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Barry is a dark comedy about a depressed former Marine named Barry (Bill Hader) who has become a hitman following his military service. Through a series of accidental encounters and miscommunications, Barry ends up in an acting class run by the eccentric Gene Cousineau (Henry Winkler). Barry decides to leave the underground world of para-military assassinations and turn to acting. However, his shadowy past is not easily escaped.
I enjoyed season one of Barry and season two was even better. After a long hiatus, due to the Covid pandemic, I was keen to see where Hader and his writing team would take the ensemble cast in season three. It did not disappoint and season three is the best so far. In many ways, the show has moved from the easy comedy created by juxtaposing the emotionally empty Barry against a comedic ensemble cast. Taking a more artistically cinematic approach that the previous seasons, the focus shifts slightly from protagonist Barry, to the people around him as they come to terms with the chaos that the ex-Marine has brought into their world. (Season 3 Trailer)
The Boys is a subversive and irreverent take on the superhero genre. It takes place in a universe where super-powered people exist, but are owned, promoted and monetized by Vought Industries, a politically-connected, mega-corporation. Additionally, many of these “supes” have been morally corrupted by their elevated status in society, causing them to behave recklessly at best, and ruthlessly at worst – protected from consequence by their powers and Vought’s marketing and media-spin machine.
The titular “Boys” are a group of vigilantes who see Vought and the superheroes for who they truly are. Engaging in guerilla acts their goal is to expose the corruption behind Vought Industries and its army of superheroes.
It’s not for everyone. The dialogue is often coarse and the violence, although comically ridiculous, is tremendously graphic. However, the social commentary on and satirization of American jingoism is rich and thought-provoking. The show cleverly (but quite obviously) levels criticisms at corporate greed, political insincerity, the media, toxic masculinity, commercialism, consumerism and racism. Homelander, the main antagonist in the series, is played magnificently by veteran Australian actor Antony Starr. His performance in Season three is award worthy – but The Boys is niche television. And fantasy, science fiction and superhero movies are all but ignored by award selection committees. (Season 3 Trailer)
When I fheard HBO was going to air a ten-part mini-series on the evolution of the Los Angeles Lakers basketball team from the basement of the league to the dynasty it became in the ‘80s, I was intrigued. And when I learned one of my favourite actors, John C. Reilly was cast as the larger-than-life owner Jerry Buss, it became mandatory viewing.
My wife is not typically a fan of sports-themed television programs and she has no interest in professional basketball, leaving me to watch the first episode on my own. However, the clever directorial techniques used to tell this engaging story, are so well done I knew she would love it. She did and was equally riveted to each week’s episode.
Adam McKay, best known for his work on comedies, applies a variety of modern and antiquated camera technology to give sections of the series an authentic, late ‘70s feel. He also took advantage of Reilly’s quirky, charm in “breaking the fourth wall” to talk to the audience directly about his motivations and plans.
Sure, artistic and factual liberties are taken and some of the events are not “historically” accurate. But, this is a roller-coaster ride full of witty banter, colourful characters and clever filmmaking. Even if, like my wife, you know little about basketball or The Lakers you will be engaged throughout the ten episode series. (Trailer Season 1)
A black comedy with heart will always win me over. Tony (Ricky Gervais) has lost his wife to cancer and is bent on ending his own life. However, he promised to take care of their dog and rationalizes that until his demise, he can behave any way he wants. His choice to live unapologetically leads to hysterical and unexpected consequences.
Season one was a viewing feast and when an unexpected followup arrived in 2020, it delivered more laughs and several lump-in-the-throat moments to give your heart a warm glow. Season three brought the series to a magnificent end, tying a bow on the lives of the engaging and interesting characters.
In typical British fashion, each season is a tight, six-episode set, with a total running time of less than six hours. An easy, quick watch for sure. Again, the language can be ghost-pepper spicy at times and some jokes are crude and offside. However, it is juxtaposed so well with themes of positivity and kindness that these black marks are easy to forgive…or just enjoy, if you share my comedic sensibilities. (Trailer Season 3)
My tenth pick has left me in a quandary, so I am going to cop out and just list the entries I considered for this spot with a brief description. Each is excellent in its own way and, if you have the time, well worth watching.
Bad Sisters (Apple TV+)
Eva, Grace, Ursula, Bibi and Becka are sisters living in present-day Dublin. When Grace's abusive, controlling husband John Paul dies unexpectedly, the other four sisters find themselves being investigated by a struggling life insurance company run by two brothers convinced a crime has taken place. Dark comedy and plenty of twists and turns. This is a fun watch. (Trailer)
Marvelous Mrs. Maisel (Season 4) - (Amazon Prime)
The adventures of Miriam (Midge) Maisel continue as she develops her stand-up comedy craft in a 1960s America that isn’t quite ready for a female comic, especially one that is brash, outspoken and uses “colourful language”. (Trailer)
Russian Doll (Season 2) - (Netflix)
You’ll need to see Season 1 to better understand Season 2. The time loop premise used in the inaugural series is replaced by time travel. Protagonist Nadia begins to unravel a mystery that helps her better understand the generational trauma that has plagued her family for 80 years. (Trailer)
Station Eleven (Season 1) - (HBO/Crave)
Based on the novel by Canadian writer Emily St. John Mandel, Station Eleven is a captivating story told before, during and 19 years after a near-apocalytic swine flu has decimated the world’s population. Much of the story focuses on a nomadic group of actors who risk their lives for art as they roam the Great Lakes region performing Shakespeare for the scattered outposts of remaining humanity. (Trailer)
Shout Out to Yellowjackets (which has its moments and a terrific 90s soundtrack), and Star Wars: Andor (full disclosure, we started it in late December and haven’t finished it yet) As a Twitter chum recently posted - “It made me care about Star Wars again”.
The adventures of Miriam (Midge) Maisel continue as she develops her stand-up comedy craft in a 1960s America that isn’t quite ready for a female comic, especially one that is brash, outspoken and uses “colourful language”. (Trailer)
Russian Doll (Season 2) - (Netflix)
You’ll need to see Season 1 to better understand Season 2. The time loop premise used in the inaugural series is replaced by time travel. Protagonist Nadia begins to unravel a mystery that helps her better understand the generational trauma that has plagued her family for 80 years. (Trailer)
Station Eleven (Season 1) - (HBO/Crave)
Based on the novel by Canadian writer Emily St. John Mandel, Station Eleven is a captivating story told before, during and 19 years after a near-apocalytic swine flu has decimated the world’s population. Much of the story focuses on a nomadic group of actors who risk their lives for art as they roam the Great Lakes region performing Shakespeare for the scattered outposts of remaining humanity. (Trailer)
Shout Out to Yellowjackets (which has its moments and a terrific 90s soundtrack), and Star Wars: Andor (full disclosure, we started it in late December and haven’t finished it yet) As a Twitter chum recently posted - “It made me care about Star Wars again”.
What are your favourites?
