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Recent shows about the ethically challenged rich have emphasized their characters’ personality disorders along with the trappings of the high life. ” ‘Your Friends and Neighbors’ flips the formula, to unsatisfying effect,” @inkookang writes.

“If Hollywood still can’t resist telling stories about itself, it can at least strive for honesty about its flop era.” @inkookang writes about “Hacks” and “The Studio” and the guiding ethos of the two insidery show-biz series.

The first season of the Tudor-era drama “Wolf Hall” ends with Anne Boleyn’s decapitation. Season 2 ends with Thomas Cromwell’s. “The six hours of television between those two deaths are riveting,” @inkookang writes.

The new FX/Hulu miniseries “Dying for Sex” has a morbid, somewhat off-putting hook: a woman with terminal cancer looks to get laid while she still can. But the show is “also something of a Trojan horse,” @inkookang writes.

The first season of the Tudor-era drama “Wolf Hall” ends with Anne Boleyn’s decapitation. Season 2, which débuted on March 23rd, ends with Thomas Cromwell’s. “The six hours of television between those two deaths are riveting,” @inkookang writes.

“Dying for Sex,” the Michelle Williams-led series about a woman seeking erotic fulfillment amid a terminal diagnosis, starts off as an unorthodox comedy—then deepens into something far better. @inkookang reviews the new show.

“The Pitt,” a new Max series, is built on nostalgia and predictability. “It’s structured such that you know you’ll have your heart broken and mended several times per episode—it’s just a matter of how,” @inkookang writes.

This season of “The White Lotus” is “not quite dark enough to confront what happens in a country where foreigners can buy nearly anything they want for the right price, nor frothy enough to showcase the baroque weirdness of the wealthy,” @inkookang writes.

“The Pitt,” a new Max series, is built on nostalgia and predictability. “It’s structured such that you know you’ll have your heart broken and mended several times per episode—it’s just a matter of how,” @inkookang writes. https://t.co/3UeoPSlRCC

The new season of “Severance” seems to pull back from bleakness, losing itself in abstract ethical conundrums and rote emotional ones. “It’s far from a dissection of work and life as we know them; the incisions are only skin deep,” @inkookang writes.

I had a good time on It's Been a Minute, being very cynical about what it means that we keep killing our daddies on TV, alongside the always-brilliant duo @inkookang and host @bmluse. You can listen here: https://t.co/ccPTBVioBf

This year was an exceptionally weak one for television—until the arrival of a few late, great contenders. @InkooKang shares her picks for 2024’s best shows. https://t.co/MrCleervs6

With the new HBO comedy “The Franchise,” Hollywood gets the “Veep” treatment. The two shows are “united in a bone-deep cynicism that can be unexpectedly invigorating,” @inkookang writes.

In setting, subject matter, and theme, “Say Nothing,” stands “refreshingly apart from most other American programming, and its longitudinal account of political disillusionment makes it one of the year’s finest shows.” @inkookang reviews the FX drama.

The new FX/Hulu series “Say Nothing,” a nine-part drama adapted from The New Yorker staff writer Patrick Radden Keefe’s nonfiction book of the same name, looks head on at the casualties of the Troubles, and digs into the disquiet of the survivors.

NYC! It’s your last chance to get tickets for my talk with Bridget Everett and Amy Sedaris at @NewYorkerFest on Saturday, October 26th https://t.co/0ReCuzY7D9

Kinda wild that in the year 2024 Max is still so buggy I cannot turn off audio description for multiple videos .

I would not have guessed a miniseries written and directed by Alfonso Cuarón and starring Cate Blanchett to be one of the worst shows of the year, but life is full of surprises.

when you think you’re a Jim but you’re actually pure Dwight

Apple TV+’s soi-disant succession drama, “La Maison,” is “more diversion than art, but what diversion,” @inkookang writes. “The ensemble soap is as bitchy and as backstabby as you could hope for, replete with bons mots and campy self-importance.”