With her new book—the much-awaited sequel to The Handmaid’s Tale—the Canadian author is leading a resistance. But it’s not the one you might think.
A new four-part Netflix documentary strains to handle a subject who’s always out of reach.
If your attention span is frazzled, explore the compact joys of the 30-minute format.
Hightown deepens the procedural genre by expanding its focus beyond a singular murder to the opioid epidemic at the edges of its story.
Lawrence Wright’s The End of October has been heavily touted for its prescience, but the one thing it didn’t anticipate is heartening.
The Amazon show is one of several recent works in which the afterlife darkly mimics earthly existence.
A new generation of TV comedies probes life’s bleak truths more pointedly than many dramas do.
The Hulu adaptation of Sally Rooney’s hit novel ushers an addictive, messily human portrayal of young love to the small screen.
Propulsive thrillers, slow-burn procedurals, and more for your every quarantine mood
A striking new miniseries reveals the conservative author’s deep impact on contemporary politics.
“The least safe thing to do is something safe,” says Sarah Barnett, the unconventional TV executive behind Killing Eve, which is back for a third season.
Netflix’s Tiger King is the apotheosis of extreme storytelling: The more unfathomable and ethically dubious, the better.
In an inordinately stressful moment, the Barefoot Contessa’s Instagram page has become one of the most soothing and wholesome places on the internet.
The British HBO series Years and Years imagines a near-future defined by two phenomena: catastrophe and resilience.
The difficulty of My Dark Vanessa lies in its adult narrator, who refuses to acknowledge her childhood trauma even as she recounts it.
On the psychology of comfort TV
In his new Netflix special, End Times Fun, the comedian turns his attention to angst during ongoing crisis, with uncanny timeliness.
Alex Garland’s new show Devs and Season 3 of Westworld find dystopia in determinism.
More and more TV shows about adolescence are defined by their idealized depictions of the past—even when they exist in the present.
Dee Rees’s new Netflix film tackles the Joan Didion novel The Last Thing He Wanted. It may have been a futile task.
The Al Pacino–fronted series is a sweaty smorgasbord of cartoonish simplicity and wanton violence.