Critics’ Conversation: A Gloomy Small-Screen Spring

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DANIEL FIENBERG As the second term of former President Trump surpasses the eventful first 100 days, viewers are once again faced with a familiar question: Are we tuning into TV for distraction or for insightful analysis of modern life as it stands?

Over time, I’ve been noticing a growing sense of confusion, a lack of ability to find solace in activities that used to be mindlessly enjoyable for me. Robert F. Kennedy Jr.’s campaign to portray autism as a widespread crisis has cast a dark cloud over the heartwarming bond between Eva, a contestant with autism on Survivor, and Joe. Initially, Top Chef appeared to be a celebration of Canadian culture and cuisine, but it ultimately forfeited specificity and turned Canada into something strikingly similar to what Trump calls, “our 51st State.” The revival of Nathan Fielder’s The Rehearsal, an HBO series focusing on discomfort, has gained traction thanks to a plotline centered around aviation, which coincides with a recent spate of concerns regarding air travel accidents.

From being light-hearted and family-friendly, Disney+’s Star Wars series franchise has evolved. For instance, the series “Skeleton Crew” is a far cry from the political drama of “Andor,” where alien creatures deliver passionate speeches, even weddings are tinged with themes of class struggle. FX/Hulu’s “Dying for Sex” is actually a comedy about mortality, while Hulu’s “Mid-Century Modern,” initially a gay sitcom, has transformed into a contemplation on mortality following the passing of co-star Linda Lavin. Remarkably, even shows that were already centered around death and decay have taken a darker turn in their second seasons, such as HBO’s “The Last of Us,” which now heavily focuses on a significant character’s demise.

Am I hypersensitive or is subtext becoming text up and down the dial?

ANGIE HAN I’ve found it hard not to see similarities between the storylines in shows like Andor, The Rehearsal, and Netflix’s Adolescence and real-world events such as the rise of fascism, the weakening of regulatory bodies like the FAA, and the emergence of toxic masculinity groups (the manosphere).

As a gamer, I’m excited about the upcoming Disney+ series, “Daredevil: Born Again,” where a real-life crook takes the oath for public service. The return of Netflix’s “Black Mirror” is giving me chills as it seems to be eerily predicting our world. Apple TV+’s funny show, “The Studio,” has got me pondering some heavy thoughts about the current state of Hollywood – it feels like they’re about to announce a Kool-Aid movie franchise, can you believe it?

It’s likely that not everyone who watches these shows perceives them in the same manner as I do – the recurring debate over whether each new Star Wars installment is too “woke” or if it has always been political, demonstrates that many people can separate their entertainment from their news consumption. However, it seems I’m not the only one who ponders this question: why do we choose to watch content that mirrors issues we’d typically want to avoid in our leisure time?

I find that watching shows dealing with deeper, personal struggles, like “Dying for Sex,” provides comfort as my own concerns seem validated and mirrored, yet within the framework of a story to give them form, direction, and meaning. In series like “The Last of Us,” even when terrible events happen to Joel and Ellie, we can assume they’re contributing to a larger narrative arc or carrying a significant message. Unfortunately, real life doesn’t come with such assurances.

In this regard, I suppose these programs can be considered as a form of escape for me – albeit not as clearly relaxing as Netflix’s visually appealing yet tranquil show “Ransom Canyon” or the serene and differently captivating “The Four Seasons” from the same streamer.

In today’s era of unpredictable taxes and declining retirement savings, extravagant spending has started to seem rather sinister. Tina Fey’s characters in The Four Seasons take four extravagant group trips every year, despite there being no indication they even enjoy each other’s company. It’s quite luxurious! Even Your Friends and Neighbors acknowledges that the idle rich have become so unrelatable these days that they can be targets for petty theft, as long as the cat burglar is as rough-around-the-edges-charming as Jon Hamm.

Currently, it seems that fictional shows during spring are often perceived as mirroring our present circumstances, but viewers seem less interested in authentic real-life stories at this moment. For instance, HBO released a third part of the influential Eyes on the Prize series, which delves into advancements in the Civil Rights movement since the late ’70s and offers insights for sparking revolution today. However, it appears that many people are unaware of its existence, let alone considering it essential viewing. Additionally, Alex Gibney’s The Dark Money Game, a two-part HBO documentary series about how the weakening of campaign finance regulations has influenced every ethical shortcoming in our political system, didn’t receive much attention or acclaim.

HBO hardly gave any attention to the series “The Dark Money Game“, and it’s understandable why. After all, who wouldn’t prefer selling the action-packed version of the same story, titled “Andor“, complete with TIE fighters, empathetic robots, and the impending threat of an operational Death Star? The Netflix algorithm, combined with widespread critical praise, might just be more powerful than the Force when it comes to attracting viewers to a four-hour drama about a troubled British boy and the society that let him down. Or perhaps we’re all like Seth Rogen’s character in “The Studio” and have a soft spot for long, continuous takes.

So Angie, what hasn’t been filling you with despair this spring?

The Inuit coming-of-quarterlife comedy by Alethea Arnaquq-Baril and Stacey Aglok MacDonald, titled “North of North,” is a delightful surprise find that can really make this job enjoyable. This modest production, featuring no big-name stars and seemingly little marketing, has unexpectedly become one of the most endearing shows I’ve watched this year. Set in the Arctic, it exudes a cozy atmosphere, showing appreciation for its community and culture. The charismatic cast, led by Anna Lambe, keeps the show engaging. Although it doesn’t shy away from tougher subjects like the tragic legacy of residential schools, if you’re seeking a feel-good TV escape, this one is as bright as they come.

In other places, I’ve been delighting in the newest season of Max’s show titled “Hacks“. Despite the repetitive back-and-forth feelings between Ava and Deborah, the interaction between Hannah Einbinder and Jean Smart remains engaging, and to add, there are still a good number of new characters like Randi (Robby Hoffman) who is making quite an impact this year. She’s not only in “Hacks“, but also in “Dying for Sex” and married to one of the stars from “The Traitors“. And surprisingly, I’ve found comfort in a more humorous, fictional portrayal of the White House through Uzo Aduba’s creation, “The Residence“, a quirky murder mystery.

What’s been sparking joy — as we were saying I swear not that long ago — for you?

In another unique twist of words: FIENBERG Employs the same trio: North Beyond North. It’s endearing and captivating, with Lambe shining brightly. Could it have been a bit more amusing? Maybe, but charm is powerful, and this blend of Northern Exposure, Reservation Dogs, and Schitt’s Creek serves as a refreshing, though not overly saccharine, contrast to the excessive gloom and doom often seen in reality and TV.

I found myself thoroughly enjoying Hulu’s crime comedy, “Deli Boys.” Despite its intensity that might rule it out as “escapism,” it’s a delight! The performances by Saagar Shaikh and Asif Ali are quite humorous, while Poorna Jagannathan shines in her role as the wickedly entertaining Lucky. I’d choose this Philadelphia chaos over the somber “Long Bright River” or “Dope Thief” any day.

The third installment of this season’s “The Rehearsal” could very well be one of the wittiest, quirkiest, and most puzzling episodes television has ever produced – an ideal match for our current state of absurdity, or perhaps even a slight diversion from it.

KATIEThere’s something eerily familiar about it, isn’t there? It starts off with a genuine concern – airline safety – but then transforms into something completely outrageous and beyond anything you, as an ordinary spectator who isn’t Nathan Fielder, might ever expect. I found every absurdly crazy scene utterly captivating. But if the sensation of being swiftly detached from any semblance of reality doesn’t remind you of 2025, then I’m not sure what does.

You can find this article in the May 7 edition of The Hollywood Reporter magazine. Want to stay updated? Subscribe now!

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2025-05-08 19:25