Streaming

New forms of media that invite intense parasociality are capturing the attention of young men. What does it portend for our politics?

A mind-boggling array of options defines nearly every aspect of our world today, including shopping, dating, and entertainment. Is such abundance making our lives better?

A middle-aged, murderous Tom Ripley; a boozy, stagestruck Mary Todd Lincoln; an unlikely pair of singers at the Grammys—these were the acts that broke through the noise of this fractious, tumultuous year.

Alfonso Cuarón’s foray into television is a work of such vacuity that even Cate Blanchett can’t salvage it.

The Netflix murder mystery recalls a time when TV wasn’t supposed to be art.

A docuseries co-created by National Geographic and The New Yorker Studios adapts Lauren Collins’s profile of Stéphane Bourgoin, a French expert on serial killers.

Apple’s glossy experiment in prestige melodrama is utterly baffling—and must-watch TV.

Four new short films make clear how crucial the author’s work has been in the development of Anderson’s art.

A strike captain reflects on the emotional highs and lows of five months on the picket lines.

Maybe don’t throw away all your DVDs just yet.

The C.E.O. of a conglomerate that includes Warner Bros. studios, CNN, and HBO takes on an entertainment business in turmoil.

Even in seemingly apolitical movies, the great comedian takes aim at the law’s cruel prejudice against the poor.

The innovative and daring show was a worldwide hit for Netflix, but some of the actors say that they were never fairly compensated.

Michael Schulman talks with Laura Jacqmin, a veteran TV writer and a Writers Guild strike captain. Plus, the comedian and essayist Samantha Irby in conversation with Doreen St. Félix.

On the cusp of a potential strike, writers explain why no one is having much fun making television anymore.

The Prime Video series proves that the realities of women’s bodies can be scarier than Cronenbergian body horror.

A new television adaptation of Charles Dickens’s novel, streaming on Hulu, avows, too brashly at times, that it’s no staid PBS affair.

The horror-thriller series, which Glover created with Janine Nabers, about a mega-fan’s violent devotion to a Beyoncé-like pop star, succeeds neither as satire nor as psychological study.

These series kept the medium kicking and fresh, and kept me watching.

Jon Alpert’s 1980 film is a classic work of direct, reportorial cinema.