Sophie Gilbert

The new Hulu film about an atrocious moment in ’90s television is shocking, but revelatory.

In its third season, the show faces the failures of late-night comedy head-on.

The artist is an extraordinarily powerful woman who still, somehow, feels like she has no real power at all.

The third-season episode “The Sign” seems to point to an ending of sorts for the hugely popular Disney show.

The small screen is offering up heroes who are resolutely alienated, driven to acts of violence that they don’t want to inflict and can’t enjoy.

Jackson Lamb’s island of misfit spies is the best place on television.

The year’s most essential series

In a second Trump term, women would once again be targets.

The writer’s deeply emotional architecture is made dully explicit in a new adaptation of The Buccaneers.

With Promising Young Woman and now Saltburn, Emerald Fennell is turning recent history into gleaming poisoned fantasies.

The director’s renditions of the famed author’s short stories ask us to think actively—even skeptically—about what we’re seeing.

The artist is always one step ahead—and has a unique power to scandalize each generation anew.

A new four-part documentary on Apple TV+ celebrates the era of the supermodel without interrogating what it meant for the rest of us.

The former TV host and actor was a mascot, at best, for a media culture that routinely dehumanized and hypersexualized young women.

The series should capture the wild ambition and tense charms of the TV business. Its leads don’t telegraph any of that.

Despite its ludicrous storylines, And Just Like That manages to get something right about modern parenting.

After his wife died two years ago, Richard E. Grant began to film himself talking about his bereavement, creating a remarkable record of life after loss.

The Starz comedy Minx and the recent podcast Stiffed illustrate the difficulty of commodifying what women want.

A guide to the best under-the-radar series from this year, available on a streaming service near you

In its second season, And Just Like That seems constrained by its fear of being conventional.

What to make of two strikingly different series finales—and worldviews

Happy Valley’s Catherine Cawood is that rarest of TV unicorns: an ordinary woman written with such care that she becomes extraordinary.

A new Netflix documentary offers glimpses of the tabloid star but fails to reckon with the forces that ruined her.

In the penultimate episode of Succession, the warring siblings find themselves exposed to the chaos they stoked.

Emma Straub’s This Time Tomorrow captures grief in all its forms.

On Netflix’s The Diplomat, relationships and geopolitics are similarly hard to wrangle.

Alice Birch has brought her scabrously funny writing to shows such as Succession, Normal People, and now Dead Ringers.

Notes on a jaw-dropping development

What happens when stories start to break down in the face of relentless human failure?

In the premiere of its fourth and final season, the HBO show offered familiar beats but also a hint of a new direction.

What right do women have to tell their side of the story?

The Nobel Prize–winning author’s work has long had a symbiotic relationship with cinema. His Oscar-nominated film, Living, is the logical next step.

What we lose when intimacy gets added in postproduction

Accused turns a British series about the powerless into an exploration of anxiety among the privileged.

The model and actor drove men wild. She’s still enduring the consequences.

Natasha Lyonne is extremely fun to watch as a crime-solving waitress on the run.

Netflix’s new adaptation of Elena Ferrante’s 2020 novel is a striking, moody show about the contours of deceit.

The most comforting shows to watch during the coldest season

The year’s most essential series

Even for a show that has seemed dubious about human nature, Season 2 ended on a cynical note.