Lily Moayeri

[Mia McKenna-Bruce as Jane is] a performance that anchors the series. By contrast, Natalie Dormer, as Sarah, never quite lands. .... The detectives, however, feel underwritten; their investigative work is so thinly drawn that the conviction itself strains credibility. Despite all this—or perhaps because of it—The Lady remains a frothy, distinctly British watch.

The Netflix docuseries doesn’t probe as deeply as the podcast, but it does assemble key figures.

Unquestionably, the marquee names like Rhoads and Dimebag will draw the most attention. But every installment of Into the Void is worth watching. Just don’t binge it. The content is relentlessly heavy (pun only half intended) and is best consumed with a lighthearted sitcom chaser.

Nothing feels staged in the film’s accounts. The subjects are honest, even when it doesn’t reflect well on them.

The switch from battered girlfriend to ball busting crime boss is so sudden, it’s hard to reconcile the instantly experienced crook Joan becomes with the desperate mother she is. Turner handles this inconsistency brilliantly, maintaining viewers’ attention with her razor-sharp turn as Joan. Additionally, the ‘80s setting makes up for the storytelling deficiencies in many ways.

There is a certain amount of suspension of disbelief required for Nobody Wants This. .... The highly bingeable series has excellent comedy writing and a strong cast who move the episodes along at a quick clip. But even with all its on-point humor, Nobody Wants This has an undercurrent of seriousness, which puts it a few notches above the average sitcom.

A Very Royal Scandal does a good job of showing all perspectives and putting this specific situation into a greater context that questions right and wrong. Ultimately, it leaves the drawing of conclusions to the viewer.

If you’ve seen the YouTube Originals The Boy Band Con: The Lou Pearlman Story produced by *NSYNC’s Lance Bass and are noticing some overlaps between that 100-minute documentary from 2019 and this docuseries. .... There is more understanding of Pearlman as a person, and his essentially sad existence in Dirty Pop, which also has a good handle on the pacing of the narrative.

Overall, not a minute is wasted with key information packed into every frame, each minuscule element filling in another piece of these multilayered and intersecting stories, guided by a cast that grasps and leans into the complexity of its setting. Were it not for Portman dragging the series down, it would be a must-watch. As it stands, skip the sixth episode altogether and the rest fits together a lot better.

Do non-music people care why they don’t have to pay to listen to music? The grammatically incorrectly titled How Music Got Free tells the story of [how] this came to be, which, arguably, most music people already know the story.