The scheming and manipulating, of course, is at the heart of “Killing Eve.” At surface-level, the show is a kind of mindless, stylish caper. But really, it’s so much more: a meditation on the female psyche, a study in power and vulnerability, an open question about what a woman can or should do to get ahead.
Though not only for theater nerds, the FX miniseries “Fosse/Verdon” requires a bit more background than usual to appreciate the story it tells. The works of Bob Fosse (Sam Rockwell, “Vice”), director of legendary musicals and movies such as “Chicago” and “Cabaret,” are household names by now, this series instead focusing on his relationship with his wife Gwen Verdon (Michelle Williams, “Venom”), one of the greatest Broadway actresses/dancers of all time.
On TV, the most common narrative arc for disabled people is their constant internal conflict and attempt to fit into society. While Ryan experiences this as well, the show delves deeper into the complexities of how being disabled doesn’t give you a free pass to treat other humans as lesser.
I remember country music most vividly as the twangy acoustic stream trickling from the speakers of my Papaw’s truck. A good ol’ boy from Jellico, Tennessee, Papaw let the warmth of fiddles and guitars ramble quietly in the truck cab. Of course, he was doing donuts in the street with his grandchildren in the back, but the music was soft and simple. Needless to say, the days of my Papaw’s country music are long gone.
From the time it premiered 20 years ago on NBC, certain people have always wanted to believe Washington operated like “The West Wing.” They wanted to imagine slick, educated, smooth-talking technocrats briskly walking through corridors and “reaching across the aisle” to solve the problems the people of America. Civility and respect are the name of the game in this fiction. However, if the events of the 21st century haven’t already cracked this façade, the last few years most certainly have.