The early episodes of this Australian sitcom are patchy: misfit medical student Ashley and craft brewery owner Gordon (show creators Harriet Dyer and Patrick Brammall, respectively) meet not-so-cutely, exchange awkward advances, and begin to form a attraction that is not entirely plausible. . It’s a tonal comedy. “I don’t mean to rush you,” one will say, “I feel like you do,” the other replies obscenely. No punch is visible.
The antecedents are clear, whether it is the exacerbated injuries of Curb your enthusiasm or You’re the worst no scythe self-assessment. It’s stunning, complete with an incongruous visual palette. But what saves these half-hours is that, as Ashley and Gordon are crushed together, their neuroses and whining under their breath take flight when they react to delusional provocations.
The sixth episode, in which the duo share Ashley’s birthday with her wildly inappropriate mother Lynelle (Helen Thomson) and creepy stepfather Lee (Darren Gilshenan), has an explosive spirit that feels transformative. But that doesn’t make the previous episodes any better, nor does it advance the more serious issues the story wants to address. You’ll need what Ashley or Gordon comically lack: patience.
Directed in part by director Tim Burton, with some morbid baroque flourishes, this one The Addams Family the spin-off sends Goth daughter Wednesday (Jenna Ortega) to a supernatural boarding school. Luis Guzman and Catherine Zeta-Jones are briefly fun as parents Gomez and Morticia, but this is essentially a boarding school melodrama with a macabre sense of humor. Wednesday says all the right (or wrong) things, but the show’s bleakest idea is that they should try to make friends and fit in a little more.
If you prefer crime thrillers with warm fog, dream logic and a love desire that overwhelms the narrative, this American series set in a Mexican mansion on the beach is worth a taste. The ever-reliable Carla Gugino leads the cast, which is assembled when the house’s dead residents are quickly joined by a trio of thieves looking to hide from the heist, absurd hit-and-runs and ex-employees. The twists and turns of the entrance are numerous, but they feel less important than the charged glances and mutual hug of the bend.
You may know the headlines: a 2020 American sex scandal involving evangelical Christian leader Jerry Falwell Jr, his wife Becki and a boy at a Miami hotel pool — the telling detail being that Jerry liked to watch him. The back story adds both salacious detail and institutional hypocrisy, with director Billy Corben (Cocaine Cowboys) which features the downfall of all three through the testimony of former pool boy Giancarlo Grandi. The scope of this feature-length documentary is considerable—Trump’s presidential campaign and his former fixer are involved—but ultimately, it’s a reminder that, for some pleasure, it only exists with control.
Directed by Katerina Kliwadaenko and Mario Novas, this architectural documentary series explores the creative boom in Mexican design, starting with an episode dedicated to public buildings that include a cultural center, a reconfigured museum and an elementary school. How contemporary architecture can be in dialogue with buildings from the past is a recurring theme and is captured visually through precise panels and elegiac drone shots. The result is compact but telling: “here we take a risk,” explains an architect, “and you can see the result.”
* Stan is owned by Nine, the owner of this mast.
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