From family stories to band-of-misfits hangouts, classic rom-coms to workplace mockumentaries, cringe comedies to antihero showcases, and some shows that defy definition, these are the hundred series that have made us laugh, think, occasionally cry, and laugh all over again.
For more than eight decades, the sitcom has both marked the times and provided a balm against them.
From Rob Petrie tripping over his ottoman on The Dick Van Dyke Show to Ilana face-planting on a Broad City subway car; from The Honeymooners’ Ralph Kramden barely containing his frustration with Ed Norton to Atlanta’s Paper Boi doing the same with his cousin Earn; from Lucy Ricardo getting drunk on Vitameatavegamin to Fleabag enjoying Gin in a Tin with the hot priest, the genre’s most beloved characters have been by our sides.
To choose the 100 greatest sitcoms ever, we first had to decide how to define the term. Sketch comedies were out, from the explicit, like Saturday Night Live and The Muppet Show, to the more ambiguous, such as The Rocky and Bullwinkle Show. Ditto comedy-drama hybrids that ran around an hour — Freaks and Geeks, say, or Crazy Ex-Girlfriend.
Half-hour dramedies presented a blurrier picture; we took those on a case-by-case basis, applying our own version of Supreme Court Justice Potter Stewart’s famous definition of obscenity: “I know it when I see it.” Where Enlightened and The Wonder Years seemed to fall just too far over the drama side of the line, for example, Atlantaand Better Things had enough comedy to qualify. This list is also composed entirely of English-language comedies, primarily American ones, with a handful of British and Canadian shows making the cut.
As Tenet arrives on HBO Max, we continue our look back at filmmaker Christopher Nolan’s entire feature-length filmography. We began this series last fall, exploring each of Nolan’s films, and we conclude it today (for now!).
Warning: Full spoilers for Tenet follow.
Christopher Nolan’s eleventh feature is a rousing cinematic success, a culmination of the director’s 22-year career and his obsession with time as a moving fabric imprinted on film.
It’s a thrilling work despite itself, circumventing dramatic inconsistencies through sheer momentum. The result is a sensory experience that demands leaning forward and being constantly, actively engaged (not the least because of its overpowering sound mix).
With the amount of new shows to choose from reaching overwhelming levels, increasingly audiences are choosing to rewatch their favourite series instead. David Renshaw explores why.
By David Renshaw, 27th April 2021
Over the past year, when staying at home has been government mandated in many parts of the world, it has fortunately never been easier to find something new to watch on TV.
Whether it is a talking-point reality series, a beloved and twisty crime thriller, or whatever new comedy or drama Netflix and Amazon with their multi-billion dollar budgets have added to the content abyss, viewers are spoiled for choice on the small screen.
There are entire websites to help you navigate what’s on all the different streaming platforms, while social media can often be indecipherable to those who haven’t caught the latest episode of their favourite show.
For the past 15 years, billions of people have turned to Google Earth to explore our planet from endless vantage points. You might have peeked at Mount Everest or flown through your hometown. Since launching Google Earth, we’ve focused on creating a 3D replica of the world that reflects our planet in magnificent detail with features that both entertain and empower everyone to create positive change.
In the biggest update to Google Earth since 2017, you can now see our planet in an entirely new dimension — time.
With Timelapse in Google Earth, 24 million satellite photos from the past 37 years have been compiled into an interactive 4D experience. Now anyone can watch time unfold and witness nearly four decades of planetary change.
In the beginning of the end for Ernest Hemingway, as a 1954 trip to Africa is called in the new PBS documentary “Hemingway,” the great American novelist breaks his skull for the second time in his life during a plane crash in the outback.
Trapped as flames spread to the cabin, Hemingway is forced to use his head as a battering ram to create an opening in the twisted metal of the plane’s wreckage.
It’s the last of at least five major concussive head injuries that Hemingway sustained throughout his adult life and punctuates a growing problem. This time, his symptoms include slurred speech, double-vision and recurring deafness.