Do you start with the tragic arc of NoHo Hank and Cristobal or the time skip that gives a conspiracy-pilled Barry a child? Travel back even further to 2018, and try to account for how far Bill Hader’s darkly irreverent show about a hitman turned aspiring actor has come from its initially goofy and contained premise.
Imagine trying to describe to your pandemic-era self that the quirky half-hour sitcom you just found on Apple TV+ about a lovable American football coach turned soccer manager was destined to become an hour-long prestige dramedy about the deep psychological wounds of every person tangentially connected to a sports team. There’s a lot of TV out there. We want to help: Every week, we’ll tell you the best and most urgent shows to stream so you can stay on top of the ever-expanding heap of Peak TV. Instead, the mood is closer to a spiritual malaise. Judging from the existential vibes of each project, you wouldn’t be able to tell that these men belong to the last group of comedians SNL could turn into household names.
And John Mulaney’s recent stand-up special, Baby J, culminates the workshopping of his return to the stage after a public divorce and rehab stint.
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Over on Peacock, Pete Davidson is starring in Bupkis, his second crack at dramatizing his life story within the span of three years, after the Judd Apatow–directed movie The King of Staten Island. Meanwhile, Jason Sudeikis potentially pump-faked the conclusion of Ted Lasso as if Tim Cook backed up the Brinks truck at the eleventh hour ( Season 3 reviews be damned).
There’s Bill Hader’s career-defining Barry, which ended on a wobbly “oh, wow” after a series of confounding if ambitious bangs. For the past two months, late-stage SNL alums have filled the airwaves with enough angst to fuel a Jeremy Strong acting seminar. It’s unclear what type of witchcraft Lorne Michaels performed on a specific generation of comically inclined white men, but if the current streaming slate is any indication, our boys aren’t doing so hot.
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