By the end of the second episode, the set-up of the caricatures was over, and they had started to explore the relationships between all these characters. Their friendship with farmer pals Daryl and Dan became precious. By the time I finished the second season, I was saying certain words in a Canadian accent and picking up phrases from their running bits.
Much to my surprise, it quickly became clear that Katy was much more than the hot girl there for the ogling. Katy is sassy and funny and smart, and spoiler alert quite queer! In fact… most of the recurring female characters and some of the male characters are queer in a casual way.
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And I swear she has chemistry with every woman she interacts with. Shoutout to Cat Zimm for this gif that has stolen so many minutes away from me because if I look at it for one second I look at it for At one point she states explicitly that she swings both ways. Her and her husband are flirty and sloppy and polyamorous and she is most definitely sexually fluid as well. I cannot overstate how bananas her character is. Overall, there was a lot that surprised me about the show as it went on.
I never had to worry about a forced romance plot between Katy and Daryl or Dan. But also hilariously serious conversations about ridiculous things, like whether or not an ant could ride a Sea-Doo.
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The biggest thing for me is the found family aspect of this show. Wayne, Katy, Daryl, and Dan are a unit. They have traditions they never break, and they support each other in everything from brawls in the driveway to the Adult Spelling Bee. So if you want some surprisingly queer, obscenely funny, lighthearted joy to escape the real world, Letterkenny is a low-investment, high-reward way to do just that.
Pitter patter. Just a nerdy, TV-loving, Twitter-addicted Hufflepuff who loves reading, watching, and writing about stories. One part Kara Danvers, two parts Waverly Earp, a dash of Cosima and an extra helping of my own brand of weirdo. Venue: Soho theatre. Facebook Twitter Pinterest. Topics Comedy. Mental health Health features. Reuse this content. Order by newest oldest recommendations. Show 25 25 50 All.
Threads collapsed expanded unthreaded. Unscripted Steven Soderbergh and George Clooney followed K Street with another unusual, quick-and-dirty improvisational series, which swapped Washington, D. Krista Allen, Bryan Greenberg, and Jennifer Hall played versions of themselves: all struggling actors who spend their days going through the ritual humiliation of auditions, only to land the occasional bit part.
Which sometimes gets cut. The three come together in an acting class run by a deliciously manipulative Frank Langella. Unscripted thrives mostly on the agonizing, funny, occasionally surreal business of making it in Tinseltown.
Hung —11 By description, Hung sounds like a sniggering one-joke comedy, following Thomas Jane as a down-on-his-luck high-school basketball coach from Detroit who puts his generous member to work as a gigolo. But while it did exploit this situation to comic advantage — especially in the casting of Jane Adams as a friend who pimped him out — the show took its characters and its setting seriously enough to evolve into something more substantial than just a girthier Weeds.
His power in the sack is inversely proportional to his power outside of it. Broadway star Jonathan Groff gives a fine performance as Patrick: an overly cautious young tech professional who juggles multiple relationships and job prospects throughout the series, uncertain of who he wants to be as he moves into his 30s. The series and its fantastic finale movie considered the big decisions in life through the smaller choices that make up a typical day for any person, gay or straight. Set in New Orleans in the years immediately following Hurricane Katrina, Treme detailed how even a devastated community could coalesce around shared cultural values, historical traditions, political activism, and bitter conflicts.
With an eclectic cast that included all-time greats like Wendell Piece, Melissa Leo, John Goodman, and the wondrous Khandi Alexander, this was always a series that was intended more to be lived in than to keep viewers on the edge of their seats. Vice Principals — In the first season, they became a team of rivals in order to sabotage the African-American woman Kimberly Hebert Gregory hired to be principal, even going so far as to burn down her house.
Luck —12 The series premiere of Luck was hotly anticipated: A new show by Deadwood creator David Milch, directed by Michael Mann, starring Dustin Hoffman as a mobster hellbent on revenge after a three-year prison stint. And the show mostly delivered as promised, offering a prismatic and personal view of a racetrack: from the cutthroats who operate it, to the trainers and jockeys, to the degenerate gamblers who turn up every day, thinking they have the angle.
Three horses died during production, and the safety of future animals could not be guaranteed. In Treatment —10 Based on an Israeli series called BeTipul , In Treatment produced an astonishing episodes over three seasons, each airing on successive weeknights, and each about single characters discussing their problems with a therapist, played by Gabriel Byrne. Or an architecture student diagnosed with lymphoma? You could tune into their sessions on the same days every week.
But In Treatment remains an absorbing experiment and as thoughtful a window into therapy as TV has produced. The show was strongest in its second season, when Andy finally lucks into his own sitcom, then faces the fresh humiliation of seeing it dumbed down to the lowest common denominator.
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The original miniseries is now being expanded to an ongoing series, with season two to be directed by the even more formidable Andrea Arnold. Nicole Kidman is in a grim domestic thriller, while Shailene Woodley is in an underdog crime story, and Reese Witherspoon is in a fast-paced comedy of manners. All are doing some of the best work of their careers. Getting On may have scared some viewers away with its bleakness, but those who stuck with it through its three seasons were rewarded with rare, wonderful moments of beauty and compassion.
Big Love — Over five seasons, Mark V. The show was a suitably bumpy ride at times — and it never quite made the action at a dust-choked polygamist compound as compelling as the Hendrickson household — but it transcended the controversy surrounding it. The difference is that Bored to Death was also a postmodern mystery series, created by offbeat novelist Jonathan Ames, with Jason Schwartzman playing a heavily fictionalized version of Ames: a writer who makes ends meet by helping people out as a DIY detective.
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By splicing together down-to-earth New York stories with elements of film noir — and adding gonzo supporting performances by Ted Danson and Zack Galifianakis — the series both commented on 21st-century urban rootlessness and put it into a larger cultural and historical context. But Tell Me You Love Me is more like the HBO equivalent of a Dogme 95 movie: a raw and unvarnished look at three couples, refreshingly candid about their emotions, in and out of the sack.
Each of the couples are in varied relationship stages. One is married with children, another is struggling to conceive, and a third is going through a bumpy engagement period. Girls earned that chatter, though — and not just because it was one of the only pieces of popular entertainment at the time dealing in a complex and honest way with the often self-created trials of the millennial generation.
A sort of junior Sex and the City without the glibness or glam , Girls framed New York as a city of paralyzingly immense opportunity, both professionally and personally.
Creator and star Lena Dunham also kept the show current with trends in the indie-movie world she emerged from, working to make each episode play like a well-crafted short film, packed with jaw-dropping surprises and eye-catching imagery, all dealing with a modern world seemingly designed to prevent young people from growing up. Flight of the Conchords —9 The New Zealand comedy duo Flight of the Conchords, Jemaine Clement and Bret McKenzie, existed before they and James Bobin created a TV show around them — which explains why their faux -folk songs, full of silly sentiment and interior monologue, drive the episodes, rather than the other way around.
The seasons vary in quality, but even the worst of them yes, the second have a pungent atmosphere and reliably excellent lead performances. Westworld —present. As Westworld entered its second season and the multiple timelines and identity switcheroos metastasized, Joy and Nolan spent too much time trying to outwit Reddit puzzle-solvers.
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But even amid the confusion, they sound a plausible warning about a future where our creations — and our hubris — overwhelm us. The Comeback ; Friends star Lisa Kudrow helped create this clever showbiz satire, packaged to look like footage from a reality show about Valerie Cherish, a once-popular sitcom actress trying to edge her way back into the spotlight, however possible. Her values and self-esteem have been warped by an industry that chews through talent and is especially fickle toward women.
But it only took a couple of episodes for Rae to prove that her concept was good for more than just quick-hit observational humor. Insecure goes in deep on the travails of young women who are balancing romance, friendships, and a career in Los Angeles, trying to master young adulthood while forging a unique identity — and in the age of social media, no less. Surprising plot twists and unexpected pathos help create a full, satisfying world to visit, episode after episode.
Case in point: re-creating Ancient Rome for the purpose of mounting an intricate, intimate political drama, more akin to Deadwood and The Sopranos than Ben-Hur. Its two seasons spanned decades. And yet no episode is unfamiliar, either, because Sinclair and Blichfeld have honed such a gently observant and funny tone. Silicon Valley —present.
Miller — stepping on one rake after another. Succession —present In our current age of Large Adult Sons — that phenomenon where rich dimwits like the Trump children and Wyatt Ingraham Koch inherit the world — Succession has become our satirical Dallas. The first season got stronger week by week, eventually becoming a must-watch as it grew from a soap opera about the lifestyles of the rich and miserable to an essential satire about a particularly 21st century brand of corporate monarchy.
It goes into fine detail about how some not-so-nice men and women try to profit from a society in transition, and it features characters capable of solving their problems with murder yet determined to exhaust every quasi-legitimate political and business option first. Six Feet Under —5. Creator Alan Ball expanded on and deepened the themes of his Oscar-winning American Beauty screenplay, looking at an American family in spiritual crisis, dealing with old grudges and dark secrets as they try to move on from the death of their patriarch.
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