HBO

"The Last of Us," based on the 2013 video game of the same name, is both gut-wrenchingly brutal and beautifully tentative, solidifying the show as a true masterclass in video game adaptation.

Beyond mere standards of inclusion and representation, HBO’s “The Last of Us” crafts these queer characters thoughtfully and authentically, depicting their love without the trauma or violence that too often accompanies queer love in modern media.

“The White Lotus” is tightly contained. Nothing gets pushed to the margins or tarnished by the tedium of polemic that so often afflicts other shows that set their ambitions similarly high.

The series opens with the fire and fury one might expect from a show with “dragon” in its title, yet it grows into something wildly unpredictable. It is, in many ways, one of the most triumphant debut seasons of a television program in recent memory. 

Soothing with intense melancholia and insistent cadence, Blood Orange embodies heartache on his latest EP.

The line between performance and truth in “The Rehearsal” is delicate, but perhaps all that matters is the series’ verisimilitude. It feels real; all of it, the rehearsals just as much as the purported realities.

“The Rehearsal” isn’t so much a direct parody of reality TV as it is a deconstruction of its entire premise.

His documentary “Tony Hawk: Until the Wheels Fall Off” is an inspirational tear-jerker and a captivating cultural cornucopia that follows Tony Hawk’s journey to success and stardom as a professional skateboarder.

It's no secret that we’re living in a surveillance state, and Soderbergh navigates this disarming feature of late capitalism with varying ease and acerbity. Like the film’s Alexa stand-in, “Kimi” can’t quite figure out how to get rid of its bugs.