THR’s television critics dissect a busy small-screen season that included some unexpected blowout hits and a string of prestige projects with lots of stars but little spark.
The shift to a backloaded schedule built around a May 31 deadline for Emmy consideration has drained some of the surprise from the spring TV calendar. Viewers are growing accustomed to a glut of high-profile limited series and prestige returning shows from March to May, with the biggest titles and stars creating their own gravitational fields of self-perpetuating coverage.
Luckily, though, there’s still room for discovery. With its literary pedigree and a budget that burst off the screen in the form of astonishing evocations of 17th century Japan, FX’shad “prestige” written all over it. Yet the care taken by creators Justin Marks and Rachel Kondo to deliver this story without having it reek of appropriation and voyeurism was evident throughout.
An even more unexpected development was that the spring’s two defining smashes were a pair of very different explorations of memory, trauma and exploitation within the entertainment industry. ID’shad the whiff of sensationalism that hangs over much of the network’s programming. But it also has the potential to help reshape an industry.came out of nowhere; the streamer didn’t even send episodes to critics in advance.
However, I wonder if it broke through in part because so many of this spring’s big, buzzy, prestige-y shows just … weren’t good. Don’t get me wrong, I still found plenty to love: I was blown away bywas hands-down the most gorgeous thing Netflix has ever produced, anchored by Andrew Scott’s perfectly off-putting Tom. And while it didn’t get nearly as much attention, Apple TV+’s, but important isn’t always the same thing as compelling.
Disappointments really did abound this spring — not crushing failures, just things that looked like Emmy contenders until you watched. Both Netflix’shad scenery-chewing lead performances — from Jeff Daniels and Kate Winslet, respectively — but as satires of the corrosive nature of wealth and power, they were one-dimensional. FX/Hulu’sgot off to a promising start with international locations and the intriguing tension between characters played by Elisabeth Moss and Yumna Marwan.
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