuns. She wasn’t in the market for a new book. She usually has a dozen or so different concepts in different stages of fruition orbiting within the solar system of her mind.
Perhaps, like me, you inwardly sigh with the breath of a thousand winds whenever you hear the words cancel culture, as mangled and distorted as the expression has become. If so, know that the people behind Netflix’s The Chair are likely sighing too.
The defining motif of Nine Perfect Strangers, David E. Kelley’s new miniseries on Hulu, is an image of fruit being pulverized into gloop, which is also how my brain felt after watching the first six episodes. Like HBO’s Big Little Lies, the show is adapted from a novel by Liane Moriarty, and its setup—a self-help and wellness retreat goes very wrong—seems irresistible. But stylistically, something is off.
In the final episode of The Pursuit of Love, Linda Radlett (played by Lily James), the dazzlingly romantic and impractical heroine of Nancy Mitford’s 1945 novel, is taken shopping by a formidable French aristocrat. Linda parades a series of outfits, blowing kisses and laughing, then feigns abashed surprise when Fabrice (Assaad Bouab), her new lover, declares that they’ll take it all.
Regardless of whether you loved Anthony Bourdain—and the striking thing is that so many people who had even a spotty acquaintance with him or his work felt like they did—the end of Roadrunner is devastating to watch. Morgan Neville’s new documentary about the chef and TV star runs through two decades of Bourdain’s life onscreen before concluding with present-day scenes of his friends still struggling to parse his death by suicide in 2018, at the age of 61.
Regardless of whether you loved Anthony Bourdain—and the striking thing is that so many people who had even a spotty acquaintance with him or his work felt like they did—the end of Roadrunner is devastating to watch. Morgan Neville’s new documentary about the chef and TV star runs through two decades of Bourdain’s life onscreen before concluding with present-day scenes of his friends still struggling to parse his death by suicide in 2018, at the age of 61.
In the first episode of HBO’s new miniseries The White Lotus, Shane (played by Jake Lacy) and his new wife, Rachel (Alexandra Daddario), arrive on their honeymoon, on an unspecified Hawaiian island, with bagfuls of silk resort-wear and books by Malcolm Gladwell. Alone in their suite, Jake moves in to kiss Rachel, but he’s suddenly gripped by a suspicion that all might not be entirely copacetic.
The late Janet Malcolm, writing about the Gossip Girl novels for The New Yorker in 2008, delighted in the heartlessness of the teenage characters—their voyeuristic cruelty and the sharp satisfaction they take in the downfall of their peers. What the series understands, Malcolm wrote, is that “children are a pleasure-seeking species, and that adolescence is a delicious last gasp (the light is most golden just before the shadows fall) of rightful selfishness and cluelessness.
The late Janet Malcolm, writing about the Gossip Girl novels for The New Yorker in 2008, delighted in the heartlessness of the teenage characters—their voyeuristic cruelty and the sharp satisfaction they take in the downfall of their peers. What the series understands, Malcolm wrote, is that “children are a pleasure-seeking species, and that adolescence is a delicious last gasp (the light is most golden just before the shadows fall) of rightful selfishness and cluelessness.