TV Shows
Critic’s Notebook
The Cruel Abstraction of “Beast Games”
On a competition show made by the YouTube sensation MrBeast, the people are faceless and the challenges are vicious.
By Naomi Fry
On Television
Are We Living in a Dystopia?
The sci-fi series “Silo” is the latest in a string of popular post-apocalyptic dramas with an increasingly uncanny resonance.
By Daniel A. Gross
2024 in Review
The Best TV Shows of 2024
In an otherwise bleak year for television, a few truly great entries shone all the more brightly.
By Inkoo Kang
2024 in Review
The Best Performances of 2024
A middle-aged, murderous Tom Ripley; a boozy, stagestruck Mary Todd Lincoln; an unlikely pair of singers at the Grammys—these were the acts that broke through the noise of this fractious, tumultuous year.
By Michael Schulman
Book Currents
Orna Guralnik on the Entanglement of Politics and Private Life
The psychotherapist, who appears in the documentary TV series “Couples Therapy,” talks about books that illuminate the relationship between sweeping social phenomena and our most intimate experiences.
On Television
“Disclaimer” Is a Baffling Misfire from a Great Auteur
Alfonso Cuarón’s foray into television is a work of such vacuity that even Cate Blanchett can’t salvage it.
By Inkoo Kang
On Television
Is Matt Walsh Trying to Make “Am I Racist?” the “Borat” of the Right?
In his work with the Daily Wire and in a new movie, the conservative podcaster and activist tries to expose the hypocrisies of the left.
By Vinson Cunningham
Critic’s Notebook
On the “Industry” Season Finale, Father Knows Best
The HBO show—the most thrilling offering currently on TV—zeroes in on the domineering masculine impulse that drives the world of finance.
By Naomi Fry
On Television
Nicole Kidman Gives Us What We Want in the Silly, Soapy “The Perfect Couple”
The Netflix murder mystery recalls a time when TV wasn’t supposed to be art.
By Vinson Cunningham
Infinite Scroll
“Emily in Paris” in the Late Streaming Era
Over four seasons, the Netflix series has hollowed out along with the streaming industry that spawned it.
By Kyle Chayka
On Television
“House of the Dragon” Still Hasn’t Caught Fire
The HBO show’s latest season finale reaffirms Rhaenyra’s right to rule—but her mode of noble restraint, however admirable in a leader, is lethal in a protagonist.
By Inkoo Kang
On Television
Jake Gyllenhaal, and His Eyebrows, on Trial in “Presumed Innocent”
Ruth Negga and Peter Sarsgaard also star in this adaptation of the 1987 Scott Turow novel.
By Vinson Cunningham
On Television
“Jerrod Carmichael Reality Show” Is Exhibitionism as Art
Two years after “Rothaniel,” the comedian has committed another moving—and deeply entertaining—act of self-exposure.
By Inkoo Kang
2023 in Review
The Best TV Shows of 2023
The industry faces an uncertain future, but this year’s finest rival those of the Peak TV era.
By Inkoo Kang
The Weekend Essay
My Grandmother and the Canine Detective
How the Austrian police procedural “Inspector Rex” bridges gaps between languages.
By Naaman Zhou
Critics at Large
What Is Cringecore, and Why Is It Everywhere?
In the age of Nathan Fielder, why are television audiences drawn to shows that seem specifically designed to make them excruciatingly uncomfortable?
Cultural Comment
The Real Message of “The Real Housewives”
Since the show’s rise during the Great Recession, it has fulfilled a pedagogical role in women’s media. The lesson it imparts is: you better work, bitch.
By Jennifer Wilson
Cultural Comment
Bruce Lee’s “Warrior,” and the Politics of Kung Fu
The Max series makes a radical argument for what constitutes American history.
By Jasper Lo
On Television
How “This Fool” Became the Summer’s Best Comedy
The Hulu series tackles depression, the carceral state, and racial tension in L.A. It’s also laugh-out-loud funny.
By Inkoo Kang