This year’s Emmy nominees, announced on Tuesday, offer helpful insights on small-screen trends.
In the third season of Netflix’s ‘Stranger Things,’ the story is centered on eroticism instead of friendship.
The hypothetical Netflix user who’s spent years toggling between ‘The Office,’ ‘Friends,’ and the company’s original content will need at least three subscriptions by 2021 to keep their status quo.
It’s just too good to go on forever. Wallowing in ’80s nostalgia is healthy when done in moderation, but too much could make for disappointing outcomes.
Maybe the late night talk show is a habit of older generations: people who don’t have Netflix and wouldn’t watch Michelle Wolf if they did.
For some reason, Christian Americans are incredibly upset with the TV series Good Omens,’ based on the Neil Gaiman/Terry Prachett novel of the same name.
‘Murder Mystery’ is about what you would expect from a straight-to-Netflix summer comedy—and maybe even a little better.
Based on the novel by Kirsten Smith, ‘Trinkets’ does not skimp on the crazy, spiraling plot, or on the strength of teen girl friendship.
Netflix let Jeff Ross play with the concept of ‘Historical Roasts’ for six half-hour installments, and the results were pretty mixed.
It’s sort of terrifying to see a robot nurse cradle a baby. The child grows, with no human contact. Daughter smiles at Robot Mother, although she’s never seen a human smile.
Ali Wong’s ‘Always Be My Maybe’ is at once charming and funny, leaving nearly all of the raunch and shock on the cutting room floor.
Every so often, a film shows the depth of communism’s personal costs in a poignant and beautiful way. So it is with ‘Cold War,’ a masterpiece from Polish director Pawel Pawlikowski, nominated for three Academy Awards.
Although in some respects a continuation of the corny, 1980s nostalgia of ‘The Karate Kid,’ ‘Cobra Kai’ reminds Americans of cardinal truths about children that we all know deep down.
With limited time, it’s hard to know what’s worth listening to and what’s worth avoiding. This list should demystify some of that and give you some fresh ideas.
‘Friends’ is so valuable to Netflix that it reportedly cost the company $100 million to renew its rights to the show this year. That’s more than three times the previous price of $30 million.
Progressives think corporations engaging in political messaging is bad, unless it’s a corporation like Netflix pushing a leftist agenda.
Still, don’t let the film fool you into thinking plucky political insurgents who fancy socialism are necessarily better than the status quo alternative.
Perhaps not having enormous sums of money to spend on CGI forced the show to do a better job of character development than most big-budget superhero films.
Netflix’s ‘Traitors’ seems to have all the ingredients of a great television show, but built its entire story around an ill-researched political stance.
What does cultural impact look like in an era of proliferating niches, where the metrics are murky?
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