Nadira Goffe

It’s the rare show that knows exactly how to take a bunch of common tropes—complicated mother–daughter relationships, the highs and lows of addiction and recovery, the harsh realities of young parenting—and turn them into something greater. Even if there isn’t anything particularly novel about Margo’s Got Money Troubles, it’s all the richer for how well it comes together

If anything, the new version feels more representative of what Euphoria’s tongue-in-cheek title was always meant to convey. The state of euphoria was something the characters were perpetually chasing, but never managed to attain. Out of all the seasons, this latest one feels truest to that cruel irony.

A delightful continuation of Jury Duty—even if it can’t quite capture the same magic that Season 1 produced. .... Fortunately, the show remains hilarious, with tons of comedic gags, like a bonkers talent show and a series of educational seminars that are anything but. And that’s to say nothing of the eccentric characters Anthony must befriend.

It’s a good, solid show—even if it likely won’t be the thing that single-handedly resuscitates Marvel from its slump.

In addition to breaking from teen drama stereotypes, leaving out a bothersome love triangle also makes room for more interesting character dynamics to flourish and deepen. Season 2 of Wednesday zeroes in on two other complicated relationships that were merely skirted around earlier.

Overall, the show is calming and aesthetically pleasing, but it’s also completely eye-rolling.

That scolding streak is the biggest detractor from what is otherwise a highly watchable show, complete with great performances, convincing accents (seriously, Dever might be the first Hollywood starlet to pull off an Aussie twang), and a spot-on re-creation of the energy of the aughts, when our nascent understanding of the internet and social media allowed Gibson’s influence (and scams) to reach new heights. But the show ultimately fails to come across as smarter than your other true-crime slop.

The most hilarious moments in the special are the times Minhaj is characteristically specific and vulnerable, like when he details the moment he finally got a brown therapist or when he describes explaining Black Lives Matter to his immigrant father. .... It’s funny, but the rest of the special struggles to clear that bar.

It’s undeniably moreish, as far as television goes. Olson is funny, yes, no surprise there. But best of all, nothing about the show seems all that real, and, though there are stakes and a longer mystery that will presumably unfold over the course of the entire season, it doesn’t really matter.

Beyond its stars, Nobody Wants This succeeds in attaining what is key to a good rom-com: a cast of delightfully funny supporting characters.