“When They See Us” (Mini-Series)
Harrowing, emotionally bruising, hard to watch, and absolutely vital and a must-watch, Ava DuVernay’s tale of the Central Park Five—five African American and Latinx teens wrongly convicted and incarcerated for a rape they didn’t commit in the 1980s—”When They See Us” is a blistering piece of work. A kind of inspired off-shoot of “The 13th” documentary she made, about the broken American prison system and the systemic issues of race and class that are intrinsically tied to it, “When They See Us,” is both thoughtful and visceral, breaking down the story of these boys and the nightmare they and their families endured. Coerced into giving “confessions” for these crimes by the abusive NYPD and crusading District Attorneys trying to make a statement, “When They See Us” is chaptered up into considered segments that examine our rigged judicial system and all its amoral tentacles—the court system, juvenile detention, prison itself, police malpractice and more and how they often work against poor people and People of Color. But it’s also deeply personal and a kind of elegy of pain for Black boys, Black mothers, and Black families. Ironically titled with sadness, “When They See Us” plays with the concept of being seen, or how black, Latino POC children are viewed by the justice system in this country and the answer is a dark and depressing one. What if all boys were created equal? DuVernay asks in her scorching, heartbreaking and unforgettable work.– Rodrigo Perez [Our Review]
https://www.youtube.com/watch?v=u3F9n_smGWY
“Killing Eve” (Season 2)
One of the most consistently entertaining and exceptionally well-acted shows on TV (and the biggest threat to overtake “Game of Thrones” at this year’s Emmy Awards), “Killing Eve” returned with a hotly anticipated second season without the show’s creator Phoebe Waller-Bridge on board. Instead, newly minted showrunners Emerald Fennell and Sally Woodward Gentle were tasked with following up one of last year’s biggest TV sensations, picking up immediately where the previous season left off. While Waller-Bridge’s absence from the season was felt in parts, Fennell and Gentle were still able to maintain the show’s distinctive carnal thrills. Flipping the cat and mouse dynamic of the first season on its head, this second go-round saw Sandra Oh’s security officer Eve Polastri becoming the hunted, with Jodie Comer’s Villanelle slyly integrating herself into Eve’s life. One of the primary pleasures of the show was seeing how Waller-Bridge could turn the assassin story inside out with a fresh new take. However, it was primarily in Oh and Comer’s stellar performances that the show really came to life. The “Sideways” star has long been an underappreciated character actress, so it’s been a delight to see Oh finally get the attention she deserves, but this was truly Comer’s season. Comer is an actress who’s been working for almost a decade now, but her complex and acidic portrayal of a young assassin is one of the most exciting performances in any small-screen story of 2019. Even when the season’s twisty narrative turns didn’t consistently ring true, Comer and Oh’s dynamic performances and scintillating chemistry are reason enough to embrace a third season.– MR [Our Review]
“Fosse/Verdon” (Mini-Series)
In what seems to be an unending parade of high-quality dramatic television, “Fosse/Verdon” still managed to steal the spotlight. This one-and-done retelling of legendary Broadway choreographer and film director Bob Fosse’s most important relationship — his marriage to Gwen Verdon — is a scintillating and spicy musical drama. Anchored by a mind-blowing performance by Michelle Williams as Turner (ably supported by Sam Rockwell as Fosse), this homage to the golden age of Broadway is a whirlwind of sex, drugs, and jazz hands that takes viewers beyond the clichéd tale of Fosse’s downward spiral and instead posits that much of his genius actually stemmed from Verdon herself. It’s no wonder “Fosse/Verdon” packs so much stage power, as it was co-created by “Dear Evan Hansen” scribe Steven Levenson and “Hamilton” director Thomas Kail, and executive produced by Lin-Manuel Miranda. One of the few truly successful mish-mashes of biography, stage, and screen, “Fosse/Verdon” is likely to burst onto center stage once again come awards season. —Lena Wilson [Our Review]
“Shrill” (Season 1)
Television is full of downers: brilliant shows like “Chernobyl” that simultaneously make you believe in what the medium can do while ruining your mood and possibly your entire day. By contrast, there’s been no purer joy on the small screen this year than “Pool,” the fourth episode of “Shrill.” Based on Lindy West’s memoir, the Hulu comedy explores what it’s like to live as a fat woman through the sparkling eyes of Annie (‘SNL’ standout Aidy Bryant). Until “Pool,” early episodes of the show’s first season were earnest and funny, though tinged with cruelty and embarrassment directed at Annie based on her body, whether coming from her non-boyfriend (Luka Jones), her mother (Julia Sweeney), her boss (John Cameron Mitchell), or random strangers in Portland. But her decision to attend a Fat Girl Pool Party changes how she sees herself and women like her; she is surrounded by fat, bikini-clad women who radiate confidence and more sunshine than Portland sees in a year. The moment pushes Annie to a moment of self-acceptance and love, setting up the remainder of the season for her (non-physical) transformation. With showrunner Alexandra Rushfield at the helm, “Shrill” is body-positive and fiercely feminist, but beyond its authentically woke virtues, it’s a show that cares about its diverse set of characters. It succeeds in making us empathize with them, while we laugh till we snort. — Kimber Myers [Our Review]
https://www.youtube.com/watch?v=JyUr_-jxWZA
“SMILF” (Season 2)
I want to shake Frankie Shaw, the creator, star, director and writer of Showtime’s “SMILF.” Not because I’m envious of her enormous multi-hyphenate talent (though I am), but because she blew it and following reports by cast and crew members of misconduct on the set (it appears Shaw may have pushed an actor too far during a sex scene), “SMILF” was canceled by Showtime after Season 2 which is such a colossal drag because the show was evolving, growing and immensely good. For my money, “SMILF” was the best show on television 2018 and still ranks up there as the best 2019 has to offer so far, even though, it was maybe the best show on TV that not many people were watching. Centering on a poor, broke-ass, struggling single mom (Shaw), and her dysfunctional family—including her sometimes estranged mom played by an outstanding Rosie O’Donnell and her ex played by newcomer Miguel Gomez—”SMILF” was already terrific, funny, empathetic, and savvy with a feminist bent (Connie Britton and Raven Goodwin as friends were also amazing). But Season 2 rocketed to some next level shit, channeling David Lynch and or the same application that Donald Glover applied to “Atlanta” which was taking surreal, absurd, magical realism and applying it to social struggle. So, what was already funny as hell and sharp writing became dazzling, cinematic and outrageously wonderful. Featuring bizarre guest starring appearances by Kevin Bacon, Ally Sheedy, and a fabulous Ari Graynor, “SMILF” got weird, but also so emotional, melancholy and heartbreaking; a great array of complex human life and feelings of struggle. The writing was so damn good, the show landed directors like Cate Shortland (the upcoming Marvel’s “Black Widow“) and Kerry Washington. The acronym Single Mom is Losing Faith was the theme of season 2, and while we’ll always curse the misjudged decision its creator made that ultimately caused its cancelation, we’re never losing belief in what we were offered, what could have been and the hope that she’s just getting started. – RP [Our Review]
https://www.youtube.com/watch?v=A5f30auPp68
