Alex Gibney’s latest docuseries “Agents of Chaos” breaks down Russian interference in the 2016 election to an effect similar to the way Scooby-Doo villains are unmasked — uncovering that beneath the grand mystery are several small and seemingly meaningless pieces that are the real “monsters.”
Featuring a niche cult with an obsession for buying and selling shoes, Netflix’s “Sneakerheads” attempts to highlight the phenomenon in which peoples’ love for sneakers ends up compelling them to spend $5,000 on a storage space chock-full of partially-identifiable shoeboxes.
One day, I’ll finally get around to watching that original, U.K. version of “Utopia.” When it made its debut in 2013, it was met with rave reviews and soon amassed a diehard fanbase. Unfortunately for them, what they had in passion, they lacked in size — the show was canceled before it could make it to Season 3. But now, after six years, “Gone Girl” author Gillian Flynn is resurrecting the series with an uncomfortably topical remix. Thanks to Flynn’s knack for mind-bending twists and spine-chilling psychopaths, my first experience with the world of “Utopia” was an absolute thrillride.
“Archer” is a show full of surprises. With a long tenure on FX, the show has managed to stay both popular and well-received. Each episode of the new, eleventh season is crafted in line with the show’s successful formula, but adds new, interesting elements that keep the audience on its toes and wanting more. Still, we never lose sight of the small band of lovable characters that made the show what it is.
It seems like Netflix has an original movie for every genre. Cringey horror movie? Try watching “The Influence.” Corny holiday romcom? “Holiday in the Wild” is particularly good. With their newest original movie, now it seems like Netflix has finally dipped its toes into one of the most specific and successful genres of the 2000’s: the Disney Channel Original Movie. “Julie and the Phantoms” is a charming, colorful, wholesome spin on this modern genre for a new generation of kids.
The first season of “The Boys” deserves to be recognized as one of the defining satires of the post-9/11 era. Like Alan Moore’s “Watchmen,” the show imagined what America would look like if the beloved superheroes of “The Avengers” or “Justice League” were real. But instead of a bleak, 1970s America, “The Boys” focused on three main intersections of American culture during the War on Terror: militarism, religion and entertainment. “The Boys” also stood out for its over-the-top gore and hilarious irreverence.
One ubiquitous sci-fi trope is introducing a story with a few establishing shots of a far-off, mysterious desert planet. In the “Raised by Wolves” universe, this planet is Kepler-22b. A dramatic orchestra accompanies a spaceship which crashlands into the sand, revealing two androids — Father (Abubakar Salim, “Informer”) and Mother (Amanda Collin, “Horrible Woman”). They have fled the destruction of Earth by consequence of a great war.
When most people think of a true-crime docuseries, they assume the worst. Serial killers, human rights abuses, conspiracy theories, high-stakes heists. A fake dating profile is more likely to be the subject of “Catfish” than “Blackfish.” “Love Fraud” offers a clever rebuttal to this common documentary genre.
“Beauty and the Baker” is an American TV show about the love story between a rugged Cuban-American baker and a headstrong supermodel. The show’s two main characters, the baker Daniel Garcia, (Victor Rasuk, “The Mule”) and the beauty Noa Hamilton (Nathalie Kelley, “Vampire Diaries”) occupy completely different worlds in Miami when the show begins. Daniel is an everyday man who works at his loving family’s bakery. Noa is a supermodel who drifts between lovers in an extravagant but alienating world of fame and fortune.