Netflix and Jenji Kohan go together like banana and toffee; they just work. After spending the better part of three seasons pondering what it is that forces anyone into a life of isolation, much less a former TV star who’s fallen on hard times, Season 4 of “BoJack” doubled down on family. And its final season turned out to be its finest, juxtaposing the grandest existential human questions with these characters' most intimate, beautiful moments. And the cinematography is breathtaking: sprawling pastures, dense forests and dusty, half-empty towns. Read our full review. Big Little LiesThough it premiered way back in February, Big Little Lies is the 'Show We're All Still Thinking About' 10 months later. But you do have to have a taste for scheming cheerleaders, precocious fashionistas, and brooding adolescent sleuths trying to solve a murder mystery and uncover the dark truths of their sleepy little town. It’s a testament to the power that this comedy can have when it can sustain the momentum and promise of its premise for each of its intricately plotted eight episodes. With a stellar supporting cast (including a surprisingly warm and human Marc Maron), GLOW is the rare ten-episode Netflix series that could have been double the length. Sure, you could question the reason behind Jon Snow’s decision to take on the White Walker army with a rag-tag bunch of fan-favourite characters, but that shouldn’t stop the episode being hugely entertaining. While the show's brutal depiction of a near-future in which most women have been forced into sexual servitude made it difficult to stomach at times, Moss' embodiment of narrator Offred simultaneously made it hard to look away. Plenty of series get a lot of buzz, but they often peter out. It’s tough to know how Lynch succeeded in making something that could be considered alienating by many so innately watchable but succeed he did; the return of Twin Peaks was everything you’d hope for in a post-Mulholland Drive world – and while it may not be a film, it remains damn astounding television. It was about the technology industry, but it was really about people. —Emma Dibdin, Ryan Murphy's latest anthology series put a focus on famous rivalries in modern history, and while it doesn't have the urgency of The People v. O. J. Simpson: American Crime Story or the campy batshit insanity any of the American Horror Story seasons, Feud: Bette and Joan does deliver on star wattage alone. Sometimes, a second season can make all the different. The Twin Peaks revival series – billed as The Return – provided David Lynch with the unenviable task of uniting strands left dangling for 15 years. Read more, Alas, the last showing for Steve Delaney’s Marmite malapropist.
She does what any sharp-tongued, extroverted, go-getter would do: she channels her rage into comedy, making a name for herself on the Greenwich Village comedy club circuit, where she lands a brassy manager played by Alex Borstein and finds a friend in another up-and-coming comic, Lenny Bruce.
What's most praise-worthy about This Is Us, however, is its ability to tell compelling stories that touch on subject matters rarely depicted on network television, like Chrissy Metz's delicate handling of Kate's struggles with her weight and a high-risk pregnancy, or Sterling K. Brown's Emmy-winning portrayal of Randall as he navigates the the complexities of being the only black member of a white family. As great as "Thanksgiving" was, it was just one game-changing episode in a season full of them.
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