When this millennium ends, they’ll look back and say Netflix was one of the best things to happen in the 2000s. Netflix showed us that it’s possible to watch Breaking Bad in under a week and gave us unlimited access to content from any screen we could find. As much as we love it, the cable companies and television networks hate it because Netflix is siphoning their subscribers and their audience at an alarming rate. The only reason Netflix is capable of this is because they continue to invest in enough original content to compete with several channels.
Netflix knows they need more than just a couple of hit comedies and a few hit dramas; they must greenlight various sub-genres like comedy specials, sign bankable talent like Adam Sandler to multi-project contracts, and consent to huge budgets for shows like The Defenders. In other words, Netflix won’t win the war for viewers by outbidding only CBS or Showtime. They need to accumulate a library of content more valuable than every network and premium station, combined.
While Netflix continues to eclipse the cable networks like the alien ships from Independence Day, we the viewers reap the benefits in the form of must-watch television like Stranger Things. More than that, Netflix offered a second-wind to old favorites like Arrested Development and Pee-wee’s Big Holiday. Shows and movies like these are proof that Netflix offers quality; however, the streaming service earned a reputation for also making shows like Hemlock Grove, which should never happen. If someone working for a network like NBC okayed Iron Fist, they’d be properly fired and blacklisted; but Netflix doesn’t feel the same repercussions because it operates without time slots – there’s no limit on time available for an “a la carte” streaming service.
24. The OA Is Insufferably Boring
If The OA had a heartbeat, it would be dangerously low. Without exaggerating, there is an entire ten-minute long sequence with almost no dialogue or score as Brit Marling makes and eats a sandwich. You get lost in the plainness. It’s like the waiting room at the doctor’s office, a place where people and things just be and the only actions are thoughts. The characters lack charm and Jason Isaacs is a bleak villain without clear motives. They’re each too self-aware to grant the viewers a chance to have expectations – we don’t hope things happen to Prairie Johnson, we just watch stuff happen to her and do our best to make sense of it.
In a way, The OA is a failed attempt at intellectual, hard sci-fi with odd transitions in and out of magical realms that we’re supposed to interpret as metaphoric in some unknown way. Instead, it’s more like we’re picking-up what’s left of our campsite after a bear attacked it, trying to make sense of what to do next. The best thing for season two is to make it a short music video for a Bjork song.
23. GLOW Made Us All Wrestling Fans
Everyone’s been in love with Alison Brie since Mad Men and Community. With roles in two upcoming Academy Award candidates (The Post and The Disaster Artist), the Cali girl is on a hot streak, and rightfully so. Brie’s most exceptional accomplishment might be her role as Ruth Wilder in GLOW (the Gorgeous Ladies Of Wrestling). GLOW is a realistic look at what’s sometimes considered the most fake sporting event known as amateur wrestling. Brie plays a noteworthy antihero as the pretty, starving actress who would conventionally fulfill her dreams of stardom, but instead she turns out to be self-absorbed and a bit of a jerk. The performance earned her a Golden Globe nomination. In addition, Marc Maron deserves a nod as the weathered wrestling manager and failed B-movie director, Sam Sylvia. Each of the characters are so unique and well-developed that GLOW makes viewers become real fans of the different lady wrestlers in the league. In the end, you’ll learn that wrestling is as real as it gets and you’ll wish the Gorgeous Ladies Of Wrestling still existed, especially if you long for the Golden Age of wrestling during the eighties.
22. Nobody Will Miss The Ranch
As a show runner, it’s difficult to succeed amidst the flooded world of situation comedies even with the best premise and the most talent. That said, The Ranch wouldn’t cut it if it were the only sitcom on television. Sometimes Netflix outbids for the better content; other times, the streaming service ends-up with the networks’ leftovers. This Jim Patterson series includes a bankable, proven cast in Ashton Kutcher and Danny Masterson; however, both performances are derivative, monotonous versions of their characters from That ’70s Show. At its best, The Ranch offers witty banter between stereotypical salt-of-the-earth types. At its worst, it makes you forget that Debra Winger is a three-time Oscar nominee – it’s just better that way. For Netflix’s sake, it made sense to go after a more conservative, country-folk demographic, but the jokes are so dependent on corn-fed punchlines that The Ranch does more to pick-on the working class than it does to appeal to them. Fans of That ’70s Show will at times find a silver-lining in Masterson and Kutcher, though it’s an inadequate reunion, overall.
21. We’re Hooked On 13 Reasons Why
With so many YA film adaptations like The Hunger Games and Gossip Girl, it’s hard to stand out to such a picky, high-demand demographic. Look at missteps like the overpriced Divergent Series or Golden Compass and you’ll understand how desperate studios are for a hit series like Harry Potter. When they’re good, they’re great, and the Selena Gomez produced, Jay Asher adaptation, 13 Reasons Why is groundbreaking. More than just another look into some suburban town’s high school, there are many reasons why Reasons was the most tweeted about show in 2017, but it was mostly because of the cast. Dylan Minnette and Katherine Langford as the guiding characters are genuine, thoughtful, and they nicely integrate with the supporting cast. Instead of depending on the High School cliches, Reasons provides a deeper, more insightful approach to adolescent struggles and unapologetically tackles hard issues. Creator, Brian Yorkey explores the darker sides of teenage memories with plenty of betrayal and destruction – this isn’t CW channel junk food.
20. It’s Difficult To Accept Real Bob As A Real Show
There was a short stint in time in which we enjoyed Rob Schneider in classic roles like Deuce Bigalow and The Hot Chick. In hindsight, these films were only successful because they were released during a vulnerable moment in comedy history. More specifically, the bar for comedy was set pretty low in the 90s before superior stuff like Zoolander, Wedding Crashers, and Anchorman were released. Rob Schneider basically banked on the tail-end of the Adam Sandler era, so it makes sense that Schneider followed Sandler to Netflix. At least with his older movies, there was a cast and crew that seemed to try. In his newest venture, Real Bob, Schneider plays himself in meta fashion such as shows like Maron, or Curb Your Enthusiasm.
Schneider writes, directs, and stars in the series so everything wrong with this is either his fault or whoever let this toddler take the wheel. It’s difficult to determine whether Real Bob fails due to Schneider’s lack of technical skill behind the camera, a lack of effort spent producing, or if Deuce just isn’t funny enough by today’s standards. There’s too much wrong with Real Bob to turn Schneider’s career around; his best move would to patiently wait for a small role like Chris Tucker did in Silver Lining’s Playbook (hopefully, Rob can dance).
19. Royalty Is So Hot Right Now With The Crown
Netflix made a big move by landing Peter Morgan, the creative mind behind great historical pieces like The Queen and The Last King of Scotland. Morgan’s latest project, The Crown, is equally worthwhile and officially joins an elite list of shows that push the boundary for Netflix, standing toe-to-toe with shows like Ray Donovan and Breaking Bad. Season two wasn’t quite as strong as the first; it drew too much attention to Prince Phillip (Matt Smith) when it’s the Queen we really want to see. Nevertheless, there was plenty of Claire Foy to go around, just not enough to beat Elisabeth Moss for the Golden Globe, this year. The Crown is remarkably fulfilling, but the real reason we can’t get enough of the period-piece is largely due to anticipation for the new cast in seasons 3 and 4. The role of Queen Elizabeth II will be picked up by Olivia Colman, who’s proven capable in the crime-drama, Broadchurch. Even more exciting is that Vanessa Kirby is passing the torch to Helena Bonham Carter to play Princess Margaret. It’ll be a new show with fresh talent from the creative team. What’s more exciting than that?
18. No One Likes Marvel’s Iron Fist
Daredevil, Luke Cage, Jessica Jones, and Iron Fist make-up Marvel’s Defenders, and while the former three series are well-integrated lead-ins for the vigilante team, the latter only serves as an afterthought. Iron Fist isn’t just bad because Finn Jones delivers a performance so flat that it looks like he forgot they were filming; this show was destined to flop. Creators, Scott Buck and M. Raven Metzner (the geniuses behind stuff like Elektra), ignore the origin of Danny Rand and expect viewers to care about him or his powers without understanding what they are or where they come from.
Bottom line, if you’re going to have some kind of monk-ninja make throwing stars out of tin-foil that are strong enough to cut through steel, then you’re responsible for telling us how and why. Like so, viewers are haphazardly tossed into estranged set locations and the scenes of tension are so dependent on the soundtrack that you’d think they scored Iron Fist before they shot it. Though we still must endure Danny Rand on The Defenders, hopefully Netflix cancels the character’s solo show, and nobody hires Finn Jones ever again.
17. Grittier Is Better On The Punisher
One of the most underrated movies of the 2000s was Jonathan Hensleigh’s, The Punisher. In it, Tom Jane played Frank Castle and John Travolta played a proper villain as the tyrannical Howard Saint in the first good R-Rated superhero movie of the millennium. You can’t avoid the fact that some comic books happen to be violent, and PG-13 versions of such are never well-received. Ryan Reynolds debut as Deadpool in X-Men Origins: Wolverine was universally trashed by the comic book community for that very reason; this is what exposed the demand for the proper, ultra-violent Deadpool reboot made later. Steve Lightfoot’s version of The Punisher for Netflix doesn’t skimp on the brutality, either. Don’t be deterred by the fact that the Defenders were restrained, because this show is exceptionally violent, like Robert Rodriguez, Eli Roth violent. Also, Jon Bernthal checks all the boxes for an authentic Frank Castle whose only superpower is being tougher than everyone else. We can also enjoy a stellar performance from Girls’ Ebon Moss-Bachrach as Castle’s sidekick, Micro.
16. Who Asked For Trailer Park Boys: Out Of The Park?
Trailer Park Boys is a Canadian television series created by a comedy troupe of the same name, made up primarily of Robb Wells, John Paul Tremblay, and Mike Smith. The series premiered in 2001 and ran until 2008, until the trio purchased the rights to the show and brought new episodes to Netflix in 2014. There have also been three movies, touring shows, and several specials, so it’s safe to say there’s a good amount of material. As a result, the Boys may be spread too thin because this time they miss by a mile with Trailer Park Boys: Out of the Park.
Instead of their usual script-based content, Out of the Park is done in some sort of mockumentary style like Jacka*s without stunts or Amazing Race without a race. At times, the three guys are worth a chuckle, but applying their personalities to the real world comes off as artificial as they break character often. Any dull moments are filled with recycled jokes from the original series. I mean, you can only laugh at Julian not dropping his drink and Ricky being out of it so many times before the show becomes white noise. For diehard Trailer Park Boys fans, it’s even worse. The spin-off only discredits the characters as you watch them desperately reach for awkward jokes that barely land. On a better note, the regular series is still going strong and they just released their twelfth season, so whatever remaining fans they have can snack on that.
15. Big Mouth Is The Cartoon We Never Knew We Needed
Nick Kroll and John Mulaney recently garnered a lot of attention on Broadway for Oh, Hello, and they’re keeping up with high expectations with the Netflix original, Big Mouth. Along with Mulaney and Kroll, the animated series is voiced by a supporting cast of comedy A-Listers including Fred Armisen, Maya Rudolph, and Jordan Peele. Big Mouth takes you back to your most embarrassing memories as a thirteen-year-old. The mature cartoon approaches every awkward junior high moment in a hilarious and filthy way that you can’t get enough of. Besides wildly creative, the cartoon about puberty is a great example of how to apply the same archetypes of other cartoons like Family Guy and The Simpsons while embracing the ability to be R-Rated on Netflix. In other words, Big Mouth is everything that F Is For Family is not, yet it’s also more imaginative than most animated series – it’s thoughtful, imaginative, and strikes real, familiar chords. Now that the comedy duo has succeeded with Broadway, sketch comedy, scripted series, standup, and animation, all that’s left is puppets and another Team America: World Police style film by Mulaney and Kroll would probably be gold.
14. Disjointed Was An Epic Fail
Because Netflix casts such a large net to cover every genre, it’s no surprise that they’re gunning for the network sitcom market. So far, Netflix’s comedy department only scores with reboots or sequels of yesterday’s network hits like Arrested Development, Wet Hot American Summer, and Fuller House. Having said that, the Kathy Bates-led, multi-camera bag of garbage known as Disjointed serves as proof that Chuck Lorre is capable of failure and his kryptonite is either Netflix or illegal substances. As good as Bates is, she couldn’t make this even barely engaging. In a small effort to be groovy, Disjointed explores third-person omniscience in the same fashion of Beavis and Butthead’s meta approach of watching them watch music videos, except Beavis and Butthead were cool and Disjointed is superbly lame.
Silly shows like this are setting a new standard of inadequacy. Chuck Lorre failed to disguise Disjointed as a way to reach a new demographic, because this is just a way to make fun of a different group of people to Lorre’s already existing audience. It’s a feeble attempt to capitalize on a trending topic with a loose understanding of it, at best. You learn nothing, won’t laugh, and couldn’t care less. Predictable punchlines are lobbed at you like softballs; you WILL fall asleep during this show.
13. Love Is Dysfunctional And Addictive
Judd Apatow has a way of making shows and films genuine, and that same empathetic quality we saw in Freaks and Geeks is what we get from the dark comedy, Love. Love stars Community’s Gillian Jacobs as Mickey and Paul Rust as Gus – Rust recently co-wrote Pee-wee’s Big Holiday with Paul Reubens. Gus and Mickey are perfect for each other, but their fears and idiosyncrasies pull them apart as you root for the former outcome. Gillian plays a sarcastic, cynical, free spirit and Rust plays a type-A, nerdy, aspiring screenwriter. They play it so well that you befriend them immediately and you suffer with them when they mess up. You’ll be tempted to fast forward just to see if they’re together at the end. Regardless of the result of their potential relationship status, we’ll take as much of the LA couple we can get. After all that praise, the real show-stealer might be Claudia O’Doherty, who plays Mickey’s gleeful roommate, Bertie – her joyous attitude becomes essential for balancing Gus and Mickey’s uncouth demeanor.
12. There Are Dozens Of Shows We’d Rather Bring Back Than Fuller House
Without Netflix, the Full House sequel so cleverly titled Fuller House, wouldn’t happen. The reason Fuller House couldn’t exist on a network is because the place for it no longer exists on television – T.G.I.F. is over and there’s no longer a cast of complementary shows to support each other. Since the days for shows like Step By Step and Family Matters are over, it’s safe to assume that nobody wants them back. The idea for Fuller House was already officially ridiculous, and then you learn that John Stamos, Bob Saget and Dave Coulier are barely on the show. Eventually it becomes clear what creator, Jeff Franklin, is trying to do – derive a new show for a previous audience, but the old audience is too old for this show.
The nostalgia wears off quickly – basically the second the opening credits end. There’s no avoiding the fact that your favorite characters aren’t really on it and Stephanie, D.J., and Kimmy don’t stand a chance at carrying a show without them. In a flawed attempt to replace the Olsen Twins‘ character, Fuller House offers a handful of child actors that are strikingly forgettable. The rest of the cast references their character Michelle several times to the point that it becomes transparent they’re begging for an Olsen to cave in and join the show. It’s humiliating. As for the end goal, we get it. They want to update the Full House family to fit into today’s culture. Too bad everyone’s already moved on to Modern Family.
11. It’s Worthless To Wait For Something To Happen In Flaked
In the Netflix comedy, Flaked, Will Arnett is a trendy womanizer named Chip, and Chip accidentally took someone’s life while driving under the influence, so now he’s a recovering addict that rides a bike around Venice Beach. If you’re wondering how Flaked manages to make the audience empathize with such a character, don’t, because it doesn’t. The oxymoronic series is an on-the-surface look behind-the-scenes of AA meetings, but uses victims of addiction as a sympathetic crutch to support weak writing. Watching Robert Wisdom as the boilerplate mentor/trying to persuade Chip to be better is like watching a mall cop yell at a thirteen-year-old boy.
Without spoiling anything, I’ll say there are a few twists and turns to this show, but they do nothing but damage whatever integrity the show has left by the time you get to them. In other words, you can sense just how lost the writers were as they were probably picking plot points by throwing darts in the dark. Worst of all, Flaked takes itself very seriously, offering long takes, jeering dialogue, and a soundtrack of totally “with it” indie tracks that make Venice Beach seem like a giant hipster coffee house – if you haven’t been there, then know that Venice is nothing like whatever this is.
10. We Get The Best Bateman In Ozark
After Bloodline concluded, Netflix was suddenly down a show about a dangerously dysfunctional family that’s also involved in a mystery. Like magical wizards, Mark Williams, Bill Dubuque, and Jason Bateman filled the void left by Bloodline with Ozark, and after season one, it looks like this modern crime drama could be even better. Laura Linney is great as Wendy Byrde, but Bateman was never better than he is in the role of her husband, Marty. It’s as if every other one of his roles was leading up to this one. Marty is a careful balance of stoic yet sarcastic, all-knowing yet risky, well-intentioned yet unlucky – this performance justifiably earned him a Golden Globe nomination. The reason Marty works so well is because the writers of Ozark crafted well rounded characters and a story with an abundance of conflicts and plot twists – you’re kept on your toes with this. One of the biggest upsets at the Globes this year was passing-over Julia Garner for her performance as Ruth Langmore. Every moment with Ruth is mesmerizing; expect at least a nomination for Garner for this role, next year. We should also note that Ozark ties off loose ends, and doesn’t depend on conventional cliffhangers to end its first season: we’re invested because this is genuinely satisfying television.
9. Lady Dynamite Is No Leading Lady
Maria Bamford is a veteran in the comedy scene, but she’s restrained in her consistent roles as a side character. If you aren’t an established fan of Bamford from her standup, then you’ll likely find the Netflix series, Lady Dynamite, a bit off-putting. To its credit, Dynamite is oftentimes whimsical and joyous – it’s like Tim and Eric in the sense that it finds humor in the uncomfortable, except this doesn’t push the boundaries as much as it confuses them. Lady Dynamite was recently canceled, but Netflix needs to be careful making similar shows like it in the future.
From a business perspective, Netflix’s comedy department (if there is one) is smart to put their eggs in more than one basket by investing in obscure visionaries and unconventional indies along with the blockbuster multi-camera sitcoms. It makes sense to assume that Netflix stock becomes more worthwhile if they’re across the board when it comes to genres, because a wide range of shows certainly makes the subscriptions more valuable. Nevertheless, the streaming service needs to be more careful not to spread themselves too thin by forgetting that weird shows like Lady Dynamite aren’t as popular as familiar ones like Grace and Frankie.
8. We Hope There’s More Of Master Of None
Aziz Ansari first gained attention in the documentary-style sitcom, Parks and Recreation, and his popular standup specials hinted at the comedian being more than just another comedy actor. That being said, nothing prepared us for Ansari’s recent series, Master of None. The millennial generation of comedy talent is gradually making their presence known on television with shows like Broad City, Search Party, and Love. Master of None is an honest look at the life of a dreamer named Dev who does his best to look at life, love, relationships, race, religion, and gender through a lens of fairness and awareness. Joining Ansari is the always eventful Eric Wareheim as his buddy, Arnold.
Dev and Arnold offer the same humor you’d expect as fans of their previous roles, but the tone of the series gives you the sense that you’re actually spending a day in the life of these two actors real selves. More than that, Master of None combines its realism with homage to historical filmmaking as Dev rides his bicycle through Italy amidst long takes in black and white – Ansari doesn’t quite meet the requirements to be taken seriously like a De Sica film, but he deserves credit for trying to push the envelope in an effort to combine comedy and art.
7. Santa Clarita Diet Thinks Zombies Are A Joke
If you’ve always thought that The Walking Dead wasn’t funny enough or The Goldbergs wasn’t gory enough, then Netflix has got the show for you. Santa Clarita Diet stars Drew Barrymore as a zombie housewife named Sheila, and Timothy Olyphant plays her still-living husband named Joel. The tongue-in-cheek tone of SCD is most comparable to that of HBO’s True Blood. True Blood sparingly used campy moments to approach the idea of vampires existing with people out in the open, but True Blood didn’t depend on this campiness.
TB was wildly popular because it was intense, exciting, and included captivating characters with fascinating conflicts. SCD on the other hand, takes True Blood’s subtle joke about “those who have passed getting along with the living” and turns it into one long-running gag that makes up the backbone for a commonplace suburban landscape. As the zombie wife, Barrymore is still charming at times, but watching her in some gory scenes is just plain gross. In the end, Santa Clarita Diet expects the audience to chalk off whatever isn’t explained (which is a lot) as simply, “this is what happens if your wife is a zombie.”
6. Stranger Things Can Do No Wrong
Netflix doesn’t release their ratings, but a few third party companies used software to determine which original shows were pulling the most weight. Well, we don’t need software to know that the Duffer Brothers’ Stranger Things is a massive hit for the streaming service, especially after the sickening Kevin Spacey scandal that ended House of Cards. The second season of the throwback thriller was a little bit muddled compared to the first, but this eighties nostalgia bomb was still so endearing and rewarding. Most of the second season’s flaws stem from introducing too many new elements without explaining a lot of our previous curiosities. There were several new characters with several new conflicts including another girl like Eleven with different powers, though we barely get a glimpse of this girl’s telekinetic ability before the season ends. In addition to that, we’re left where we started when it comes to the fate of the Upside Down. Is it one giant monster? Is there a queen Demogorgon like there was in Aliens? Why isn’t the rest of the world helping this small town fight these apocalyptic monsters? When all’s said and done, the lack of exposition in season two only gets us more hyped for season three.
5. It’s Time For Tina Fey To Move On From Unbreakable Kimmy Schmidt
The television comedy community lost a juggernaut when 30 Rock concluded after seven seasons and although Tina Fey stayed in the limelight by hosting the Golden Globes with Amy Poehler, two years passed before she returned to a scripted series. Amidst the hype of her return, Fey initially scored with Unbreakable Kimmy Schmidt, but a 30 Rock replacement, it is not. Ellie Kemper plays the oh so chipper Kimmy who was taken, trapped in a bunker with a maniac (Jon Hamm) for fifteen years, and then impulsively moves to New York after she’s rescued.
The dynamic between the naive Kimmy and the gritty realness of New York lays the groundwork for a lot of comedy potential, but after three seasons, the shtick’s wearing off. Don’t get me wrong, there are certainly other shows on Netflix that are worse than this. The real reason to wish for Kimmy Schmidt to end is so Tina Fey could move on to do something else. Fey is a rare talent – it’s time for her to stop hosting the Golden Globes and to start winning them again.
4. Mindhunter Is Slaying The Other Netflix Shows
If there was a dark horse for Netflix originals, then it’s Mindhunter, and if you weren’t convinced to binge it yet, then know that it has criminals FBI agents, and one of the best under-the-radar performances of the year from Jonathan Groff. Groff is a two-time Tony Award nominee and original cast member of Hamilton, was the voice of Kristoff in Frozen, and you’re going to see a lot more of him in the future. In Mindhunter, Groff plays Holden Ford, a newly appointed ambitious FBI agent that partners with veteran agent, Bill Tench played by Holt McCallany, and together they interview criminals in the early stages of criminal profiling during the late 1970’s.
It’s basically an insightful prequel to Criminal Minds. The best part is that the show is based on real-life experiences of FBI profiler, John E. Douglas, and the interviews they conduct are based on the real interviews with the real criminals like Ed Kemper and Jerry Brudos. True crime fans live for shows like this and Mindhunter is truly exceptional with a flawlessly paced, fully developed character arch in Holden that a show of any genre would be lucky to have.
3. We Hope Frontier Was As Cheap As It Looks
Frontier comes off as one of the weaker Netflix originals from the get-go, and if you’re bored before the first episode is over, then give up while you’ve got the chance. I should note that history buffs and fans of Xena: Warrior Princess will love it. Don’t expect this to be an adventure show full of excitement; it’s more like a compilation of the dialogue scenes in the Pirates of the Caribbean movies where everyone’s talking to each other below deck of a ship when nobody is sword fighting. The early world setting in this show is comically inadequate.
Consistent avoidance of long shots make Frontier seem less like a trip back in time to the eighteenth century fur trade, and more like a bunch of people playing dress up in someone’s backyard. The Jason Momoa-led period piece is what it would look like if Brett Ratner made The Revenant. Sure, there’s a lot of violence, cursing, and old-fashioned costumes, but Frontier falls so short of the great epics it wants to emulate, such as Gladiator, The Patriot, Braveheart. Unlike every successful epic tale, there no great hero to follow from ruin to triumph; this is just a bunch of characters that eventually grow to trust each other, and Jason Momoa is no leader of men.
2. Narcos Is The Best Cartel Drama Since Blow
Narcos is on the shortlist for best overall Netflix original, but season two ended with what we were all dreading, the inevitable end of Pablo Escobar (not a spoiler because it’s history). It was upsetting to see Escobar go because Wagner Moura delivered the best performance of the Colombian to date. The first two seasons are must watch TV that proved Netflix could compete with originals on premium networks like HBO. It was hard to imagine the show without Escobar, and even harder to believe the show runners could cast a new cartel that would meet the same standards of the Medellin.
By the end of the first episode of the third season, you start to realize that the Cali Cartel is going to exceed your expectations and set a new standard for every show of any budget in the same subject matter wheelhouse. If you’re going to watch one movie or show all year about the history of the trade, then this is it; and, if you’re going to watch only one show regardless of its topic all year, then this is still the one. If you haven’t moved on from season two yet, then know that you’ll forget all about Escobar once you meet Pacho, played by Alberto Ammann. From the cinematography to the direction, Narcos is filmmaking firing on all cylinders.
1. Netflix Champs The New Year With A Risky New Show
We’re not even two weeks into the new year and Netflix already nailed it with the new original series, The End Of The F****** World. Creator, Jonathan Entwistle delivers a cockney English millennial Bonnie and Clyde. Jessica Barden plays Alyssa, an apathetic law hater who runs away with Alex Lawther who plays James, an outcast and aspiring criminal. Simply put, the show is enthralling and the relationship between Alyssa and Alex is perfectly crazy without pushing the limits of reality as we bite our nails through eight roughly twenty minute episodes – I commend anyone with enough willpower to not finish this in one sitting. There lies the black comedy’s only flaw; it’s way too good to be this short, though British television often is. Be that as it may, any amount of this show is better than none. It’s just hard to accept that it’s out of your life so soon after entering it. For now, let’s just hope that Entwistle has more comparatively great ideas because Netflix will absolutely fund more seasons and future projects. At the very least, get Lawther and Barden the best agents money can buy.
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