Love is a broad, generic title for a television show. But it’s also an intriguing one, implying a vastness, an encompassing look at the human experience—or at least one huge, joyful, torturous, consuming part of the human experience. On first glance, Netflix’s new series, from husband-and-wife co-creators Paul Rust and Lesley Arfin, and Arfin’s former Girls boss, Judd Apatow, doesn’t quite live up to the expansiveness of its title. It initially appears to be yet another show about young(-ish) straight white folks flirting and dating, another look at millennial(-ish) Los Angeles (Echo Park to be exact), another gently chiding, aspirational satire of show business. In that way, Love bears some obvious similarities to Netflix’s other comedy series about romance and showbiz and city living, Master of None.

But as Love gradually chips away at that familiar paint, it uncovers some of the anguish and darkness conjured up, in darts and flashes, by that big, insisting title. Where Aziz Ansari, in Master of None, tends toward social satire and inquest, Arfin, Rust, and Apatow bore deeper into the psyche. Oddly but engagingly paced, Love, over the course of its 10-episode first season (which Netflix graciously made available in full for critics), becomes something surprising, a bleary and affecting study of a woman trying to come to terms with addiction, all the everyday pain and itch and restless jumble of it. By the end of the first season, Love has begun to reveal the series it maybe always should have been: hurting and truthful, about something far more complex and granular than simply “will they/won’t they.” Binge watching guaranteed also thanks to Gillian Jacobs (yes, the cool girl from Community).

Baskets is a new show – let’s call it a sitcom that is created byLouis CK and Zach Galifanakis – about a wannabe clown called Baskets (Zach) and his struggle. The beauty of his show is that he presents us with deeply flawed characters in relatable (though comically exaggerated) scenarios. However, he always finds the humanity in people and his character is someone who is really trying to do his best, though failing miserably. Baskets is just a miserable failure who thinks that his problems are created by the world and rages at it in sad retaliation. You never feel his love for clowning as much as his hatred for everything else.

The Jinx is the documentary of all documentaries that made the world talk and started the trend of blockbuster documentaries. Filmmaker Andrew Jarecki examines the complicated life of reclusive real estate scion, Robert Durst, the key suspect in a series of unsolved crimes. TrendEngel doesn’t want to give away much more as this would spoil all the fun – but we can make one promise. You will not forget Robert Durst. Thanks HBO for another great documentary.
Here you can watch the whole first episode:
https://www.youtube.com/watch?v=thYwpjw0r-A

As the title makes no pretense of hiding, “Crazy Ex-Girlfriend” is playing with some tricky stereotypes of obsessive women. But it’s also conscious that it’s playing with them. I’m guessing that this will be the only TV series this year with a rap interlude that contains the adjective “patriarchal.”

Smartly, the pilot grounds Rebecca’s fixations in more than guy-craziness. She was pushed into law by her mom (not seen, but heard in a series of hectoring voice-mail messages), and she dealt with her parents’ ugly breakup by acting out. There’s a reference to a past suicide attempt, although her mother dismisses it: “You didn’t even break your skin!” Rachel Bloom is the star of the show and she is great. – so great. Shoe was a youtube stare before she was discovered – and boy are we glad shoe was.

My Crazy Ex-Girlfriend, if it survives, will have many more hours to fill every year. (Ms. Bloom has songwriting help from Adam Schlesinger of Fountains of Wayne and the producer Jack Dolgen.) And we’ll see if the risqué humor — more “Avenue Q” than “42nd Street” — can survive the transition to broadcast. (The pilot was originally shot for Showtime.)

Aziz Ansari‘s Master of None, might be the best New York comedy of them all. It’s almost certainly the smartest; what’s surprising isn’t how funny it is but how often the show is willing to put humor aside to be poignant.

Co-created by Ansari and Parks & Recreation writer Alan Yang (with help from the late Harris Wittels, who wrote for the series and receives an executive producer credit), each episode of Master of None focuses on a specific topic (examples include fidelity, the portrayal of Indians on television, and subtle sexism) while maintaining a narrative throughline tracking Dev (Ansari), a commercial actor with moderate ambitions about making it big.

Like Louie, the show doesn’t shy away from experimenting with structure (stylistic nods to ’70s-era Woody Allen abound), but Master of None only does so in service of driving home a point.

Thank you Netflix for bringing us this gift

STEVEN SODERBERGH HAS called it quits in the realm of directing movies, but since his last feature played in theaters (Side Effects in 2013) he’s been busy as hell directing plays and TV shows. Now we’ve got a full season of Red Oaks, an Amazon series about growing up in the New Jersey suburbs in the 1980s ^and it is almost as good as Fast Times…but more of it. The lead boy is played by Craig Roberts, a young Brit with an interesting and already long filmography behind him, including a breakout turn in the Richard Ayoade-directed indie Submarine from 2010
Craig is joined here by Richard Kind and Paul Reiser, which is a Mad About You reunion we can really get behind, as well as Jennifer Grey and Josh Meyers.

This is not must se but ist sue TV re is fun to watch.
“Kevin From Work” operates on two tiers, not quite equally. At its core is a sweet (if unrequited) romance, about a young guy who secretly pines for the gal who sits in the adjacent cubicle. And that’s enveloped, chaotically, by a wacky, over-the-top, frequently lewd comedy, derived from all the strange characters that surround them. The two tastes — sweet and silly — don’t always mesh, but there’s enough here to like to put this ABC Family comedy in the “recommended” column, with the understanding that keeping its balance might be a bigger job than “Kevin” can handle.

The title character (Noah Reid) has fared reasonably well at the faceless food-supply company at which he toils, but he’s jumped at the opportunity to work in Italy. No, it’s not because of his crazy boss (Amy Sedaris) or eccentric co-workers, but rather due to the fact that spending every day within a few feet of Audrey (Paige Spara) — whom he sees encircled by animated birds and animals, like a Disney princess — has become too much to take, inasmuch as she has a rather physically imposing boyfriend.