Trailer "The Crown" Season 5 (Netflix)
Additional raters:
Ofri Atrechi, Ben Biron, Nadav Menuhin, Amit Salonim and Naama Rak.
Rating of the 2022 series of Walla!
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More mature and mature, for better or for worse.
"Conversations with friends" (Photo: Element Enda Bowe)
20. Conversations with friends
Original name:
Conversations with Friends
Broadcasting body:
Hulu (in Israel Biss and Hot)
It seems that everyone was clear that the meteoric success of "Normal People" from 2020 (9th place in our 2020 chart), the television adaptation of the second novel by the Irish writer Sally Rooney, must be utilized for more channels.
The creative team behind it (director Lenny Abramson, "Room" and screenwriter Alice Birch, "Mother's Day") was reunited to adapt Rooney's first book (which she chose to consult only this time), in what seems like an unapologetic copy-paste operation: 12 chapters Half an hour old on the face of it look and sound almost exactly the same - the same restrained and understated directing style with almost no close-ups, the same choppy and sharp editing that does not allow for lingering, the same absence of background music that blocks any formation of mechanical emotion.
Abramson once again manages to create with precision a world so quiet and small that any tremor could collapse it.
"Conversations with Friends" is also similar to her stepdaughter in the general theme of the critical importance of communication in relationships, and the destructive effects of pent-up silences and stuttered trust.
Still, compared to the places where "Normal People" felt magical and immature, "Talking With Friends" seems more mature and mature, for better or worse.
She is sensitive and delicate just like her protagonist Frances (the discovery Alison Oliver) - a young student writer who has trouble communicating with people even though that is what she aspires to do for a living.
The series assembles with impressive subtlety the tangled quadrilateral into which Frances is drawn together with her ex and best friend Bobbi (Sasha Lane, "Loki"), the more experienced writer Melissa (Jemima Kirk of "Girls", in probably her most tolerable role ever) and her husband of Melissa, Nick (Joe Alvin, "The Favorite").
It's a square that foretells evil from the moment of its formation, and Francis' period pains throughout the series only fuel this ominous feeling,
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Either you are with her or you are against her.
It's hard to stay in the middle.
"Euphoria" (Photo: HBO)
19. Euphoria
Original name:
Euphoria
Broadcasting body:
HBO (in Israel Bis, Hot and Cellcom TV) In the
2019 chart:
7th place
After two and a half years of forced break between the first season and the second, "Euphoria" indicates that nothing has changed.
The series is still overflowing, confused, curious, horny, anxious, jealous and in love.
She is both too much and not enough, she will continue to carry all her teenage feelings on the flap, be both a drain valve and an emotional flood, and she will do it with maximum drama, glitter and makeup.
Like her characters, she doesn't differentiate between a nasty message from a friend and an actual life-threatening situation - for her, both are equally dramatic.
This approach may be too demanding for some viewers, and "Euphoria" seems to live with it in peace.
Either you are with her or you are against her.
It's hard to stay in the middle.
The way the characters in Euphoria interact with each other is an important tool in her arsenal.
This is one of the places where her rawness comes to the fore.
Not sentences that the characters seem to recite just to establish themselves as the label they are supposed to be, but tantrums, graphic expressions of passion, violence, threats, gossip.
After all, "Euphoria" is a series about addicted people, which are actually all of us: drugs, love, control, self-worth from feedback from the environment, adrenaline and more.
Her heroes are dramatic because at this point in time in their lives everything is really the most dramatic there is.
Therefore, even if its last part is a little disappointing and along it there are quite a few script creakings and disappointing choices (like the puzzling exclusion of Jules), it is still a series that takes the air out and somehow leaves a taste for more, that squeezes emotionally and somehow enters the heart.
Those who were infected before, probably won't be able to stop this time either.
Love, go figure it out.
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Like the star, the series is also full of grace and constantly smiling.
"Lakers: a winning team" (Photo: Warrick Page/HBO)
18. Lakers: A winning team
Original name:
Winning Time: The Rise of The Lakers Dynasty
Broadcaster:
HBO (in Israel Bis, Hot and Cellcom TV)
The amount of characters in "Lakers: A Winning Team" is almost unimaginable, and above all it is impressive how much treatment each receives that allows it to stand out without overshadowing the others.
The wonderful cast gathered here obviously helps in this, but the well-honed writing of characters like Kareem Abdul Jabbar (Solomon Hughes), the subversive star who refuses to surrender to the league's circus;
Jerry West (Jason Clark, "Dawn Watch"), the legendary and grumpy icon of the Lakers, who has never found peace but also can't bring himself to leave;
Pat Riley (Adrien Brody), the legendary coach, who is here at the beginning of his career as a failed commentator;
Claire Rothman (Gabby Hoffman, "Transparent"), the director of the failed forum, which tries to make Bass's wildest dreams come true;
And there is also the young Paula Abdul and Red Auerbach, the legendary manager of Greater Boston (Michael Chiklis, "The Shield", in a wonderful role), and Bird himself and more.
Somehow in all this vast range of stories, impressive amounts of basketball and a lot of relationships, "Lakers: A winning team" does not feel busy or long, and this despite the fact that each of its episodes is about an hour long.
The pace is engrossing, the writing is fluid and entertaining, the acting is great, and the small touches of chauvinism and racial issues provide the stomach-turning parts throughout.
In fact, the most striking thing about her is how much she resembles the big star of that mythological group: endlessly smiling, full of charm and grace, fully satisfying expectations and leaving a lot of taste for more.
What more can you ask for in a series about the basketball team that turned the game into a show.
Maybe a final episode for the season that feels like the ultimate sports movie?
Come on, we got that too.
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Wonderful in the way she connects people.
"Only killers in the building" (Photo: Craig Blankenhorn/Hulu)
17. Only killers in the building
Original name:
Only Murders in the Building
Broadcasting body:
Hulu (in Israel on Disney Plus) in the
2021 parade:
5th place
The idea of "Only Murders in the Building" is inherently short-lived.
I mean, it's right in the name of the series (originally Only Murders in the Building) - there is a limit to the number of times one building can be used as a scene for a murder and then another murder.
This is a built-in absurdity that the series demonstrates time and time again how well it knows how to play with it, pushing it to its furthest and most endearing edges.
Part of what makes the second season so satisfying is that it has the closure of two volumes, not just one, and it does so in a way that feels complete, even if it actually isn't.
Maybe because she is wonderful in the way she connects people.
It is not for nothing that the residents of the building were present at the moment of discovery without really being needed there.
Their presence is important because it anchors the camaraderie that is forged between the central trio - played by Steve Martin, Martin Short and Selena Gomez - and the other tenants, a relationship that has known ups and downs.
The murder victim of the second season is the biggest representative of these fluctuations.
Her character began as a clear antagonist, but after her death she became a more complex and heart-wrenching character.
That's why it's hard not to dance at the open seams of "Only murderers in the building".
The plot holes are filled with soul, generous self-awareness and comedy that really yields laugh-out-loud laughs.
A creative celebration.
"After Party" (Photo: Apple TV Plus)
16. After party
Original name:
The Afterparty
Broadcast body:
Apple TV Plus
In view of the forces concentrated in this series before and behind the scenes, one would expect this crime comedy to be perfect.
It was created and directed by Christopher Miller, the one from the regular partnership with Phil Lord (who also serves here as an executive producer), which produced works such as "Jump Street", "The Lego Movie" and "Spider-Man: The Spider Dimension".
It stars, among others, wonderful comedic actors such as Sam Richardson, Tiffany Haddish, Dave Franco, Ben Schwartz and Ilana Glaser.
Despite all these names, we have seen funny creations from "After Party", but even as it is, it is a great and original series.
The series takes the Agatha-Christiai concept, in which there is a body in one location and everyone is suspected of her murder, and turns it into a creative, diverse celebration, full of brilliance and inspiration, as well as clues to the identity of the real killer for those who keep an eye open.
Each episode in it focuses on the investigation of one of the suspects, and each suspect provides his point of view through a different cinematic genre.
Thus, despite the feeling that the comedy does not exhaust the capabilities available to it, the actors are far from wasted.
On the contrary - in the end the series is worth it thanks to its dizzying cast.
They all exude a captivating and humorous humanity in essentially archetypal characters, and almost all of them are also really funny.
Everyone helps the mystery reach its logical and even exciting solution, making "After Party" one of the most enjoyable series of the year.
A slow descent into an inevitable tragic end.
"The Crown" (Photo: Keith Bernstein)
15. The crown
Original name:
The Crown
Broadcasting body:
Netflix in the
2020 parade:
6th place
An invisible stopwatch accompanies the fifth season of "The Crown".
You can literally feel it ticking back to an inevitable end: the end of an era, the end of an institution, the tragic end of a character that we all knew would come - yet every step towards it is accompanied by a heavy feeling.
She plays on the feelings of this approaching end with flashes of cameras and vehicles that accelerate quickly on the road.
But this end is also that of the old monarchy and of an empire that is no longer an empire for a long time, and of Elizabeth herself.
The choice of "The Crown" in this overall theme of a slow descent into an inevitable end, turns the known and familiar into a tragic and touching one.
She accompanied her heroes in their youth, when they dreamed of changes and revolutions, and arrives with them at the moment when they accept the label of an old-fashioned relic of an era that has lost its time.
In many ways, "The Crown" begins in the fifth season to destroy the institution it built during its first four seasons.
This is not said to be negative of course.
This destruction repaints all the cracks and crevices discovered in the first seasons, reinforces the loss and loneliness and above all reminds how excellent she is at building characters over time.
Not a single one of its heroes comes out of it clean and pure, but not evil either.
And so their fall, each one separately and all together, touches the heart much more.
Her uncompromisingness produces a truly extraordinary work.
"Barry" (Photo: HBO)
14. Barry
Original name:
Barry
Broadcasting body:
HBO (in Israel Biss, Hot and Cellcom TV) in the
2019 parade:
28th place
"Barry" has always avoided glorifying the actions of its heroine, from turning the carnage of this hired killer into sweeping action scenes filled with bombastic music.
Everything was always purposeful, unglamorous.
Even so, and probably precisely because of this, this approach yielded the best scene of the season, the series and one of the biggest on television this year: the motorcycle chase on the highway from episode six.
An amazing combination between breathtaking action and tear-jerking comedy - the biker who smashes into the windshield, the noise of the motorcycles passing the cars standing in traffic, the assassin who tries to pass a weapon to his friend without coordination and leads to his death.
The surreal dimension that was always present in "Barry" took over her this time in a much more demanding way than before.
Mostly surprising how even though it turns out to be one of the toughest and surprising dramas on television, "Barry" also manages to be one of the funniest comedies on the screen.
But after all that, the biggest feature that dominates the series is the great darkness in the hero's soul.
More than ever, "Barry" proved that her uncompromisingness produces a truly extraordinary work.
The intimate material that the third season deals with allows the cast to deliver phenomenal performances.
Haider, who directed most of the episodes, also impressed in the past when he was on the reins, but in the current season his hand became more and more confident, his choices more and more interesting and even exciting.
A refreshing take on the genre.
"Slow horses" (Photo: Apple TV Plus)
13. Slow horses
Original name:
Slow Horses
Broadcaster:
Apple TV Plus
Although it does everything, but really everything, to scorn all the excessive self-importance and glamor associated with the worlds of British espionage, "Slow Horses" is first and foremost a wonderful spy thriller.
In fact, she uses her immense cynicism as a form of deception.
While we concentrate on the twists and turns of the Torah, the series weaves complex connections and plot connections behind the scenes, lays foundations for rewards that will be revealed later, and above all is not afraid of twists or protecting its heroes.
Something always happens in "Slow Horses".
Not necessarily in the sense of cinematic and prestigious action scenes (although the few action scenes here are great in their own right), but in the sense that there is always a certain part of the puzzle that has not yet been discovered.
As if the series and its protagonists are chasing all the answers to the riddle together with the viewers.
This too is part of the game of "slow horses" on what we have come to expect from such characters, the Loser wing of the British intelligence agency.
Precisely because they do not see five steps ahead, precisely because there is no one directing them in the ear, precisely because they really will not succeed, all these make the occurrence much more tense and fascinating.
There are not many series that manage to distill into short seasons such a combination of humor, great characters and a plot accompanied by twists and turns.
"Slow Horses" may not become a series that will generate web obsessions, blogs and discussions, but it is so good at what it does.
A refreshing take on a genre that works within it like a real master.
has become a whole that is much greater than the sum of its parts.
"Hacks" (Photo: Universal)
12. Hacks
Broadcaster:
HBO Max (in Israel Bis and Hot) in the
2021 chart:
42nd place
in the middle of the second season of "Hacks", the stand-up comedian Debra Vance (Jean Smart, "The Guardians", "The Secrets of Easttown") returns to her trailer after an unsuccessful performance at the fair entertainment, and receives from those present a gift of encouragement - a caricature of her business manager, Marcus, proposing marriage to her young writer, Hannah.
Of course she immediately bursts out laughing.
It's a small moment, forgotten and not at all significant, but it perfectly illustrates the huge improvement this series has undergone.
The thought of Marcus proposing to Hanna is only funny because we already know the characters, and they already know themselves enough to recognize the magnitude of the absurdity.
The fact that they know that this is the perfect thing that can encourage Debra reinforces the feeling that they have become one cohesive group that prefers to be kind than divided.
"Hacks" may have been built on the differences and tension between Debra and Hannah, the old generation versus the new, etc., but the moment she learned to focus on what connects her characters instead of what separates them, she became a whole that is much greater than the sum of its individual parts.
The decision to go on a concert tour across the US actually isolated the characters from their separate worlds and united them into one common goal. The egos, the clashes of heads and the mutual insults, which tormented at the beginning of the first season, gave way to sincerity, trust and touching gestures, and along the way allowed the evolution of The humor: from punches and artificial zings of Twitter tweets, to dynamic humor that arises from plot and situations. Now, the places where it is still not sharp and witty enough as a comedy about comedy, it can at least fill with a big heart.
An express train into the gloomy world of self-identity.
"General Rehearsal" (Photo: HBO)
11. General rehearsal
Original name:
The Rehearsal
Broadcasting body:
HBO (in Israel Biss, Hot and Cellcom TV)
The premiere episode of "Rehearsal General" - about a moderator who helps a nice school teacher balance a lie he told his friends with the help of a huge system of extras, sets and rehearsals - was brilliant, genius and disturbed on its own.
The concept is seemingly simple: to allow the participants in the program to rehearse for significant events in their lives.
The show received rave reviews after just one episode, and many pointed out that beyond the awkward humor we've come to expect from Nathan Fielder, the genius comedian behind "General Return" and its front, the new series also shows a lot of humanity, and a lot of empathy for the real people in it.
Well, no one could have predicted what direction "General Rehearsal" would go after that heartfelt debut episode.
What at first seemed like an attempt to present human anxiety in a light and humorous way, quickly became an express train into the dark world of self-identity.
Fielder himself went from a lovable TV troll to an all-powerful creator of worlds.
God and Satan in one person.
As usual, he kept one last card up his sleeve for the ultimate twist.
Not sure even he expected it.
Spoilers: The masterful final episode includes a surprising twist (at least it surprised those who claimed the entire series was staged), in which Fielder discovers that one of the dozens of children who played his son Adam in the series - a 6-year-old named Rami - became very attached to him.
Remy throws a tantrum when he finds out he has to leave home for good, and insists that Fielder is his father.
From here the episode focuses almost entirely on Fielder's attempt to remain in the innocent persona he built for himself back in "Given to Your Service", while he tries to pull the real Nathan Fielder out of the moral pit he has thrown himself into.
Of all the uncomfortable things that Fielder has produced for television, it is hard to recall more difficult scenes than those in which he tries to explain to a 6-year-old boy that he is not really his father, but only "Daddy in a way".
Just wow.
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