South Korean media excels at the revenge plot. Here are seven shows you can stream right now to get your fix.
The most tweeted about show of the decade, “Euphoria” provoked viewers to gossip about its teenage characters. What did they say?
“We can ask why Squid Game was so popular. But really we should be asking how any show becomes a global success at all.”
“The Other Two” and a spate of recent comedies claim to mock celebrities while juicing their star power for references and cameos.
TV can’t reboot its way out of its past errors, any more than an individual can fix their past trauma by reliving it, over and over again.
The show’s white, middle-age, upper-class liberals clumsily realizing their privilege are an accurate mirror of some of its viewers.
“Picard” is perhaps the least utopian of any “Star Trek” media. But’s that because its political pragmatism shows how to build a better reality.
“Star Trek: Picard,” “And Just Like That…,” “Bel-Air,” “Reboot”: even within our age of the reboot, old stories offer new insights.
A work of absurdist art that entertains, but also carries a surprisingly grown-up message about taking responsibility for the state of our politics.
Shows like “The White Lotus” distract us with progressive politics, while stealing our eyeballs for the very people the shows lambaste.
The show explores the phenomenon Lauren Berlant called “cruel optimism,” where “objects you desire are obstacles to your flourishing.”
Interview with the Vampire uses vampirism to reveal fantasies & fears of the social contagiousness of interracial & homosexual desires.
Pamela Adlon reveals the mundane project of motherhood to be vast, fluid, and fascinating in its own right.
A behind-the-scenes look at what Public Books editors and staff have been reading this month.
The family as we know it today functions to further isolate trans children from trans women and vice versa. Thank goodness for TV.
Does Netflix’s “Lupin” resist the notoriously white milieu of European high culture, or, instead, endorse it?
Autofiction like Burnham’s—or Wallace’s, or Lerner’s—show white men using irony, self-deprecation, and vulnerability. Should we listen?
Anyone who has been called a bitch-witch might have predicted the show’s big twist: there is absolutely no right way to wield your power.
Making food joyful—even while educating on food insecurity—is a tall order for a children’s show. But Waffles + Mochi is a show like no other.
At its core, noir is a feeling: realizing one’s own helplessness, when faced with the vast networks of power that control everyday life.