‘Boston bomber voting’ discourse is America at its dumbest
It has nothing to do with Dzhokhar Tsarnaev.
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‘Lil Billie Xanish’ is the deepfake mashup of Billie Eilish and Lil Xan
They look freakishly similar.
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Chris Osterndorf
How ‘You’re the Worst’ and ‘Catastrophe’ went from subverting the romantic comedy to reinventing it
Both shows asked how romance functions in real life, and how to make that funny.
In season 2, ‘Barry’ definitively becomes HBO’s best comedy
Bill Hader's black comedy escapes classification in a killer second season.
‘Veep’ season 7 stays nasty until the very end
But the show doesn't cut quite as deep as it used to.
‘Arrested Development’ ends the same way it did the first time—unceremoniously
Is it time for the embattled series to call it quits?
‘The ABC Murders’ is entertaining, despite being the weakest recent Agatha Christie adaptation
John Maklovich plays an aging, broken down Hercule Poirot.
‘Unbreakable Kimmy Schmidt’ ends as it began—courting controversy
The seriously underrated series enjoys a fitting Netflix sendoff.
Season 3 of ‘Crashing’ is its best and most daring yet
Pete Holmes tackles love, God, and the Me Too movement’s impact on standup.
‘Friends from College’ is still annoying, still watchable in season 2
Great talent gets wasted on subpar material.
‘Future Man’ season 2 changes things up without losing any of the references
Less 'Back to the Future,' more 'Mad Max.'
‘Black Mirror: Bandersnatch’ may be the future of entertainment, a clever gimmick, or both
It'll make you feel like you're in an episode of 'Black Mirror' yourself.
Amazon’s ‘Vanity Fair’ is worth visiting before the year is over
If only for its wonderfully despicable protagonist, Becky Sharp.
Netflix’s latest foreign acquisition, ‘Happy as Lazzaro,’ is a troubling Christ figure story
The film's commentary on capitalism is flawed at best.
‘Sabrina’ doesn’t even work as an entry in the possessed doll genre
It's an extra cheesy, extra clunky B-movie.
‘Homecoming’ is another paranoid thriller from the creator of ‘Mr. Robot’
Julia Roberts and Stephan James shine in this slick, albeit emotionally sterile, series.
The end of ‘House of Cards’ feels as fitting as it does oddly inevitable
The show's final season asks whether feminism in conjunction with acts of evil is still feminism.
In ‘100% Fresh,’ Adam Sandler returns to his old, funny self
Sandler's new Netflix special pays a heartwarming tribute to the late, great Chris Farley.
Hulu’s ‘Light as a Feather’ delivers on its title in every respect
It's a decent blend of silly and spooky.