The TV will not be turned off. Given the ongoing emergency — not the destruction of American democracy, another — the media produced a substantial number of first-rate shows in 2021, and there is no sign of the dilemma of producing them. Almost everyone sees the pandemic as a past event or other reality altogether. Whether this is a good social policy is hard to say, but it is surprisingly easy to get used to this unrestricted other world, where people can conduct business at close range without wearing a mask and relaxing. This may be an illusion—Hollywood’s COVID agreement seems to be stricter and better enforced than the police department—but this is their business, and each show below has real things to say about who we are or may become Who, mainly for the better, to be who.
As always, my list only includes shows that debuted in the past year.
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Seminole member Sterlin Harjo and New Zealand native Taika Waititi ("What We Do in the Shadows") created this rich, extraordinary, sweet and furry comedy set in the tribal lands of eastern Oklahoma. Focusing on four teenagers who want to take the opportunity to get out of the city, mixing ordinary local details with a drop of silly magical realism; taking you to a place where TV has never been before, no big deal; avoiding the usual sensationalism of screen adolescence The metaphor, while capturing its subtle romanticism. (Read our full review.)
Diversity takes many forms, and it is gratifying that two comedians in their 70s — Steve Martin and Martin Short who co-created the show — brought popular hits, It makes people feel energetic, young and energetic away from age. The young Selena Gomez (Selena Gomez) became a perfect third partner, telling a mysterious story about a mysterious person, and with all the misleading of Agatha Christie's novels. Better than the real crime podcast that inspired it. (Read our full review.)
Magnificent, quirky cartoon epic, comedy but truly suspenseful and completely from the heart. For all the teamwork animation needs, these two series are very personal. Craig McCracken's ongoing "Kid Cosmic" applies sketchbook aesthetics to the story of the desert truck stop community fighting forces from space. Jorge Gutierrez's amazing limited series "Maya and the Trio" overcomes the aesthetic defects of CGI animation through the creator's crazy design, and is an original creation of the gods and legends of Central America At the turning point, the love story is wrapped in the apocalypse.
Sports documentaries as a journey of self-knowledge. "100 Foot Wave" followed the maverick surfer Garrett McNamara to the Cape of Portugal, seeking to experience the wildest surfing in the world in his middle age; family, community, age, responsibility, courage and age were the main themes. "Naomi Osaka" provides an intimate, impressionistic view of the tennis genius as she shuttles between the demands of the court and the pop culture superstars on her way to adulthood.
The problem of wealthy white people. (Money can’t buy happiness, as an old saying goes.) Smart writing and outstanding performance-especially Jennifer Coolidge's performance in "Lotus" and Jean Smart's performance in "Hacker"- Make these shows always eye-catching even when the people in them are driving you crazy. Mike White's "White Lotus" found a group of avant-garde vacationers wandering in a tropical resort. "Hacker", whose main character sacrificed his life for his career, is a hateful love story of a generation. Smart plays a Vegas comedian who needs to be charged. Hannah Einbinder, as a young writer, also needs to be charged. , Send her to charge.
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Intelligent and pleasant. This well-crafted, perfectly calibrated home entertainment may represent countless works built on the enduring foundation of the "bad news bear," but it is largely its own complex and cute creature. John Stamos (John Stamos) played a successful men's college basketball coach, his temper brought him back to supervising the high school women's team. This is the perfect role for Stamos, who has long dealt with characters whose charm has weakened their maturity. Together with the popular Yvette Nicole Brown and many talented young actresses, find a real person in your genre.
Co-starring Wanda Sykes and Regina Y. Hicks created this seemingly subtle multi-shot sitcom, reminiscent of the 20th century working-class comedy tradition-these are not Huxtables-but contemporary Cheeks and problems. Kim Fields and Mike Epps are half-suited couples at the center of children, children's children, sloppy relationships, and weird work partners. (Read our full review.)
Based on but not fully benefiting from Emily St. John Mandel's highly regarded 2014 best-selling novel, this post-apocalyptic story of the coming of his old age tells the things that are worth keeping and the possibility of staying. The settings of the following things are roughly the same, and 20 years later, an epidemic killed most people on the planet. (The shooting started right when our own pandemic began.) Sometimes absurd, heavy reliance on coincidence can trigger some viral anxiety, it is also very beautiful, cherishing stillness and reflection — and Shakespeare — more than action and chaos.
The reclusive former musician and actor John Lurie painted exquisite watercolors and told the story of his life in his home on an unnamed Caribbean island. He is still rolling tires in the garden, crashing the drone at the end of the film, and gibiting with help, and in this one-off art work that cannot be classified, irresponsible, self-directed, and most likely a series Pretend to be an elephant: titled "The End". (Read our full review.)
Peter Jackson's "Lord of the Rings" trilogy re-edited the final Beatles film. I have a problem with editing-too many editing, usually obviously unrelated reaction shots, just to put the shots in, and Jackson may easily take a long time to maintain intimacy. However, the cumulative effect of the day-to-day creation of the Beatles’ penultimate album and the last album is a powerful story about shared history, different paths, and love. You only need someone to sing it.
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Robert Lloyd has been a television critic for the Los Angeles Times since 2003.