Welcome to Screen Gab, the newsletter for everyone who needs something to watch while complaining about the annoying people shooting off fireworks well past the celebratory window.
In anticipation of the long holiday weekend, we’re forgoing the usual Screen Gab format this week to give you an extended list of home viewing recommendations that our pop culture experts at The Times plan to binge — or what they think you should binge. It’s an eclectic guide of new and old favorites, comforting and under-the radar picks — and there’s cats too!
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Recommendations from the film and TV experts at The Times
Michael B. Jordan in a scene from “Sinners.”
(Warner Bros. Pictures)
“Sinners” (Max, beginning Friday)
Anybody who has yet to see “Sinners”: It’s time. Ryan Coogler’s Mississippi-set period vampire horror film stars Michael B. Jordan as twin brothers who’ve come back to their hometown to open a new juke joint together. They bring their musically gifted cousin, played by Miles Caton, along for the ride. And it’s quite a ride! Audiences were so excited to see this original film that some people traveled across state lines just to catch it in Imax 70mm — in fact, the demand was so high, the genre-bending hit received a second run at these larger-than-life Imax 70mm theaters. Even a standard format showing at my local suburban multiplex was packed on a weeknight the first time I went to see it. So while my TV is a poor substitute for a movie theater, I’ll definitely be watching “Sinners” again this weekend. And in a step toward accessibility, at-home viewers have the option to watch a version with Black American Sign Language. — Tracy Brown
Andor (Diego Luna) in Season 2 of “Andor.”
(Des Willie / Lucasfilm Ltd.)
“Andor” (Disney+)
As a kid of the original “Star Wars” generation — a wide-eyed 5-year-old when “A New Hope” opened in 1977 — I often imagined what this galaxy might look like in a more grown-up light: complex, morally messy, beyond good and evil. “Andor” comes as close as anything — maybe a little too close. As compelling as its second season is, I’ve found myself needing to take it slow: In an age of endless conflict, deepening divides and the shadows of authoritarianism, it cuts deep. The season traces the brutal machinery of empire: propaganda, collaborators, betrayal and the looming massacre of civilians on Ghorman, a peaceful planet crushed for daring to protest. At the recent nationwide “No Kings” protests, some demonstrators carried “Andor”-inspired signs that read “We are the Ghor” and “The galaxy is watching.” Finishing it on the Fourth feels right — like binge-watching as an act of civic reflection. — Josh Rottenberg
A still from Netflix’s “Trainwreck: Poop Cruise.”
(Photo from Netflix)
“Trainwreck: Poop Cruise” (Netflix)
At a time when the headlines have you wondering — “Has everything gone to s—?” — we’re reminded of a 2014 maritime disaster where that sentiment very much applied. This installment of Netflix’s “Trainwreck” docuseries tells the tale of the infamous cruise ship disaster involving an engine fire on the Carnival Triumph that left 4,000 people aboard without electricity and plumbing. You can imagine where things go from there. If you always thought cruises were a terrible idea, this documentary will be validating. It’s a wild and bizarre 55 minutes that’ll forever change the way you look at lasagna. And it’ll make you ask an existential question you never thought to consider: Would you be this dramatic about pooping in red biohazard bags if you were stranded out at sea? — Yvonne Villarreal
Matt Bomer and Nathan Lane in Hulu’s “Mid-Century Modern.”
(Chris Haston / Disney)
“Mid-Century Modern” (Hulu)
Three gay men “of a certain age,” one of whom is named Bunny and played by Nathan Lane, move in together in Palm Springs under the gimlet eye of Bunny’s mother, played by the late, great Linda Lavin? Honestly, I couldn’t explain under oath why I haven’t watched this series yet. An increasingly rare multi-cam comedy filmed in front of a live audience, it promises the comfort of nostalgia — remember when you knew it was a comedy because you could hear people laughing? — and the bittersweet pleasures of lived-in lives. And though Bunny’s claim that he and his friends Jerry (Matt Bomer) and Arthur (Nathan Lee Graham) are all in the same boat life-cycle-wise (Bomer and Graham are, respectively, 22 and 13 years younger than Lane), well, “The Golden Girls” had a similar grouping and look how well that turned out. — Mary McNamara
Nathan Fielder in Season 2 of “The Rehearsal.”
(John P. Johnson / HBO)
“The Rehearsal” (Max)
Confession time: Whenever I’m preparing for an event that requires me to speak in front of a large crowd, I write it out, practice and keep the notes handy as I’m doing said activity. That’s what makes Nathan Fielder’s “The Rehearsal” refreshing — I’m not the only one who rehearses something — though he goes to some extremes with his stunts. The replica of Alligator Lounge in Season 1, which he creates so a man named Kor Skeete can reveal his education status to his trivia buddy, was nothing short of remarkable — I remember walking past the actual bar many times when I lived in Brooklyn. And the rest of the season was just as wild; one simulation has Fielder rehearsing to be a parent with Angela, a woman who is considering motherhood, leading to many awkward moments and conversations. Season 2 is no different, focusing on plane crashes and pilot communication, which sounds serious, but like the first season, Fielder takes many interesting tangents along the way. I’ll take a cue from our awards columnist Glenn Whipp, who wrote about the show, and not spoil the conclusion, but you’ll want to come along for the ride. — Maira Garcia
Crowd Scene at Live Aid on July 8, 1985, in London.
(FG/Bauer-Griffin / Getty Images)
Live Aid (YouTube)
July 13, 1985, was a formative day of TV for millions of Gen-Xers, sincerity and irony swirling on the biggest concert stage imaginable. Phil Collins made a stink about flying transatlantically on the Concorde so he could play both in London and, later that night, in Philadelphia. But even though he had the No. 1 album in the country (“No Jacket Required”), now he seems like the least significant presence there.
I’ve returned to many clips of the massive charity concert over the years (don’t blame me if this YouTube site becomes a rabbit hole) and this weekend feels like a good one to remind myself of hope and ’80s-style dreaminess. We stayed up late to watch Simon Le Bon and Duran Duran murder “A View to a Kill.” A reunited Led Zeppelin were somehow even worse. Bleary-eyed, I’d been awake since 3 a.m. watching early MTV transmissions from Australia, which held its own Live Aid-related concert, to catch INXS.
Return to the show for its two high points: Queen somehow condensed the whole of its grandeur into 21 unforgettable minutes. It’s been called the greatest live set in rock history, but that actually happened earlier in the day when U2 played the hypnotic “Bad” and Bono leapt into the crowd to hug a fan in danger of getting crushed, photographers circling them like it was a peace summit. It was everything I wanted pop to be. My band (average member age: 14) learned the song the next day. — Joshua Rothkopf
“Superman and the Mole Men,” released in 1951, starred George Reeves as the superhero from Krypton.
(LMPC via Getty Images)
“Superman and the Mole Men” (VOD)
How else can Superman rewind time without flying so fast he reverses the planet’s spin? By whisking fans back to his feature film debut in 1951’s “Superman and the Mole Men,” a kitschy adventure with an unexpectedly moving moral compass. This black-and-white indie launched George Reeves’ short and tragic career as the hero from Krypton. The producers considered it a teaser for his more famous TV series, “Adventures of Superman,” which was released the next year. The plot is simple: Clark Kent and Lois Lane trek to a rural oil town to investigate a well that’s drilled all the way to the center of the Earth. Small, hairy hominids emerge — but the twist is that Superman must protect these Mole Men from the prairie mob who want to shoot the outsiders on sight. It’s rousing to watch this classic defender of truth, justice and the American way bend guns, take bullets and huff: “I’m going to give you one last chance to stop acting like Nazi stormtroopers.” — Amy Nicholson
Damson Idris as Franklin Saint, left, and DeRay Davis as Peaches in FX’s “Snowfall.”
(Ray Mickshaw / FX)
“Snowfall” (FX on Hulu)
The race car epic “F1” is as hot as burning rubber at the box office, and is expected to bring in large crowds over the Fourth of July weekend as it re-establishes Brad Pitt as a top movie star. Pitt is joined in the winner’s circle by Damson Idris, who plays rookie driver Joshua Pearce. Idris’ star turn is a sharp departure from his portrayal of Franklin Saint, a ruthless drug kingpin in “Snowfall,” the FX drama streaming on Hulu about the rise of crack cocaine in South Los Angeles during the ‘80s. The series was one of the most popular shows in FX history, and was a vivid showcase for Idris, as Saint evolved from ambitious, charming entrepreneur to lethal thug. Although he was born in Peckham, London, Idris was cast in “Snowfall” by co-creator John Singleton, who believed that he could convincingly portray the demeanor of a youth growing up in the rough streets of South Los Angeles. When “Snowfall” completed its six-season run in 2023, the actor said in a Times interview that he was “obviously focused on movies. I want people to see me on the big screen.” — Greg Braxton
Emilia Schule stars as the titular French queen in “Marie Antoinette” on PBS.
(Caroline Dubois / Capa Drama / Canal Plus)
‘Marie Antoinette’ (PBS.org)
History’s punching bag and France’s last queen, Marie Antoinette, is reimagined as a wily, independent thinker in this inventive, lush and revisionist drama. Season 1 of “Marie Antoinette” opens in 1770, when at 14, she’s married to Louis Auguste, the Dauphin who later became King Louis XVI. The beauty of France and opulence of Versailles play a starring role though out the series, as does actor Emilia Schüle, who masterfully portrays the queen as she learns how to deal with the pressures of her role.
Released earlier this year, Season 2 finds the royal couple at the height of power but on the precipice of danger when France drops into alarming debt, the royal’s political enemies launch a misinformation war against the crown (thus the fabricated “Let Them Eat Cake!” line) and the starving masses are ready to revolt. Antoinette becomes a de facto leader when her meek husband crumbles under pressure. It’s a must for those who love a fresh takes on oft-trod chapters of history. — Lorraine Ali
A scene from “Nyaight of the Living Cat.”
(Crunchyroll)
“Nyaight of the Living Cat” (Crunchyroll, starting Sunday)
If you’ve ever watched “The Last of Us” or “The Walking Dead” and thought “this would be so much better with cats,” “Nyaight of the Living Cat” is the show for you. The anime series is set in a world where a mysterious virus turns humans into cats after they come into contact with afflicted felines, making places like cat cafés the ultimate danger zones. I can’t say I’ve ever wondered about a cat version of a zombie apocalypse, but now that this show is on my radar, I can’t wait for its premiere. And considering “nya” is Japanese for “meow,” I am hoping the show will lean into cat-related puns as it traces the fallout of this catastrophic viral outbreak. — T.B.
Philip Michael Thomas as Det. Ricardo “Rico” Tubbs and Don Johnson as Det. James “Sonny” Crockett in a promo shot for “Miami Vice.”
(NBC / NBCUniversal via Getty Images)
“Miami Vice” (VOD)
Legend has it that NBC programming exec Brandon Tartikoff scrawled “MTV Cops” on a cocktail napkin, setting the template for what became “Miami Vice.” It’s not true, but it’s a good story. Watch the two-hour pilot episode and wait for the moment, near the end, when Phil Collins’ “In the Air Tonight” comes on while Crockett (Don Johnson) and Tubbs (Philip Michael Thomas) are driving the black Ferrari Daytona Spyder en route to take down a Colombian drug lord. The lighting, the editing, the integration of images and the music … yeah, it’s “MTV Cops.” But it’s “MTV Cops” made by Michael Mann, who, as executive producer, signed off on every aspect of the series in its first two seasons, using the show as a sandbox to hone techniques and themes that would show up in his 1986 crime thriller “Manhunter” and “Heat” and pretty much everything else he has done. My son once asked me what the Eighties were like. I played him Jan Hammer’s synth-laden “Miami Vice” theme. And, yes, with the pastels, the Wayfarers and contemporary music, it’s a Reagan-era time capsule. But those first two seasons are really timeless — thrilling, ambitious, outrageous to this day. Watch the pilot and then the two-parter “Calderone’s Return.” You’ll be hooked. — Glenn Whipp
Jason Schwartzman, left, Ted Danson, Zach Galifianakis in “Bored to Death.”
(HBO)
“Bored to Death” (Max)
Before streaming ate the world, I could measure my love for a series by whether I bought the seasons on video, and I am happy to say I am the proud owner of all three seasons of this excellent, quirky, nonjudgmental 2009 comedy, starring Jason Schwartzman, Zach Galifianakis and Ted Danson. Set against, of all things, the New York literary world, it features Schwartzman as writer Jonathan Ames — also the name of the series’ creator, adapting his own “long short story” into this fairy tale of Brooklyn — who, suffering after a breakup, fueled by an excess of Raymond Chandler, white wine and pot and unable to finish a second novel, advertises himself as an “unlicensed private detective.” Adventures follow, taking the very formal, very serious Jonathan into odd corners of the city and odder corners of humanity. With Galifianakis as best friend Ray, an angry comic book artist, and Danson as other best friend George, a hedonistic magazine publisher (and later restaurateur, publishing being even then what it is), rounding out television’s greatest three-way bromance. — Robert Lloyd
