“Hemingway” (PBS)
Ken Burns is on the Mount Rushmore of television documentarians for a reason, and the latest from the director of “The Vietnam War,” “Baseball,” and “Jazz” is one of his best. Working with the great Lynn Novick, the team behind such landmark historical documentaries unpack the life and legacy of one of America’s best writers over six hours. A complete impression of the impact of Ernest Hemingway can’t be found anywhere other than in the expert interviews, writing passages, and archival material gathered here. Readings from stars like Jeff Daniels, Mary-Louise Parker, and Meryl Streep add artistic depth to a fascinating project that also tackles the thornier sides of Hemingway’s life and work. It’s the most three-dimensional portrait of a public figure that has been on television in years.
“Invincible” (Amazon Prime Video)
The success of the MCU has led to a wave of television shows that have attempted to deconstruct heroism like “The Boys” and “Jupiter’s Legacy.” Arguably the best of this subgenre is this animated adaptation of Robert Kirkman’s comic book of the same name, a show that uses its form to take risks that live-action programs could never allow. This is the story of 17-year-old Mark Grayson (Steven Yeun), who has grown up in the big shadow of his father, Omni-Man (J.K. Simmons). As he develops powers of his own, a secret held for years by his dad threatens to destroy everything. Incredible voice work (including Gillian Jacobs, Seth Rogen, Walton Goggins, Jason Mantzoukas, and many more) blends with fantastic animation and sharp writing for one of 2021’s most memorable programs. (By the way, this was such a hit that it’s been renewed for two more seasons already.)
“It’s a Sin” (HBO)
The great Russell T. Davies (“Doctor Who,” “Queer as Folk”) created this five-part series that captures the passionate youth of London in the ‘80s and how much of that generation was then forever transformed by the AIDS crisis. Telling three intersecting stories of gay youth in that era, “It’s a Sin” stars Olly Alexander, Omari Douglas, and Callum Scott Howells as people who just wanted to express themselves and live their lives in freedom before a disease that the government ignored for far too long changed all their plans. A consistently smart and moving show, “It’s a Sin,” reminds us that there are stories of the AIDS crisis that have yet to be told as long as truthful characters like these are allowed to tell them.
“Kevin Can F**k Himself” (AMC)
Valerie Armstrong created this clever deconstruction of the traditional network sitcom that takes direct aim at the superficial mediocrity of shows like Kevin James’ “Kevin Can Wait,” a show that was so misogynistic that it literally killed his wife just to replace her with a different actress. Wife characters on shows like this have been asked to put up with stereotypical male buffoonery for generations, and “Kevin Can F**k Himself” actually recreates a traditional sitcom with remarkable efficiency—the actual sitcom half of the show would fit in quite well on CBS—before breaking the form and allowing Annie Murphy’s Allison to redefine her life. It’s a story about a marriage wherein the husband is living through “King of Queens” and the wife is navigating “Breaking Bad.” The blend of the two doesn’t always work, but Emmy winner Murphy (“Schitt’s Creek”) holds it all together.
“Mare of Easttown” (HBO)
HBO continued its domination of the prestige mini-series with this original production from Brad Ingelsby (“The Way Back”) that gave Kate Winslet one of the richest characters of her esteemed career. Mare Sheehan is a small-town detective who has been haunted by both the disappearance of a local girl and the suicide of her son. When another local ends up murdered, Mare has to juggle all of her issues while trying to solve the case at the same time. “Mare of Easttown” ended up more of a character study than a traditional mystery, ultimately becoming a story about grief more than anything else and even a commentary on the dangerous world navigated by young people every day. A devastating performance showcase—Julianne Nicholson and Evan Peters matched Winslet’s work, among others—“Mare of Easttown” also became a reminder of the power of weekly broadcasts, gaining more attention and prominence with each passing episode.
