While at times the litany of characters can be hard to track, “I Hate Suzie” is worth pausing for, even if it takes a moment to get your bearings.
During her time at Harvard College, Katie E. Low ’12 was premed. Now, she works as an animator at Walt Disney Animation Studios and runs a podcast called Animation Happy Hour, where she informs and inspires young animation students hoping to break into the industry.
Tom Rogers ’84 came into his senior year of high school thinking he wanted to be a physicist. Now, after a nine-year stint as a staff writer for Disney animated television, he has a Daytime Emmy to his name for “Elena of Avalor,” a book titled “Eleven,” and a whole host of awards for his various movies.
With a feel more like a soap opera episode or a TV sitcom, “Do No Harm” doesn’t seem to do a whole lot of anything. The audience gets to meet a few new characters and see a couple new places, but by and large, it’s nothing special.
Though “Industry” extends a rich moral conundrum, it lacks the observational teeth to sink into the nuanced complexities of its own prompt.
This week’s installment of “The Undoing,” titled “The Missing,” takes a sharp turn from the pleasant and cozy life of the Fraser family, quickly turning into an hour of suspense and tension.
Featuring none other than Kim Kardashian, Robert Downey Jr., Dave Chappelle, and Lizzo, this latest (and necessarily shorter) season provides intimate, meaningful portraits of celebrities while also capturing the gravitas of the present historical moment.
A missing spouse, the hush-hush death, and a mystery surrounding Grace’s well-to-do father sets up this series to stay intriguing and interesting throughout its run.
The season premiere pulls tropes and themes liberally from mid-century Western classics to create an intricate tapestry of “Star Wars” mainstays — like desert speed bikes and all manner of interesting animal species — and fresh, outside influences.
Despite being centered around an occasionally dull game, “The Queen’s Gambit” is unfailingly thrilling, endearing, smart, and — somehow — a bit sexy.
We are all alone, and in that aloneness, we are together. Each 20-some minute episode of the televisual anthology illuminates heartwarming instances of human connection in a tragically disconnected status quo.
“Grand Army” strives for no-looking-away realism throughout its first season, making the show at once mesmerizing and hard to watch.
The second season of this show was just as ridiculous, light-hearted, and downright funny as the first, adding a second chapter to a story so entertaining that it makes the promise of a third something to genuinely look forward to.
Unfortunately, social media is also responsible for ruining this season entirely. All the dramatics surrounding it have been spoiled beyond repair, and when you remove unexpected drama from a reality show, you don’t have much left.
In Hulu’s much-anticipated original series, the monsters aren’t just under the bed: They’re everywhere. Most critically, they are dormant in everyone, waiting patiently for the world’s madness to awaken them.
Launching a rocket, or a hit new TV show for that matter, requires an intangible, an X factor, a certain amount of “the right stuff.” And so far, despite the name, the show is running low on it.
As most of the country’s live entertainment is canceled for the foreseeable future, it’s all the more sad that “SNL” — which has returned in semi-full capacity with a live audience of paid first responders — is so unwilling to take risks in its premiere.