Netflix

Lawsuits and the labor movement come to reality TV, by way of the Netflix hit “Love Is Blind.”

Rufus Sewell and Gillian Anderson star in a re-creation of an infamous BBC interview that feels like a hallucinated episode of “The Crown.”

The Netflix series “Sunderland ’Til I Die” serves as a thesis both for fandom and for the inevitability of its disappointments.

Standup comedy has long been an art of public transgression—but, in the age of the culture wars, do audiences want to be challenged, or affirmed?

Four new short films make clear how crucial the author’s work has been in the development of Anderson’s art.

The author of “Killers of the Flower Moon” and “The Wager” on his reporting process and adapting his work to the screen. Plus, Richard Brody makes the case for keeping your DVDs.

Since the streaming era, movies and television feel less special, labor conditions have plummeted, and turbulent mergers and layoffs call into question which legendary institutions will still stand in another ten or twenty years.

The innovative and daring show was a worldwide hit for Netflix, but some of the actors say that they were never fairly compensated.

The drama, starring Steven Yeun and Ali Wong, is a study of male loneliness—a familiar theme in prestige TV that finds renewed urgency in an Asian American context.

“Everybody fucking knows. . . . I got smacked, like, a year ago,” the comedian finally says at the end of his Netflix special, as if that’s not the reason we’re all here.

“Wow—Netflix wasn’t kidding about cracking down on password sharing.”

The film and television adaptations of the Italian author’s novels offer an almost suspicious lack of resistance.

Jean-Pascal Zadi’s episodic follow-up to his breakout feature film embraces a wide-ranging satirical vision of France at large.

An eternity of hanging around with the pharaoh and fending off grave robbers got old for this prince and princess.

Bela Bajaria, who oversees the streaming giant’s hyper-aggressive approach to TV-making, says success is about “recognizing that people like having more.”

I thought that if I slept enough I might kill off the part of Emily who said things like “Hashtag: oh, crêpe,” the Emily whose favorite “hidden gem” in Paris was the Louvre.

The new documentary presents a guy from London and a girl from L.A. who escape a wicked institution. It’s also a reminder of how good a royal Meghan could have been.

The British comedian has turned his breakups and breakdowns into material. But his real subject is the nature of standup itself. 

In his new eight-part Netflix production, the director acts as a benevolent landlord of the horror genre, carving out space for others in the crowded pop-culture terrain.

A lesser show might have tried to make the titular character a bit more likable, or, perhaps, implanted within him a desire to explain his culture to the rest of the world.