But as Fox News commentator Leslie Marshall pointed out tonight, one of the most infamous cancellations in history came in the early 2000s when the country trio criticized former President Bush for his role in the Iraq war. After their comments, the group lost tours, their label, and were on the outs in the music industry for years. Check out Leslie’s comments below:
Fox News’ Leslie Marshall on cancel culture: This isn’t just the left doing it. This isn’t new.
Jason Chaffetz: “It sure is!”
Marshall: “I’m old enough to remember a band called the Dixie Chicks…”
Notably, the other Fox commentator, Jason Chaffetz, continues to insist that this is a brand new process and that the band is terrible. “I hated them,” he says, unwittingly reinforcing the idea that cancel culture precluded the current moment. Well, for those who want to revoke cancel culture, at least around The Chicks, make sure to check out 2020’s Gaslighter, a stunning return album that mostly centers around frontwoman Natalie Maines’ protracted divorce from her cheating husband, Adrian Pasar. Including the Youtube for one of the best songs off that record to cap off this post — cancel me if that bothers you.
There have been many iconic dance routines throughout film history, but how many have the honor being called “the greatest” by Fred Astaire himself?
Fayard and Harold Nicholas, known collectively as the Nicholas Brothers, were arguably the best at what they did during their heyday. Their coordinated tap routines are legendary, not only because they were great dancers, but because of their incredible ability to jump into the air and land in the splits. Repeatedly. From impressive heights.
Their most famous routine comes from the movie “Stormy Weather.” As Cab Calloway sings “Jumpin’ Jive,” the Nicholas Brothers make the entire set their dance floor, hopping and tapping from podium to podium amongst the musicians, dancing up and down stairs and across the top of a piano.
But what makes this scene extra impressive is that they performed it without rehearsing it first and it was filmed in one take—no fancy editing room tricks to bring it all together. This fact was confirmed in a conversation with the brothers in a Chicago Tribune article in 1997, when they were both in their 70s:
“Would you believe that was one of the easiest things we ever did?” Harold told the paper.
“Did you know that we never even rehearsed that number?” added Fayard.
“When it came time to do that part, (choreographer) Nick Castle said: ‘Just do it. Don`t rehearse it, just do it.’ And so we did it—in one little take. And then he said: ‘That’s it—we can’t do it any better than that.'”
Harold breathed a sigh of relief: “I sure was happy he said that—I didn’t want to be doing that all night, over and over and over.”
When you see the brothers’ musical athleticism in action, you’ll understand why:
Jumpin Jive – Cab Calloway and the Nicholas Brothers
As Black performers, the Nicholas Brothers faced an uphill climb in Hollywood. But no one could deny their exceptional talent.
”Oh sure, you`d see blacks playing Stepin Fetchit and maids, but you didn`t see many blacks really doing what we did,” Harold told the Tribune. ”Somehow, it turned out that we were becoming stars—and, man, did we love it.”
However, they were usually cast as guest artists, not the main stars. According to the L.A. Times, this was a strategy that allowed their scenes to be cut from film showings in the racist American South.
Throughout their career, they worked with other famous dancers. The brothers told the Tribune a funny story about working with Gene Kelly, whom Harold called “a perfectionist.” Harold said he didn’t think Kelly appreciated his laid-back approach to rehearsing and the fact that he wasn’t a workaholic.
”He and Fayard would be rehearsing this number over and over, as if the camera was running, which means that you’re doing it full force,” Harold told the Tribune. ”But I never liked to go all out during the rehearsal—I liked to reign it in, reign it in.”
What Gene Kelly didn’t understand was that once the lights went on, Harold would go all out.
Fayard said that Gene once said he wanted to see Fayard do a routine by himself because he didn’t think Harold had gotten it down.
”And then Harold did it and didn’t miss a step,” Fayard said, “so Gene looked at me and said: ‘Well, I’ll be an SOB.”’
The Nicholas Brothers continued to perform throughout their lives, long after their particular style of dancing had waned in popularity. Harold Nicholas passed away in 2000 at age 79, while the older of the brothers, Fayard, passed in 2006 at age 91.
Thank goodness for film that allows their legacy to live on and allows us to enjoy their contributions for generations to come.
In just a few days, people will be able to see Pop Smoke in his posthumous acting debut in Boogie, a basketball film directed by Eddie Huang. The movie is a coming-of-age story about a Chinese high school basketball player, portrayed by actor Taylor Takahashi, which finds Pop playing his rival, Alfred “Boogie” Chin. During a recent interview with High Snobiety, Huang spoke about the upcoming film and working with Pop.
“We just became fast friends,” Huang said. “And when it came time for the audition, Pop knew his line, but I could tell he got nervous for one second. It’s the only time I’ve ever seen him nervous, he kept holding his phone real tight. He kept looking down at it and putting it in his pocket and taking it out again. And I said to him ‘Yo, just put it in your pocket, bro. Don’t worry about it. You know these lines.’ And he was like, ‘Are you sure?’ I was like, ‘You know these lines, bro. Just be the character. It’s not about the work. It’s about being the person.’ And he’s like, ‘Oh, I got you.’”
Huang also shared what he believed was Pop’s “special” quality as an actor:
We had a lot of first-time actors, but Pop just had it. And what is special about him that’s different from a lot of actors, is that Pop has no fear. He’s been through a lot in his life. Zero fear. You never get the same take with Pop, but you get something spicier and something different. On days that he was there, I would tell everybody, ‘Just get ready. It’s showtime. Catch this lightning in a bottle. I don’t care if he’s not on his mark. I don’t care if we’ve got to throw three cameras at it. But he’s going to do stuff.
Shaquille O’Neal is almost always up for a challenge, especially if it comes with a check attached and a chance to further build his profile. On Wednesday night, that meant stepping into the squared circle on AEW Dynamite for an intergender tag team match with Jade Cargill against Cody Rhodes and Red Velvet.
Shaq had been training for the match for awhile and had been touting how great of shape he was in on his Instagram, and he showed up and showed out in his AEW debut. He’s not the quickest in the ring, but, unsurprisingly, his power was on full display as he hit a textbook powerbomb on Rhodes.
He also cleaned house ringside when Rhodes’ cronies tried to get involved and hit him with a chair shot to the back that didn’t phase the big man, as he dragged one over the barricades to hit with a vicious chop to the back and the other got scooped and slammed on the floor, which had to hurt.
He would be taken off in an ambulance in a pretty funny moment where they realized he was too tall to close the ambulance doors so he had to bend his knees.
Cracking up at Shaq having to bend his knees so they could close the ambulance door pic.twitter.com/T7blaZWLVY
— CJ Fogler #BlackLivesMatter (@cjzero) March 4, 2021
You can guarantee that we’ll see the table bump about a thousand times on Inside the NBA over the next however many years he’s on the show, and for a debut match he did pretty great and putting him in tag team action kept him from having to carry a match so he could hit his spots, which he did almost perfectly, and then get out. Honestly, going through two tables isn’t even the worst thing to happen to Shaq this week, as that honor resides with Candace Parker having to give him a lesson on modern pick-and-roll defense.
Pacers guard T.J. McConnell has found himself playing in a much larger role than was expected coming into the season, as the Pacers have spent much of this season with a shortened guard rotation due to Caris LeVert not being able to play after he was traded to Indiana following a physical that revealed a cancerous mass on his kidney that has since been removed.
In those expanded minutes, McConnell has carved out a niche as one of the league’s premier ball pressure guards, pestering opponents to the tune of 1.7 steals per game, good for fifth in the NBA, and his steal percentage of 38.5 is likewise fifth among qualified players this season. McConnell’s ability to pester guards and create turnovers has been important for the Indiana defense all season, but on Wednesday he took it to another level against the Cavaliers’ young backcourt, setting a new NBA record with nine steals in the first half (shattering his own previous career-high of 6).
T.J. McConnell sets an NBA RECORD with 9 steals in a half!
What’s maybe more stunning is that the Pacers had someone with nine first half steals and still managed to give up 61 points to lose the first half by 10, but not for a lack of effort at the point of attack by McConnell. The NBA record for steals in a game is 11, which he is certainly in range for, and it’s possible we see some all-time NBA history made in Cleveland.
We’re still waiting for Westside Boogie’snext album, but at least he’s making it as enjoyable as possible. The rapper has spent much of 2021 blessing listeners with great freestyles. On Wednesday, he returned with another. He chose fellow rapper CJ’s viral track “Whoopty” as the foundation, flinging off lines like, “If you ain’t lеt me hit then you really shouldn’t carе If I get at your friend / The more I get curved, the thicker my skin.”
Westside shared the track on Twitter, hinting that it may be his last for the time being. “Aight this my last week being a hood rat fr,” he wrote in the video’s caption. The latest freestyle is the rapper’s fourth of 2021. He kept things cocky at the start of the year with “Joe Exotic Freestyle,” whose video found him and some friends also adding some more bars to Moneybagg Yo’s track “Said Sum“. He also did one over Tupac Shakur’s “Do For Love.”
Prior to his freestyle run, Westside joined Reason, Joey Badass, Denzel Curry, and Jack Harlow to remix “Extinct” and later connected with Badass again for their collaboration “Outside.”
CJ is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.
There are plenty of good TV series on Netflix. Too many, in fact.
It’s a good problem to have but if mindlessly scrolling through streaming platforms is taking up too much of your time these days, and, well, we’re here to help. We’ve curated over 65 of the best shows on Netflix right now (including some of the best Netflix original series) and we’ll be updating them regularly, adding new seasons, removing expired titles, and dropping the latest offerings you’ll want to add to your queue. If the goal is to constantly be binge-watching great TV, you’re in the right place.
You don’t need to love chess to get obsessed with this drama from Scott Frank. That’s because the board game is just the setting, the battlefield where all the real maneuverings and suspense take place. Anya-Taylor Joy and her mesmerizing stare are front and center here as she plays Beth Harmon, an orphan and chess prodigy whose quest for greatness is only eclipsed by her life-destroying addictions. It’s a coming-of-age story wrapped disguised behind pawns and Sicilian defense tactics and it’s one of the most captivating, thrilling series to land on the streamer in a long time.
Even though this sports-centric docuseries was just released earlier this year, it already feels like a defining entry into the genre. That’s because over the course of 10 episodes, this show peers behind the curtain of one of the biggest sports dynasties in history: The Chicago Bulls, but it doesn’t take the path you might expect. The battles off the court, the complicated player relationships, the media’s influence, and the backdoor dealings of executives within the organization all come into play here, but the most gripping part of this series is how it humanizes a God-like figure in basketball for the generations that grew up in his shadow.
Netflix is giving this true-crime series a reboot which is good news for all the murder mystery junkies out there. UFOs, missing husbands, and a murderous French count still on the run are the highlights of the show’s first six episodes. Get your sleuth hats ready.
Bryan Fuller’s Hannibal is a perfect series to binge-watch, given that the ability to watch back-to-back episodes evens out some of the slow pacing. Hannibal is dark, macabre, and brilliantly creative, and while it has many of the same characters viewers know and appreciate from the movie/book series, it also has an entirely different and unique tone (some would even say better). The murder scenes are equally gruesome and gorgeous, the series’ long arc is as disturbing as it is engrossing, and the acting from Hugh Dancy, Mads Mikkelson, and Laurence Fishburne is superb. It’s a slow, morbidly addictive burn, and viewers must stick around for Michael Pitt’s Mason Verger in season two, if only for one of the most beautifully unsettling sequences ever seen on network television.
Has there ever been a sitcom as downright clever as Community? Aside from the gas leak year, Community was quicker than nearly every other comedy out there, with jokes flying fast but also taking seasons to reach a punchline. After getting caught with a phony degree, former lawyer Jeff Winger (Joel McHale) heads to Greendale Community College to get a legitimate degree. There he gets into increasingly hilarious hijinks with his Spanish study group. Between paintball wars, zombie outbreaks, and the increasingly ridiculous presence of Senor Chang (Ken Jeong), Community is never, ever boring. Quit living in the darkest timeline and get to watching.
Comedian Mae Martin stars in this feel-good dramedy series about a stand-up performer (named Mae), who falls for a young woman named George. Mae’s a recovering addict; George has just emerged from the closet. Sparks fly between the two, but Mae’s past drug use and George’s reluctance to come out to her friends and family threatens to break them up.
There are stories too bizarre, too mind-boggling to be true… and then there’s this seven-part docuseries. Cults, queer romance, exotic cats — this true-crime binge has it all. Is Joe Exotic, a gay, gun-loving conman running an exotic zoo out of his home in Oklahoma, a criminal or an American hero? Did animal rights activist Carole Baskin murder her husband and feed him to her tigers? Why are so many zoo employees missing limbs? These are just a few of the questions you’ll ask while watching this train wreck. Have fun, kids.
Good news: Narcos is back. Even better news: Mexico is basically an entirely revamped show, which means you don’t need to be familiar with past installments to enjoy the wild ride. Diego Luna plays the new big bad, a drug lord looking to expand his reach, while Michael Pena plays the fed tasked with busting his operation. Luna looks to be thoroughly enjoying playing the sleazeball gangster-type, and since this installment is set in the 1980s, expect plenty of decadence, a killer soundtrack, and a ton of cocaine.
Henry Cavill leads this fantasy epic based on a best-selling series of books and a popular video game franchise. The expectations are high, but they’re more than exceeded by Cavill, who plays a mutated monster hunter named Geralt. Showrunner Lauren Schmidt Hissrich laid out for us the changes she made from page to screen, introducing key characters like the sorceress Yennefer and the destined princess Ciri early on, changes that take this show to the next level. It’s a cross between a police procedural and a Lord Of The Rings-style adventure. You’ll love it.
The only thing better than a series starring Paul Rudd is a show starring two Paul Rudds. The funnyman leads this new original series while playing a man named Miles, who seems pretty dissatisfied with his life so far. After agreeing to participate in a mysterious spa treatment that promises a better, more successful life, Miles is left with a practically perfect doppelganger intent on taking his life from him. It’s dark and weird, and did we mention the two Paul Rudds?
Director Ava DuVernay’s limited series about the wrongfully accused men in the Central Park Five case is an emotionally heavy reimagining of a truly tragic event in our history. The series sheds light on racial profiling and corruption in the NYPD as a group of young Black men are targeted for a heinous crime and put on trial with little evidence. It’s a gripping, heartbreaking retelling, but one that feels sadly relevant.
Saturday Night Live and Detroiters alum Tim Robinson creates and stars in this 15-minute sketch comedy series that is perfectly happy to offer up a few irreverent laughs without all of the post-comedy commentary that weighs down other funny shows in 2019. It’s a mixed bag of unconnected stories about toddler pageants and old men out for revenge and how Instagram has warped our social interactions in hilariously bizarre ways. What each of these skits has in common is Robinson’s particular brand of comedy and his unrivaled ability to make you laugh.
Ali Wong and Tiffany Haddish voice the stars of this animated comedy from BoJack Horseman artist Lisa Hanawalt. Wong plays Bertie, a 30-something songbird thrush with debilitating anxiety, a knack for baking, and a truly toxic work environment. Haddish plays her best friend Tuca, a loud-mouthed toucan who loves to party and hates the thought of settling down. The friends try to hold on to their single days, even as Bertie takes the next step in her long-term relationship and Tuca struggles to find her place in the world. It’s a more colorful, comforting world than BoJack, but it’s got the same great humor and surprisingly-thoughtful musings.
Christina Applegate returns to TV with this grief-com about a woman trying to pick up the pieces after her husband is murdered in a horrible hit-and-run accident. Applegate plays the angry, grieving widow with equal parts humor and empathy while Linda Cardellini plays her sunny, optimistic best friend. The two meet in a grief group and navigate the challenges of moving on after loss while also solving a murder mystery. There’s no way you’ll know what to expect here, which is half the fun of watching and the show dispelled any worries that it couldn’t keep up its cliffhanger-heavy intrigue with a second season that saw Applegate and Cardellini involved in a new, just-as-illegal cover-up.
Natasha Lyonne stars in this Groundhog Day-from-hell remake about a woman who’s forced to relive the last day of her life over and over again. It’s been done before, but this series stands out thanks to its mix of dark humor and a tinge of the supernatural. Lyonne is one of the often-overlooked OITNB stars, but it looks like this series is giving her a chance to show off her comedic chops as her character, Nadia, endures a constant loop of partying, dying, then waking up to do it all over again. As bleak as the premise is, Lyonne manages to find a silver lining, a universal message that basically read, “The world is sh*t, let’s help each other out if we can.”
Superhero team-ups are a dime a dozen, but the TV adaptation of this award-winning comic series created by Gerard Way — yes, the lead singer of My Chemical Romance — feels wholly unique and thus, totally refreshing. The show follows the story of seven kids, all born on the same day to mothers who didn’t even know they were pregnant. They’re adopted by a mysterious billionaire and trained to use their supernatural abilities to fight evil in the world, but when they grow up, their dysfunctional upbringing catches up with them, and they’re left struggling to live normal lives. In season two, that means time-jumping to the 60s, starting doomsday cults, and seriously f*cking with the assassination of JFK. It’s all kinds of weird, which is exactly what the genre needs right now.
Kiernan Shipka stars in this witchy revival of a sitcom classic. This Sabrina Spellman is darker than what millennials are used to. As a half-mortal, half-witch, Spellman is an outcast with the magical community and the first season explores the cult-like fervor of magic users, their worship of Satan, and why Sabrina is being pressured to sign her name over to the Dark Lord. The show also tackles issues of romance, friendship, and sexism in clever, crafty ways with a season two storyline that put Sabrina in a darker version of Hogwarts and explores her familial ties to Lucifer. The show’s latest installment sees her teaming up with Satan’s mistress — that isn’t a dig, she’s literally working with Lilith — to balance her duties in hell with the pressures of teenage life. It’s all weird, gothic, Craft-like nonsense and it’s addicting to watch.
The UK’s most popular new drama has made its way across the pond. The procedural thriller stars Game of Thrones’ Richard Madden as David Budd, a military vet turned police officer tasked with protecting a high-profile politician during a, particularly dicey time. There’s plenty of suspense and action to string you along, coupled with a vulnerable performance by Madden, who ditches his King of the North swagger to play a man conflicted by his past and his present duty to his country.
Mike Flanagan knows how to do horror, and his latest series for Netflix, The Haunting of Hill House, is proof of that. The show, like the book off which it’s based, follows the fractured Crain family as they try to make peace with their dark and twisted path. Of course, through some carefully-timed flashbacks, we see why the Crain siblings are so messed up: They lived in a haunted house as children, a house that eventually caused the death of their mother. There are plenty of frights to keep horror fans interested in this thriller, but the real point of this show is investigating trauma and its lingering effects. Makes sense that horror is the best way to do that.
Not just the best series on Netflix, Breaking Bad is the best series of all time. There’s no debate about that. Unless you’ve caught onto the Better Call Saul hype. Then there might be a debate to be had. Still, this series proved what a dramatic powerhouse Bryan Cranston was and launched the b*tchin’ career of Aaron Paul, two good reasons to give it a re-watch — or a first watch. No judgment.
Not enough people on the Internet have explained that BoJack Horseman is not what it might seem like. Not enough people raved that it was an often very funny, often very heartbreaking meditation on depression. It’s an animated sitcom about a washed-up horse, and somehow, it’s also an incredibly profound look at deeper themes. It’s amazing, but it may also leave you in a depressive funk for days afterward. Its fourth season even placed it among our best TV shows of 2017, and it’s just never left that list, not in its fifth or final sixth season, which ended as poignantly and darkly funny as you’d expect it to.
A throwback and love letter to the early 1980s movies of Steven Spielberg and John Carpenter, the Duffer Brothers’ Stranger Things feels both familiar and new. It’s about a boy named Will (think E.T.‘s Elliot) who is captured by a The Thing-like creature and trapped in a Poltergeist-like world. His mother (Winona Ryder) recruits the local sheriff to investigate Will’s disappearance. Meanwhile, Will’s dorky, Goonies-like best friends take to their bikes to do some sleuthing of their own and eventually befriend an alien-like girl with telepathic powers (the E.T. of the series). Season two continued that vibe as the show dove deeper into government conspiracies and alien monsters intent on wreaking havoc on small-town Indiana while the show’s latest season let its magnetic young cast grow up a bit, giving them more complicated villains to fight and a Soviet conspiracy to uncover. It’s great PG horror/sci-fi, like the blockbusters of the early ’80s, and even if you didn’t come of age in the era, there’s something for everyone to enjoy.
Opening theme song or no, Netflix dropping this beloved teen drama is exactly what we need right now. Dawson’s Creek is the reason shows like The O.C., One Tree Hill, and Gossip Girl even exist and yet somehow, it still feels fresh and timely. It gave us an epic love story, likable characters, Katie Holmes, an unhealthy obsession with a young Joshua Jackson, and of course, the James Van Der Beek crying meme that just keeps on giving.
AMC’s 80s-centric tech drama is a seasons-long look behind the invention of the World Wide Web and the tech boom that came to define that era. Lee Pace plays Joe MacMillan, a smooth-talking salesman who worms his way into more than a few tech ventures over the course of four seasons. He’s joined by a couple of married computer engineers and a gifted programmer (Mackenzie Davis) in his bid to control (and make money off) the invention of the internet. Even if the more technical aspects of this series fly over your head, watching this kind of tangible human drama play out amidst a backdrop of Silicon Valley start-ups is more than enough reason to watch.
The series lost some of the mystique it had gained after its cancellation because Netflix’s season four wasn’t to everyone’s satisfaction — though it flowers with repeat viewings, especially with the recut version of it. Arrested Development still stands as one of the funniest, most inventive, and most influential sitcoms of the generation however and it’s got an unbelievably watchable cast in Jason Bateman, Michael Cera, Will Arnett, Jessica Walter, and David Cross. Seriously, you can’t go wrong here.
One of the best original shows on Netflix, this prison dramedy is a deeply human, funny, moving, realistic, progressive show about life and the bad decisions we’re all destined to make. OITNB humanizes the dehumanized, transforms labels — felons, thieves, murderers, embezzlers — into real human beings and reminds us that, even in prison, life isn’t put on hold. Life is being led. It’s a remarkably excellent series, and addictive as hell.
In its first season, Better Call Saul quickly put to rest any fears anyone might have had about a spin-off from arguably the greatest drama of all time, Breaking Bad (which sits atop this list). Vince Gilligan and Peter Gould return as showrunners, and they continue to bring the same level of complexity, intensity, and character development to Saul as they did for Breaking Bad. What’s most remarkable about the series, however, is that they managed to transform the Saul character into someone humane and sympathetic while staying true to the same character in the original series. Indeed, Saul is the most detail oriented and perhaps the smartest show on television, and one hell of an intense, suspenseful drama, which is all the more impressive because we know roughly where it will end up.
Ryan Murphy’s horror anthology on FX is an unpredictable tour-de-force that, when it sticks its landing, is one of the best shows on TV. The series chronicles truly terrifying, mind-warping plots across multiple seasons, connecting some, ignoring others. What grounds these outrageous storylines involving haunted hotels, murder houses, insane asylums, cults, and covens is the cast, most notably Jessica Lange, Sarah Paulson, and Evan Peters. Murphy relies on their visceral portrayals of individuals unhinged to sell this whacky, nightmare-inducing rollercoaster and sell they do.
At first glance, this bodice-ripper from Starz reads like the television adaptation of a dime-store paperback romance novel. It’s got time travel, sexy Scottish men in kilts, an arranged marriage, even a bit of witchcraft. But the show, starring Caitriona Balfe and Sam Heughan, elevates itself beyond those tropes, touching on everything from love and loss to the politics behind some of history’s most infamous conflicts. From the highlands to the French court and eventually the New World, the series delivers awe-inducing visuals, career-making performances, and the kind of drama to keep you hooked.
Fred Armisen, Bill Hader, and Seth Meyers have created something truly unique with their riff on our culture’s obsession with docu-style TV series. The SNL alums mock the stylistic choices and subjects of other shows of its ilk, with episodes dedicated to everything from Grey Gardens to The Thin Blue Line. And the guestlist for this thing is unbelievable.
In Mindhunter, Jonathan Groff plays Holden Ford, a character based on the real-life John E. Douglas (the inspiration for Jack Crawford in the Hannibal series). The series itself is based on the origins of an actual behavioral science unit in the FBI used to study serial killers in the 1970s and 80s. Ford is a young FBI Agent who takes a keen interest in psychology which, in turn, grows into an interest in the psychology of sequential killers. It’s a fascinating exploration into the origins of what now seems commonplace, a science that has inspired dozens of police procedurals. What’s more interesting here, however, is that while Ford is studying serial killers (all of whom are based on actual serial killers from that era), Ford develops his own obsession with serial-killers that mirrors the obsession serial killers have with their victims. It’s engrossing and fascinating. The series comes from Joe Penhall and executive producer David Fincher (who also directs several episodes), and fans of Fincher’s Zodiac will appreciate Mindhunter for its same attention to detail, and the same dedication to character and research over surprising twists and reveals.
If small-town murder mysteries full of camp and supernatural phenomenon are your thing, well then why wouldn’t you watch (or re-watch) Twin Peaks? The series, crafted all the way back in the ’90s by David Lynch, is a cult-favorite and for good reason. With Kyle MacLachlan playing Special Agent Dale Cooper, a poor schmoe who’s called in to investigate the murder of homecoming queen Laura Palmer, he’s met with more than he bargained for. Conspiracies theories and otherworldly beings, time travel, and dwarves in red business suits soon follow. The original series may have ended with cliffhangers and unexplained plot-holes, but with the more recent Showtime revival, now’s as good a time as any to catch up on all the strange events that seem to plague this sleepy town.
This Tina Fey-produced sitcom — which was originally supposed to air on NBC before the network agreed to give it to Netflix — is as dense and irreverent as 30 Rock, but it’s also immensely life-affirming. It’s funny, fast-paced, chock-full of pop-culture references and maybe the easiest Netflix original series to binge-watch. And, like 30 Rock, Unbreakable Kimmy Schmidt also includes a lot of fun — and unexpected — celebrity cameos and pop culture references throughout its four seasons.
The Walking Dead is an up-and-down show. When it’s good, it’s phenomenal; when it’s not, it can be a slog (especially in the earlier half of the series, when Frank Darabont was showrunner). Greg Nicotero does fantastic work, and the series is particularly compelling because no one — no matter how high they are listed in the credits — is safe from the zombie apocalypse. Some of the binge-watching value, however, is lost because it’s so difficult to avoid being spoiled to plot points of one of the most talked-about series on TV. Nevertheless, unlike almost any television drama, up until the sixth season, The Walking Dead improved with age, Beware of the cliffhangers, however, in season six, and a precipitous fall off in quality thereafter.
Although the original trial took place 20 years ago, and despite the fact that anyone watching the series already knows the outcome, The People vs. O.J. Simpson somehow remains a tense, suspenseful watch. Buoyed by incredible performances (the season was nominated for over 20 Emmy Awards, winning 8), The People vs. O.J. Simpson recreates the events following the murder of Ronald Goldman and Nicole Brown Simpson and recasts them in the light of what we know now. In its second season, the shows moves focus on the assassination of design legend Gianni Versace by Andrew Cunanan. While not as strong as the amazing ensemble in Season 1, Season 2 boasts memorable portrayals of conflicted, complex figures by Darren Criss, Penelope Cruz, Édgar Ramírez, and (surprisingly) Ricky Martin.
Sherlock is the best iteration of Sherlock Holmes ever to air on television. There, we said it. The British series from Steven Moffat stars Benedict Cumberbatch and Martin Freeman, and despite the fact that it has been updated, it brilliantly captures the same spirit of Arthur Conan Doyle’s classic stories. It’s fast-paced, engrossing, brilliantly acted, often very funny, and frequently tragic.
Intimate, funny, warm, and kind, Master of None confidently tackles issues of sex and race from a perspective original to mainstream television. Creator, writer, and star Aziz Ansari loads the sitcom with smart observations and wry humor, and when it comes to dating as a thirty-something, Ansari just gets it. Sweet, sentimental, but never sappy, the mold-breaking Master of None may be the most thoughtful and well-considered dating sitcom on television.
Packed full of hairspray, ’80s nostalgia, leotards, and neon eyeshadow, GLOW surprised us all with a comedy about a group of unconventional women wrestling with stereotypes in and out of the ring. Led by Alison Brie and Marc Maron, the show is both a subversive commentary on issues of gender equality and sexism, and a raucous imagining of what goes on behind the scenes of an adult women’s wrestling league. In other words, it’s a damn good time. Brie carries the series, playing a struggling actress forced to take a “role” in this televised nonsense, but she’s by no means a heroine. In fact, it’s her battle to find her character and herself (while making amends for her bad behavior along the way) that’s so entertaining. Well, that and some good ol’ fashioned body slamming. Season two focuses the spotlight on the supporting cast as the women ready for their television debuts and contend with sexual harassment and misogyny in the workplace and the show’s third season felt like it was setting up a satisfying conclusion to the rich story these women share. Unfortunately, it looks like the pandemic has taken that away from us too.
Riverdale is a dark teen comedy based on characters from the Archie comics. It mixes in elements of a conventional teen drama — romance, small-town life, and the high-school ecosystem — with a compelling, adult murder mystery. The series takes place in a small-town with a 1950s vibe (despite being firmly set in the present) where a high-school teenager is found dead under mysterious circumstances that implicate much of the community as suspects. Riverdale is powered not just by the mystery, but by characters who are instantly likable (Betty, Veronica, and Jughead are all standouts) and easy to invest in. The mystery is so incredibly intriguing that it’s almost impossible not to get wrapped up in it as the storyline guides us through numerous red herrings. It’s a madly addictive series, occasionally campy, and just self-aware enough not to take itself too seriously.
5 seasons, 22 episodes + interactive film | IMDb: 8.8/10
It cannot be stressed enough how amazing Britain’s Black Mirror is. It’s severely biting social commentary about the current and future technological age in the form of twisted, dark Twilight Zone episodes. It’s an incredible (and incredibly short) five seasons of television, and episode for episode, perhaps the best series on this list boasting a wide-ranging list of talent and digging into some heavy sh*t with increasingly futuristic sci-fi storytelling. Trust us, one episode, and you’ll be hooked.
Netflix’s original series Dear White People builds on the foundations laid by Spike Lee’s drama of the same name. The show kicks off during the aftermath of an event that happened in the film – a blackface party held by a white fraternity on a fictional college campus. Sam, a radio personality and student at the school, covers the fallout for her listeners and serves as a pseudo-narrator to all the goings-on at school. There are brief moments of humor and plenty of satire, but watching these kids deal with racist learning institutions and police brutality and ignorance from the privileged peers feels uncomfortable real and relevant. It’s a must-watch, not only because the acting is superb, and the storylines are rich, but because you’ll probably learn something you didn’t know but should.
Omar Sy stars in this gripping, deliciously fun mystery thriller about a man hell-bent on revenge. Sy plays Assane Diop, a master thief who seeks payback when his father’s wealthy employer accuses him of stealing a valuable diamond necklace. Assane’s dad commits suicide because of the shame, but the con-man decides to wreak havoc on his enemy’s life, inspired by the adventures of master thief Arsène Lupin, a character created by Maurice Leblanc in the early 1900s.
Exec produced by Steven Soderbergh and written, directed, and created by Scott Frank, who wrote Logan and Out of Sight, Godless, is equal parts a feminist Western and s a show about fathers and sons. The series is set in the 1880s in the small mining town of La Belle, where nearly all of the town’s men have died in a mining accident. Enter Roy Goode (Jack O’Connell), a charming gunslinger on the run from the mentor he double-crossed, Frank Griffin (Jeff Daniels), who — along with his crew out desperadoes — had already murdered everyone in another small town for harboring Goode. The series ultimately pits a town of mostly women against a brutal, merciless outlaw gang. Scoot McNairy, Thomas Brodie-Sangster and Sam Waterston play lawmen, but the standouts in Godless are Downton Abby‘s nearly unrecognizable shotgun wielding pioneer woman Michelle Dockery and Merritt Wever, a bisexual woman all out of f–ks to give. It’s a tremendously good series buoyed by beautiful cinematography, poetic language, a few great shoot-outs, and fine performances from the entire cast. It’s one of the best Netflix series of 2017.
Daredevil is unquestionably the best superhero series of all time. It has the addictive qualities of the Marvel Cinematic Universe, but it’s darker and more intense than any of those films. It’s harsh, with brutal eye-popping fight sequences. It has an excellent cast (led by Charlie Cox as the title character) with tons of chemistry, and nails the tone of the source material. It’s a shame Marvel’s deal with Netflix ended because the show’s third season was a masterclass in how to act like a tortured hero from Cox and it set up some interesting storylines we’re still dying to see play out.
Even if you didn’t catch the original films, you’ll probably still enjoy this series which picks up 30-something years after that infamous Karate Tournament with Johnny Lawrence (William Zabka) deciding his path to redemption involves opening up a dojo, reigniting his rivalry with Daniel LaRusso (Ralph Macchio). It’s much better than it has any right to be.
The animated, coming-of-age comedy from Nick Kroll is full of familiar voices and even more familiar life problems. Centered on a group of pre-pubescent friends, Kroll voices a younger version of himself, a kid named Andrew who’s going through some embarrassing life changes like inconvenient erections and strange wet dreams and bat-mitzvah meltdowns. All these traumatizing and hilarious happenings are usually caused by Maurice, Andrew’s own Hormone Monster (also voiced by Kroll) who takes pleasure (literally) in abusing the poor kid. As painfully accurate as the show is, if you’re lucky enough to be removed from that angst-ridden era of life, you’ll probably appreciate the humor in all of it.
As an episodic series, Jessica Jones occasionally falters in its three seasons-run but it always provides an unfiltered, refreshingly honest look at trauma, its aftermath, and choosing to do better. Jones is a private detective with certain special powers, but the series doesn’t put her P.I. talents to much use, instead focusing on one storyline surrounding the big bad, Kilgrave (David Tennant) for the show’s first season before pivoting to flesh out the character’s backstory and family ties in its two follow-up installments. Still, it’s a captivating, thematically-rich series that covers ground no other superhero series would dare to explore, and while that doesn’t make it the most entertaining Marvel series, it is the bravest and most unique among the Netflix originals.
In theory, American Vandal sounds silly and sophomoric, and it is, but it’s also a genuinely brilliant, incredibly clever, smartly written satire of true-crime documentaries. It plays just like any other true crime docuseries — interviews, investigations, multiple suspects, and numerous conspiracy theories — only the crime here is not a murder. In its first season, it’s a high-school student who has been accused by the school board of spray painting dicks on 27 cars, a crime that threatens his ability to graduate. It’s a brilliant whodunnit that just happens to also be the best parody of 2017, and it even took home a Peabody Award. The show’s follow-up season trades dick picks for explosive diarrhea which is just as fun, if not ten times as gross.
Maybe the wittiest, pop-culture rich drama ever, Gilmore Girls has nevertheless managed to hold up incredibly well over the years. It’s a great show to watch with a new generation of television viewers, it’s a great show to watch while bingeing on food, and it’s a great show to re-watch many times. The relationship between single mother Lorelai and her daughter, Rory, never gets old.
A young boy is found dead in a seemingly idyllic small town, and the detectives charged with solving the case turn up twist after twist in tracking down the murderer. Despite its familiar premise (see also: Twin Peaks, The Killing), Broadchurch relies on its ensemble cast — specifically the impeccable David Tennant and Olivia Colman — to keep viewers caring after each red herring is tossed back into the ocean. The first series centers on the hunt for the killer while the second is on both the suspect’s trial and a reopened case from the past, but they both don’t let up in intrigue. A word of warning, though: This isn’t one of those TV dramas you should binge even if you want to. It gets heavy and emotionally exhausting, and unrestrained streaming kinda negates the effect of the show’s mysteries.
Set in the afterlife, The Good Place sees a lazy, entitled selfish, Arizona woman Eleanor Shellstrop (Kristen Bell) enter into “Heaven” only to discover that — due to a mixup — she was incorrectly assigned. With the help of her new friends and, Shellstrop endeavors to be a better person and earn her place in Heaven. In the early goings, the high-concept premise feels like it’s going to run out of runway, but Mike Schur (Parks and Recreation) continually finds new directions to take the show and the characters, as the show humorously and sweetly tackles an array of moral dilemmas before arriving at a surprising twist ending. It’s a charming, clever and delightful series with a freshly-imagined approached that only improves as the season progresses and new wrinkles are explored, while Ted Danson is his usual remarkable self. It’s a fantastic comedy, one of the best TV shows on network television in recent years.
The long-running Showtime series understands better than any other drama on television what it’s like to be poor in America. Set in Chicago, Shameless follows the lives of the Gallagher family as they struggle beneath the poverty line to make ends meet. The family is afflicted with alcoholism, drug addiction, mental illness, poor decision-making skills, and the kind of terrible luck that so often follows poor families, but they’ve also got each other, their resilience, and a determination to break the cycle, but in Shameless, impoverishment is the boogeyman that always comes back, hilariously and heartbreakingly.
Another British import, Peaky Blinders is roughly the Netflix UK equivalent of HBO’s Boardwalk Empire, taking place in the same time period and covering similar terrain. Peaky has one thing that Boardwalk does not, however, and that’s the piercing, intense Cillian Murphy. The show also features Tom Hardy as a phenomenal recurring character debuting in season two (along with Noah Taylor) and it manages to seamlessly blend roughly-accented melodrama with historical events so everything feels timely and modern.
At once intimate and sweeping, The Crown presents an inside view of the ascension of Queen Elizabeth II, played by Claire Foy, and the first few years of her reign. John Lithgow is featured as the indomitable Winston Churchill, struggling with the ignominy of age at the end of his career. Churchill’s support and mentorship of Elizabeth, despite his limitations, creates an important emotional center around which various historical events turn. Elizabeth’s relationship with her husband, Prince Phillip (Matt Smith) is also wonderfully explored; his role as consort is one that he by turns delights in and rebels against. And because the show has committed to exploring Elizabeth’s length reign, we’re treated to different versions of these characters throughout their lives. In season 3, Olivia Colman picks up the crown while Tobias Menzies plays Prince Phillip and Helena Bonham Carter comes on board as Princess Margaret.
The Great British Bake Off (and this slightly retitled American version) is guilty pleasure binge material for so many that it’s no wonder it shows up here. If I watch other cooking shows to travel to exotic places and vicariously experience strange foods, GBBS is kind of the opposite of that. Its strength is that it’s goofily charming. And we’ve become so accustomed to camera-hogging reality villains and performative not-here-to-make-friendsing that a show featuring charming grandmas and shy Brits is really a breath of fresh air. It almost works more like a mockumentary than a cooking show.
Based on a Spanish telenovela, Jane the Virgin plays more like a brilliant but genial satire of conventional telenovelas. Gina Rodriguez plays the virgin here, who is impregnated through an accidental artificial insemination. Matters are complicated, however, because she has to break the news of her pregnancy to her deeply religious family, as well as her fiancé, with whom she has never had sex. Jane also develops feelings for another man who just so happens to be the baby’s father. It sounds like a premise that could not sustain itself beyond 5 episodes, but the writing is so good and the characters so delightful that Jane never gets bogged down by its premise. It’s a genuinely delightful, heartwarming show, and Gina Rodriguez lights up the screen every second she is on it.
Fox’s comedy about a quirky girl who moves in with three male roommates quickly evolved from a pretty straightforward premise to become one of the best shows on TV. Zooey Deschanel plays Jess, a teacher who’s forced to room with three other guys, Nick (Jake Johnson), Schmidt (Max Greenfield), and Winston (Lamorne Morris) after she discovers her boyfriend’s been cheating on her. For the next seven seasons, the gang grows to become close friends — getting married, having babies, experiencing sympathy PMS, and getting stuck in Mexico, among other disasters. Still, it’s the chemistry between the four mains that makes every outlandish episode work.
House Of Cards, Netflix’s first major foray into original programming, is worth every cent of its $100 million production budget, featuring searing performances, a droll sense of humor, slick writing, engrossing plot-lines, and Kevin Spacey chewing the face off the scenery. The first season is phenomenal, but the show rapidly goes downhill with some sparks of life in scattered seasons, with the final season focused on Robin Wright’s Claire Underwood being cluttered at best.
The first creation to come from Netflix’s partnership with prolific TV show creator Shonda Rhimes is this Regency Era romance series that flouts tradition and goes all-in on sex, fashion, and instrumental covers of today’s biggest pop hits. It’s a bit campy, but the talent of its fairly unheard-of cast (especially leads Rege-Jean Page and Phoebe Dynevor) and the refreshing diversity of its characters more than makes up for it. Warning: You will binge this thing in one sitting. Set aside the appropriate amount of time now.
A musical series about a woman who leaves her prestigious job in Manhattan to follow an ex-boyfriend to a small town in California, Crazy Ex-Girlfriend is like no other show on a show on television. The premise is not unlike that of Felicity, but the tone is unique: Quirky and hilarious on the surface, but dark and subversive underneath. As co-creator (along with Aline Brosh McKenna) and star, Golden Globe winner Rachel Bloom provides catchy songs with irreverent lyrics that offer dark meditations on depression, insecurity, and the challenges of balancing careers and love lives. Crazy Ex-Girlfriend is funny, feminist and infectious.
Once the Wachowskis’ underappreciated sci-fi series establishes its characters, there’s at least one profoundly moving moment in every episode. Sense8 is rich with brilliant ideas, and, though they’re not always executed with perfect logic, the chemistry between the characters is undeniable. It’s impossible not to root for them, to feel and experience their ups and downs, their confusion and heartbreak, and, most of all, their love. The Wachowskis first foray into television is at once romantic, life-affirming, and thought-provoking.
It’s rare that older women get a chance to shine on a half-hour comedy series, but if your stars happen to be Lily Tomlin and Jane Fonda, you’d be insane not to have all the action center on them. Grace and Frankie follows the pair as they discover that their husbands have been carrying on an affair with each other. The news throws life into chaos, forcing Grace and Frankie to room together and pick up the pieces. Along the way, there are family squabbles, online dating drama, and a battle over the ladies’ organic lube company but at the heart of the show are these two women who bond after a devastating ordeal and support one another during a time of change and growth. Did we mention organic lube? There’s that, too.
Travelers is a sci-fi series co-produced by Netflix and a Canadian television network Showcase starring Eric McCormick (Will & Grace). It’s a light sci-fi drama about people from hundreds of years in the future whose consciences are sent back to the present day to take the place of others who are already about to die. They’re sent back, a la Terminator, to prevent a bleak future from taking place. In the present day, this group of people is tasked with missions to prevent the future dystopia from happening, but they also have to acclimate into the lives of their host bodies. It is a quintessential Netflix show: Easy-to-binge, madly addictive, fun as hell, and immediately engrossing. While it certainly borrows heavily from other sci-fi shows and movies, it does an excellent job of shaking it up and bringing fresh life to the genre.
A remake of a 1970s sitcom produced by 94-year-old iconic television producer Norman Lear, One Day at a Time manages to not only match its predecessor but miraculously improve upon it. This new version centers on a Cuban America family headed by a single mom (Justina Machado) raising three kids with the help of her mom (Rita Moreno). It’s broad jokes and laugh track feels somewhat out of place on the streaming service, but the jokes still land and more importantly, the characters connect in an honest way as they attempt to live on a modest nurse’s salary and maintain their Cuban heritage while adapting to modern progressivism (much like Fresh Off the Boat). It’s more poignant sitcom than it is funny, but it’s a warm, loving look at difficulties of single parenting that resonates as much today as it did in the ’70s.
Eugene Levy and Catherine O’Hara star in this Canadian sitcom about a wealthy family forced to scale down their extravagant lifestyle with hilarious results. Levy plays Johnny Rose, a rich video-store magnate who loses his fortune when his business manager fails to pay his taxes. O’Hara plays his wife, Moira, a former soap opera star who, along with her husband and their two pampered children, must move to a town called Schitt’s Creek. The show finally started to get the critical attention it deserved in later seasons so rest assured, the quality of humor and storytelling never drops with this one — nor does the outlandish verbiage of its leading lady.
Ryan Murphy’s fashionable ’80s drama imagines the rise of the world of ball culture. Murphy focuses on warring houses in the scene, painting a myriad of queer portraits about gays, lesbians, and trans warriors, forging their own path amidst bigotry and hatred in New York City. There’s couture, there are catfights, and there’s plenty of vogueing, but there’s also nuanced, heartfelt portrayals of figures who paved the way for the acceptance of this fringe community.
If you’ve tuned into Fox News at all over the last couple days, you might be surprised that they’re not railing against stimulus packages or Joe Biden. Instead they’re yapping 24/7 about Dr. Seuss. Conservative pundits have been claiming the beloved children’s author has been “canceled,” all because his company yanked six of his books (out of over 60) from circulation due to racist content. But they haven’t always stood up for him. Indeed, it was less than a decade ago that the network was out for his head.
People have been posting Fox News clips from way back in 2012 — a very different era in which various commentators went A-bomb angry over The Lorax, a big screen adaptation of one of the writer’s most cherished works. Why the hate for Dr. Seuss? Because The Lorax is an overtly environmentalist screed that teaches kids not to utterly destroy Mother Nature. And Fox News, at least the Fox News of 2012, was not having any of that.
One montage started with Bill O’Reilly — remember Bill O’Reilly? — who took umbrage with the movie “providing children with a green message.” He put extra emphasis on “children,” because he believes there’s nothing more sinister than educating kids not be wasteful jerks. (It was during one of his “Pinheads and Patriots” segments, so presumably Seuss was amongst the “pinheads.”)
The montage also has a panel discussion featuring someone dressed up as a cat for some reason — this, long before the 2019 movie adaptation of Andrew Lloyd Webber’s Cats — in which Greg Gutfeld advises one person trashing Seuss to “annotate children’s books from a conservative perspective.” And then there’s mustache king John Stossel, who felt said that “Dr. Seuss books are sexist.” What a time capsule!
But wait, there’s more! Lou Dobbs also wasn’t happy with the Lorax movie’s existence. He once dedicated a segment screaming about it and another film, Studio Ghibli’s The Secret Life of Arrietty,” bellowing that “Hollywood is once again trying to indoctrinate our children.” (Arrietty, for the record, is a Japanese film.) “Two new films out this year plainly with an agenda, plainly demonizing the so-called 1% and espousing the virtue of green energy policies come what may.”
Keep in mind, this is a very different era. Both Dobbs and O’Reilly are no longer on the Fox News payroll, the guy who was the vice president in 2012 is now the president, and conservatives are by and large tip-toeing around failed incumbent Donald Trump. Maybe it’s time for them to give The Lorax a Mulligan.
However, Jamie’s lawyer, Vivian Thoreen, has now gone on both Good Morning America and CNN to insist her client is completely innocent of any wrongdoing. Thoreen told CNN that Britney’s father would happily step down if he thought his daughter didn’t need a conservator.
“[He] would love nothing more than to see Britney not need a conservatorship,” Thoreen said. “Whether or not there is an end to the conservatorship really depends on Britney. If she wants to end her conservatorship, she can file a petition to end it. Jamie is not suggesting that he is the perfect dad or that he would receive any ‘Father of the Year’ award. Like any parent, he doesn’t always see eye-to-eye on what Britney may want. But Jamie believes every single decision he has made has been in her best interest.”
“Jamie never contested or objected to Bessemer being appointed as his co-conservator. And at the last hearing, it was reported that Jamie was trying to get more power than his co-conservator, and that is completely inaccurate. What we were arguing is that Jamie and his co-conservator should have equal power, that was always consistent. The court investigator also interviews everyone who is involved in the conservatorship, and they do a deep dive to really study the conservatorship to find out what’s going on. And what I can tell you is every year the court has kept the conservatorship in place.”
Britney was not reached for comment as her lawyer has advised she won’t speak on a pending case. The next hearing related to Britney’s legal situation is scheduled for March 17, 2021.
While Democrats are working to pass a new stimulus bill in Congress this week, conservatives continue making the discourse largely about children’s books and toys. Dr. Seuss dominated coverage on Fox News for the second straight day, with outrage over its publisher’s decision to take six problematic (and largely obscure) books out of print drawing ire from many right-wing pundits and politicians screaming about cancel culture.
One of those is Glenn Beck, who went off about both last week’s Mr. Potato Head controversy and this week’s Dr. Seuss storm, calling the situations around them “the end of freedom in America.” The comments quickly went viral on Twitter, mostly because they’re very absurd but also because it’s pretty wild people are still getting upset about a controversy that isn’t actually much of a controversy.
“Buy Mr. and Mrs. Potato Head because it’s the end of an era. It is the end of freedom in America” pic.twitter.com/VokzfOj8b6
“They are banning Dr. Seuss books. How much more do you need to see before all of America wakes up and goes ‘this is fascism. this is fascism,” Beck asked. “You don’t destroy books. what is wrong with us, America?”
It’s important to note that, well, Beck is wrong about pretty much everything here. The books aren’t “banned” or being destroyed. Books, especially ones with insensitive messages and imagery, go out of print all the time. So while plenty of people are loudly yelling about censorship and reacting by buying up more obscure Dr. Seuss titles, plenty of other ones are available for sale.
Beck then turned to a very capitolistic demand for his listeners.
“Go out and buy those books today. Find out if you can get them,” he said. “Buy Mr. and Mrs. Potato Head. Because it’s the end of an era. It’s the end of freedom in America. Where you are bullied to the point where ‘You better not have that book.’”
The problem with the conservative outrage over the Mr. Potato Head is that it all stems from a poorly-worded tweet from the Associated Press last week. Hasbro isn’t getting rid of Mr. Potato Head but simply putting both Mr. and Mrs. under a general “Potato Head” branding umbrella. The gendered pieces — mustache, handbag, and so on — are still for sale, they’re just rebranding the toys as part of a non-gendered Potato Head universe.
A current challenge for me is that Republicans are making false claims about subjects so silly (Dr. Seuss! The Muppets! The Potato Head fam!) that you yourself sound silly if you correct the wrongness.
It’s yet another willfully misrepresented controversy taking up oxygen in a room, where, as many have pointed out, even trying to correct them makes it all even more absurd. But at least we have Beck insisting a plastic spud is responsible, finally, for the death of America.
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T.J. McConnell sets an NBA RECORD with 9 steals in a half! 
