But the season also gives viewers a rom-com-themed episode that helps Roy Kent (Brett Goldstein) find his heart’s truth, a Rick Astley sing-along at a funeral, and even more appearances from soccer’s most gloriously hirsute correspondent, Trent Crimm (James Lance). It pursues-almost relentlessly-ideas about masculinity, fatherhood, insecurity, and the things that shape us before we even have a chance to process them. The second season of Apple’s Emmy-sweeping comedy about an American college-football coach transported into the mire of the English Premier League takes a darker tone, villainizing one of its minor heroes and revealing that Ted’s folksy optimism is rooted in past tragedy. There just aren’t that many things people agree on anymore, and yet here’s one: Jason Sudeikis’s mustachioed, shortbread-wielding soccer coach Ted Lasso is, as we say in my country, the tits. The third season’s juxtaposition of history and contemporary mores gives a thoughtful, rich treatment to the Civil War while still managing to find light in the dark. It’s the kind of show that shouldn’t work but somehow does. Over three seasons, Emily (Hailee Steinfeld) has twerked and smoked opium and had a passionate relationship with her sister-in-law, Sue she’s also grappled with art, death, fame, and the abolitionist movement. Writing for The Atlantic in 1891, the author and abolitionist Thomas Wentworth Higginson did poetry an incomparable service by sharing his impressions and memories of Emily Dickinson: “the peculiar quality and aroma of her nature,” the feeling of encountering “a wholly new and original poetic genius,” the fact that she signed letters to him “Your Gnome.” Dickinson, Apple TV+’s vibrant, anachronistic comedy, feels like a continuation of Higginson’s project-an irreverent attempt to find the essence of its elusive subject. Like any good heist drama, Lupin urges viewers to reconsider their preconceived notions of hero and villain, but it does all this with the kind of swagger that makes for thrilling television. They’re also plotted to correct historical acts of racism in France, and the dark legacy of colonial plunder. His schemes rely on the fact that he can be invisible in some contexts and conspicuous in others.
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The series is stuffed with capers and scenery in equal measure-a jewel heist at the Louvre! A brazen burglary on the Rue de Rivoli!-but underlying it all is a sly analysis of how Assane’s immigrant heritage and honed sense of injustice are his superpowers. Sy plays Assane, a gentleman thief/Robin Hood/Hamlet figure who models himself after Arsène Lupin, the fictional French master of disguise. When Lupin dropped quietly in January, it became Netflix’s first new viral hit of the year, helped along by winter doldrums, the radioactive magnetism of Omar Sy-and maybe the fact that people really like shows set in Paris. Stanley Tucci may have stoked wanderlust for Italian cityscapes on CNN, but Men in Kilts made an almost irresistible case for lochs, mountains, and whiskey. (I won’t mention the wet suits, or the asides about which host is a “ True Scotsman.”) Potentially more enticing, though, is Scotland itself, a fantasy of heather, stone, and barely another soul as far as the eye can see. The two-who both feature on Starz’s Highlands-set time-travel romance, Outlander-have the kind of charisma that perpetually winks at the camera the array of chunky knitwear they sport throughout the series seems designed to court the people who still can’t get over Chris Evans in Knives Out.
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Watching Sam Heughan and Graham McTavish eat, drink, dance, and bicker their way through a Scottish road trip is the most genuinely escapist TV experience I’ve had all year.
Starz’s Men in Kilts debuted on Valentine’s Day, which felt apt-the series is a perfect example of what loving fan service looks like. Men in Kilts: A Roadtrip With Sam and Graham, Starz