Our favorite shows of 2019 resist easy categorization, and they attest to a medium in transformation.
The series attempts to derive excitement solely from its overly calibrated performances.
Season two of the series explores how our preoccupations bring us comfort when we might need it most.
The show’s control of tone and atmosphere soon becomes even more engrossing than the story’s mystery itself.
The series homes in on the growing chasm between royal expectations and public norms.
The series suffocates its promising characters with the tedium of backroom politics.
The series struggles to sensibly lay out the particulars of its post-apocalyptic feudalism.
The series is an uneasy, sometimes nauseating, and often fascinating examination of our current moment.
The occasionally thrilling series relies on generic action cribbed from other, more distinct espionage fiction.
The series underlines the loss of creativity and boldness that marks the transition from childhood to adulthood.
There’s little apparent benefit to how the show’s second season foregrounds its interpersonal relationships.
Insipid comedy aside, the Netflix series offers evocative reflections on the premature death of a generation’s childhood.
The film mixes a self-help message with moments of hard, cruel detail.
The series argues the ways injustice might persist, and in that sense, its alternate history doesn’t look so alien after all.
The series is decidedly unambitious and ends before it ever really gets off the ground.
While the miniseries is mesmerizing to take in, beneath its aesthetic splendor lie vast, unplumbed depths.
The show’s violence is a reflection of its characters’ existence, a cycle from which there’s no escape.
The show’s fundamental goal isn’t to present love that’s unique to the current moment, but to expose the universality of its stories.
The series never shies away from the pleasures and perversities of incipient sexuality.
The series nearly approaches farce as its shocking developments pile up, defying reality and credulity.
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