If there’s a will, there’s a way and Jane takes the cards she’s dealt in life, and never forgets or forsakes the deep goodness Abuela instilled within her.
We watched as this character celebrated life’s big moments with everything from dance-offs to earnest weeping, without any embarrassment for her vulnerability—but don’t get on her bad side. Call the Midwife Creator: Heidi Thomas Stars: Vanessa Redgrave, Bryony Hannah, Helen George, Jenny Agutter, Pam Ferris, Laura Main, Judy Parfiti Network: BBC “Midwifery is the very stuff of life,” proves this incredibly moving, often provocative series, based on the memoirs of British nurse Jennifer Worth.
Call it Fast Times at Hanover High: The series’ promising, underutilized skeleton—one that might have had more prominence with a bit of pruning—is its amusing slice of schoolyard life. Chewing Gum Creator: Michaela Coel Stars: Michaela Coel, Robert Lonsdale, Danielle Walters, Tanya Franks Network: E4 (U.
Love triangle dating show
Who writes a superhero show around a naked discussion of what it means to a black American in 2016?
Luke Cage is obviously a Marvel product, but it’s also the product of its creator, Cheo Hodari Coker, and its cast, including Mike Colter, Mahershala Ali, Alfre Woodard, Simone Missick, and Erik La Ray Harvey (plus appearances by Frankie Faison, Ron Cephas Jones and, of course, Method Man): The series has more flexibility in addressing its subject matter thanks to its platform, but it’s hard to imagine that it’d speak as loudly or as boldly even on Netflixwithout Coker driving the narrative forward.
However, add a pinch of the ol’ impregnated-by-artificial-insemination storyline, mixed in with the possible threat of a grandmother’s deportation, all while the protagonist is trying to rock both a writing career and motherhood, and you’ve got one of the most fascinating TV characters of the year.
What’s great about Jane is that she handles everything with an impressive sensibility, and you can’t help but fall for her optimistic outlook on life.
It’s a pungently goofy reminder that the history of “true crime” is dominated by “lowbrow” media—pulpy magazines, grocery-store paperbacks, salacious installments of Dateline or 20/20—and that its newfound sense of “prestige” is primarily a function of style.