Much like the true-crime series that inspired it, the first season of American Vandal is packed with narrative twists and turns that keep the audience guessing. A satire of true-crime documentaries like Making a Murderer and Serial, American Vandal is a mockumentary that manages to channel much of the same “Did he really do it?” uncertainty into its story, while also offering a very funny and impressively clever spin on the typical docuseries format. Though Ozark will naturally draw comparisons to Breaking Bad, its scope isn’t nearly as grand, but Bateman seems to improve with each passing episode.Īfter 27 cars in the high-school faculty’s parking lot are vandalized with crude phallic images, the school’s resident slacker and class clown is expelled, but when two fellow students initiate a documentary-style investigation into the incident, everyone becomes a suspect in this surprisingly compelling and hilarious series. Laura Linney is awesome as Marty’s wife, who gets caught up in the scheme, and Julia Garner is particularly good as the odd local girl Ruth Langmore. Unsurprisingly, the law finds him anyway, and Marty (Bateman) must scramble to stay afloat while paying off debts to a Mexican cartel. Ozark marks a different look for Bateman than many have seen, as he plays a financial planner-turned-money launderer who relocates his family to the remote Ozark mountains in Missouri to avoid attention from the law. He burst onto the Hollywood scene in the early 1980s as a young heartthrob, starring in stuff like Teen Wolf Too and The Hogan Family before experiencing a major career renaissance in the late aughts with shows like the brilliant comedy Arrested Development. Jason Bateman has had as interesting a career as anyone in the limelight. The show is a clear homage to Spielberg’s coming-of-age films and ’80s horror, and superb performances across the board make this a must-watch. Few shows have been as willing to let children drive the story, and Stranger Things is better for it. The mystery gets deeper and darker as the show goes on, while more and more members of the Hawkins community get drawn into the creepy tale. Meanwhile, Will’s friends work to find and rescue him, with the help of a mysterious young girl named Eleven (Millie Bobby Brown), who appears seemingly out of nowhere. When 12-year-old Will Byers goes missing in the small town of Hawkins, Indiana, his mother, Joyce (Winona Ryder, in a comeback performance), thinks she’s losing her mind, believing that Will has been taken by supernatural forces. This throwback sci-fi series set the world ablaze in the summer of 2016, igniting a bonfire of nostalgia while simultaneously telling a gripping story that gets more exciting with each episode. Whether the ladies are dating, inventing the next best thing for aging women, thwarting attempts by their kids to move into a group home, or getting up to all kinds of hijinks, it’s plenty of fun to watch. It’s an inspiring story about the possibilities of starting over, even if you’re pushing 80. The show progresses as the reluctant, mismatched pair grow to love and respect one another. The uptight, snooty Grace has never liked the free-spirited, quirky Frankie but now finds herself living in a co-owned beach house with the only woman who can relate to what she is going through. The title characters, played by comedy icons Jane Fonda and Lily Tomlin, find their lives upended when their husbands and business partners Robert (Martin Sheen) and Sol (Sam Waterston) reveal that they are not only gay, but they have been secretly in a romantic relationship with one another for decades.
Still holding the distinction of being Netflix’s longest-running original series, Grace and Frankie ended after seven seasons but kept viewers laughing the entire way through.
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