Somewhere among my family’s mementos there is a photo, which I will make certain you will never see, of me in the early ’80s, wearing a goofy smile, a prodigious bush of hair and a T-shirt with the block-lettered slogan, “ANTI-PREPPIE.”
“Orange Is the New Black,” finishing its seven-season run on July 26, was big. Big in its reach (presumably, though actual viewing figures for Netflix series are still an occult mystery). Big in its influence, as one of the first genuinely original programs in the new medium of streaming. Big in its ambitions to represent faces and situations that had been left off TV screens.Kenya The New York Times entertainment18 Aug 2024
“Fosse/Verdon” looks fantastic. Typographically, I mean. The title, set in a so-’70s sans serif typeface that echoes the poster for the movie “All That Jazz,” announces this FX miniseries, starting Tuesday, as a work with flair and attention to detail, for enthusiasts and connoisseurs.Kenya The New York Times entertainment17 Aug 2024
When Rod Serling opened “The Twilight Zone” for business in 1959, it was a single, specific location. He defined it, in his signature Professor Spooky voice-over, as a place between light and shadow, science and superstition — you know the drill.Kenya The New York Times entertainment17 Aug 2024
A key difference between movies and TV series is their relation to mortality. When a movie becomes a TV series, the creators must adapt a finite story into one that can unfold indefinitely. A movie, as a rule, must complete a world; a series must keep building one. A movie must end (at least until the sequel); a TV series must proceed as if it might never die.Kenya The New York Times entertainment17 Aug 2024
When Ricky Gervais comes out with a new project, the big question is: Which one of him made it? There’s Bad Ricky, the smirking cynic who revels in shock and insult and “<em xmlns="http://www.w3.org/1999/xhtml">Sorry</em>, did I <em xmlns="http://www.w3.org/1999/xhtml">offend</em> you?” And there’s Saint Ricky, the sentimentalist sad clown, who favors pathos and big emotional windups set to Cat Stevens.
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