The 10 Best TV Shows of 2022 So Far (The Hollywood Reporter Critics)

ATLANTA (FX)

After three years apart, Donald Glover’s sometimes brutal, sometimes surreal test of race and fame is back with a season where four out of 10 episodes were singles without a cast. main. The best of them – “Three Slaps” and “Rich Wigga, Poor Wigga” – combine compellingly with hilarious and sometimes deeply sad parts of finding central characters traveling around. around Europe. – DANIEL FIENBERG

BARRY (HBO)

In its third season, the HBO series plunges into new depths of gloom with its protagonist’s quest for forgiveness – and, with that beautiful highway chase, reaches heights too. new of art. At the same time, it’s still good for laughs, especially when leaning toward showbiz’s ruthless helplessness or marveling at the wisdom of a particular beignet hunter. Is it still a comedy? Should we call it a drama now? I have no idea. I just know it’s great television. – ANGIE HAN

BETTER SEND AFTER (AMC)

Creators Peter Gould and Vince Gilligan were masters of the escalation ahead of the finale – and with the finale nearing a close (the final six episodes are set for July and August), the series has been on the rise. tension, shocking twists and tragic love story. heart. Is Jimmy (Bob Odenkirk) spoiling Kim (Rhea Seehorn)? Is Kim spoiling Jimmy? And with Break In the looming timeline, does Saul Goodman in the future have any hope of a happy ending? – DF

BETTER THINGS (FX)

Pamela Adlon’s series ended its five seasons in a classic form, as a celebration of our literal families and the families we build for ourselves with friends, family, and friends. loved ones and even strangers we meet along the way. Highlights include a trip to London, a Danny Trejo cameo, a wedding, an abortion, a musical and, if you glance closely enough, a possible UFO sighting, all of which bring laughter and tears. – DF

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HEART STOP BMP (NETFLIX)

Heart stops beating may not be reinventing the wheel with its liberal implementation of YA romances – but it makes better use of them than any other recent show and caters to young freak characters that are defined means more joy than pain. Leads Kit Connor and Joe Locke share an incredible chemistry as Nick and Charlie, and their relationship is cast in a glow and fun that can make you I wish I were a teenager again. Most of. – AH

PACHINKO (APPLE TV+)

Soo Hugh’s adaptation of Min Jin Lee’s novel has a liberal structure and plot but retains the emotional epic scope of the story spanning generations. It’s fueled by impeccable staged production design, great balance between restraint and affection, clever use of language, and a cast that has too many highlights to list – Minari Oscar winners Yuh-Jung Youn, Minha Kim and Jin Ha, among others. Plus, it boasts the best string of credits on TV. – DF

ROTHANIEL (HBO)

By Hannah Gadsby’s Nanette to Bo Burnham’s internal, upheavals in the comedy space especially occur often enough to annoy stance traditionalists. This year’s paradigm-shifter is Jerrod Carmichael’s dramatic intimate hour – directed and edited by Burnham – playing part confessional, part support team. Carmichael’s appearance received headlines, but Rothaniel is a lot about the secrets and lies that bind every family together. It’s usually fun, well-crafted personal storytelling. – DF

SEVERANCE (APPLE TV+)

At first, what’s fascinating about this show is its turbulent period premise, or maybe its odd mid-teens flavors. But what lingers behind the credits for the thriller season’s finale is the humanity of the characters – including depressed Mark (Adam Scott) and Helly (Britt Lower) – who explore love, community, and community. and rebel in a system designed to quell all of the above. – AH

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SOME PEOPLE SOMEWHERE (HBO)

Don’t let the vague title fool you: The series is nothing if not specific to the daily rhythms of the small Midwestern community it resides in, and is sensitive to pain, pleasure, and laughter. – lots and lots of laughter – its characters found within it. Bridget Everett’s Sam is at the heart of its narrative, as she emerges from the mists of grief to rediscover her passion for creativity, but Jeff Hiller’s sweet, pure Joel is at its heart. – AH

UNDER THE POWER OF THE SUBJECTS (FX / HULU)

In a year where you can hardly throw stones without hitting the billboard for another new true crime show, this show stands out for its stellar performances (especially those of Andrew Garfield and Wyatt Russell). ) and its cultural ethos (Dustin creator Lance Black had firsthand knowledge of Mormon life, and it shows) – but also for its steadfastness in tracing the origin of a murder. back to the very foundation of the community it posed, raising more unsettling questions than your usual extracted headlines fare. – AH

This story first appeared in the June 22 issue of The Hollywood Reporter magazine. Click here to sign up.

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