SB Heidi Gutman/Peacockįrench director Olivier Assayas turning his revered 1995 film into a television miniseries is exactly the kind of thing the characters of said miniseries would relentlessly mock. It's a show that hasn't been talked about too much this year, likely because of its somber subject matter, but it's a rare entry into the bloated true-crime genre that feels exceptionally human. Elle Fanning is excellent as Carter and she, along with the fascinating way that the show wrote in its many YA references, challenges expectations of the case and paints a complex picture of teen tragedy. While it's difficult to watch and does drag on with 40-minute episodes, its sensitive approach in dramatizing what Roy was going through, his family's grief, and Carter's own experience that was seldom examined in the media makes it compelling and nuanced. Chronicling the events around the infamous "texting-suicide case"-in which Michelle Carter was convicted for involuntary manslaughter because of texts she sent to her 18-year-old boyfriend Conrad "Coco" Roy before his death by suicide-the series dares to try to understand all the intricacies of the story. The case explored in The Girl from Plainville is a very complicated one. There is never a moment that you don't want to fasten your seatbelt for more of this character study and John le Carré-inspired romp. It's also just as much about Cassie trying to face her alcoholism and familial trauma, pushing the excellent Cuoco into even more multifaceted material. Her friend Megan (Rosie Perez) is also in hiding for her own illegal wheeling and dealing with North Korea, which means there's bounty hunters running amok and episodes featuring gal pals/associates in crime trekking across Iceland (which really is peak television!). Obviously, her curiosity gets the best of her and she winds up not only witnessing another murder, but a mysterious lookalike impersonating her. After Cassie's (the very charming Kaley Cuoco) whirlwind experience tracking down a killer, she's taken on a secret gig as a civilian asset with the CIA. But because the series is essentially a page-turner airport read in the form of a TV show, more episodes with spy adventures are very welcome. The Flight Attendant got the Big Little Lies treatment after its successful first season (being that it's based on a self-contained novel and was greenlit for more). In the Season 6 pivot, Billions is flashing its hand: There are no good billionaires, and even seemingly clean philanthropic money can still feel dirty. In a bid to bring the 2028 Olympics to New York City under the guise of "revitalizing" the city-which includes an enviable new subway prototype-Prince's motives behind his do-gooder façade show off a side of Billions more interested in the moral ambiguity around wealth than ever before. It turns out that Billions can be just as sharp when it's focused on a different billionaire, a benevolent-presenting egomaniac in Corey Stoll's Michael Thomas Acquinas Prince, especially when the cast around him, i.e., Asia Kate Dillion, Condola Rashad, and Paul Giamatti as always, are turning in reliable performances. Kerensa Cadenas Merrick Morton/HBOĪfter Billions' Season 5 finale revealed that Damien Lewis would be leaving, we wondered how the Showtime series would fare without the manic energy of his hedge-fund shark Bobby Axelrod to push things forward. It's a shame we're only getting one more season of television's most boundary-breaking shows. Atlanta has always embraced using the medium to tell one off stories, and this season continues its bottle episode tradition to examine themes about whiteness that, by the end of the season, seemingly connect. The gang navigates Paperboi's new found fame through fans and producers, designer clothing, and racial negotiations. That doesn't mean it's a watch that goes down easy-still one of the best actors on TV, Brian Tyree Henry's Paperboi has finally "made it" and half of the season's episodes follow along with the European leg of his tour. Even with the overwhelming glut of television programming that has happened during the FX's critically acclaimed series's absence, it still remains leaps and bounds ahead of the majority of what's currently airing. After a nearly four-year hiatus, Donald Glover's surrealist comedy Atlanta finally returned to the small screen.
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