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Hidden-Gem TV Shows On Hulu

Hidden-Gem TV Shows On Hulu

Buzz Feed02-07-2025
How To Die Alone (2024)
How strange it must have felt to deliver an acceptance speech on behalf of a series that had just been canceled a few weeks prior. This was the case for Natasha Rothwell who, accepting the award for Best Ensemble Cast in a New Scripted Series at the Indie Spirits, spoke of her time at the helm of the short-lived How To Die Alone with positivity and grace. (And a call to action for beta blockers to have "more beta blocking.") Best known for her supporting roles on Insecure and The White Lotus, Rothwell took a much more active creative role in this 30-minute Hulu comedy series, serving as both its creator and lead, Melissa, a JFK Airport employee whose brush with death causes her to finally prioritize love and happiness. Despite failing to reach wider audiences during its single-season run, it was an undeniable critical success. Watch it on Hulu.
Reservation Dogs (2021–23)
I recently mentioned Reservation Dogs in the context of shows that failed to get Emmy recognition until their very last season. And, while we'll never know what it was that finally tipped the scales during S3 (and secured not only an Outstanding Comedy Series nod, but a Lead Comedy Actor nod, too), what is clear is that this FX show has had an extremely passionate fanbase pushing for its success from the very beginning. Count the BuzzFeed Streaming Team among this fanbase. The series which follows four Indigenous teens from rural Oklahoma, who do odd jobs and commit petty crimes in hopes of one day being able to leave the reservation, was shouted out by Danica Creahan in 2021 as a show not enough people are watching and, again, as one of the best shows of 2021. Watch on Hulu.
Casual (2015–18)
You might know her best as the pesky HR rep following Deborah and Ava around on Hacks (or from her many perfectly calibrated supporting roles, which are too many to name) — but from 2015 to 2018, Michaela Watkins had center stage in the family comedy Casual. In it, she played Valerie, a recently divorced therapist and single mother who moves in with her younger (and crucially, single) brother (Tommy Dewey), the creator of a successful dating app. Her daughter (Tara Lynne Barr — who I will forever mix up with Emilia Jones) is wise beyond her years and has a dynamic with her mother that asks: What if Lorelai and Rory Gilmore but messier? Sneakily wise and acutely observed in its depiction of listlessness in your 30s, this is a show that you might want to...seriously commit to. Watch it on Hulu.
Bunheads (2012)
Speaking of Rory and Lorelai, Amy Sherman-Pallidino (creator of Gilmore Girls) is unfortunately no stranger to a one-season cancellation. Long before Étoile on Amazon Prime Video, there was ABC Family's Bunheads — the network's answer to Glee, which proved to be a critical darling but a big swing and a miss where ratings were concerned. The series concluded after just 18, shaggy episodes — more than enough airtime to elicit some strong feelings about Sherman-Palidino's trademark fast-talking women at the show's center. Namely, Broadway legend Sutton Foster's Michelle Simms (my thoughts are largely positive, for the record), the series' lead, who is plucked from her life as an unhappy Las Vegas showgirl to work alongside her new mother-in-law at a ballet studio. No matter how you feel, this ranks among the ASP oeuvre; you'll agree with me when I say that, when it comes to comfort viewing, you can't do much better than Bunheads.Watch it on Hulu.
Devs (2020)
Calling all Alex Garland heads. Maybe you're hot off a 28 Years Later watch, or saw Civil War and wondered what else Garland and Nick Offerman might be able to cook up together. Look no further than this eight-part limited series which stars Offerman as a tech-mogul CEO involved in a massive cover-up involving an engineer's missing boyfriend, and, of course, much bigger existential issues facing humanity. Allison Pill, playing the tech company's deputy, goes toe to toe with Offerman's Forest for the Creepiest Acting Award while Cailee Spaeny (also featured in Garland's Civil War) transforms into the young, male coding prodigy, Lyndon. A choice! This series is packed with big ideas and a Garland-y atmosphere that will suck you in — but I must confess that one of the main reasons to watch this is so you can fight about it with your friends. You're going to have strong feelings about it one way or another. Watch it on Hulu.
Difficult People (2015–17)
A whole decade before they took home the Best Leading Actor in a Musical Tony for Oh, Mary!, Cole Escola had a supporting but memorable role in Julie Klausner's comedy series, Difficult People. Some will remember it as that show about two deeply misanthropic, Jewish best friends (Klausner and Billy Eichner) living in New York. Others will remember it as the only show in history to feature Seth Meyers jerking off Eichner, and a cameo by Kathie Lee Gifford, in a single episode. Both are correct. Depending on your tolerance for unlikable protagonists, you might find this particular humor and worldview grating. But, regardless, I think you have to respect a show that delivers on its title — and for those raised on Seinfeld and Curb reruns, this should go down easy.Watch it on Hulu.
Everything's Gonna Be Okay (2020–21)
Featured in our roundup of shows that actually reflect what it's like to be queer today, this one-season, follow-up series from Josh Thomas (Please Like Me) is a breath of fresh air. Thomas is Nicholas, a neurotic, gay twentysomething who has just learned that his terminally ill father would like him to be the guardian to his two teenage half-sisters, one of which is on the autism spectrum. The rest of the series follows Nicholas as he builds the plane while flying it, so to speak. As Matthew Huff notes in our original guide, it's unusual to see a queer character — particularly of this age — represented as a "leader" or "provider." But that is exactly what we see here, with Nicholas doing his very best to keep some order in the family. Like Please Like Me, Thomas pulls off the impressive alchemy of mining life's darkest moments for "comfort watch" fodder. Watch it on Hulu.
High Fidelity (2020)
We almost had a Da'Vine Joy Randolph-centered Season 2 of High Fidelity and Holdovers fans know better than anyone that that's a big "L" for the culture. One of the most contested TV cancellations in recent memory was this gender-flipped TV adaptation of the classic film and book, which found its audience just a little too late. Zoë Kravitz reminded us all how underutilized she was in Big Little Lies while playing the dynamic, Brooklyn record store owner, "Rob" (Robyn), at its center. Here's to hoping we right these wrongs by nominating Kravitz for Guest Actress in a Comedy Series for her role in The Studio.Watch it on Hulu.
Top of the Lake (2013–17)
So, you're having a hard time letting go of Handmaid's Tale? Tap into this eery cinematic universe from the mind of Jane Campion, also starring Elisabeth Moss. It's hard to believe that Top of the Lake, a two-season limited series starring Nicole Kidman and conceived of by one of our greatest filmmakers, needs any signal boosting at all — but here were are in the age of Peak TV. Your mileage may vary on China Girl, the follow-up season that critics largely regarded as disappointing and hollowed out, but its first season is a stone-cold masterpiece. In this atmospheric, New Zealand-set story, Moss plays Robin Griffin, a detective whose own story begins to come into focus as she investigates the pregnancy of a 12 year-old girl. Watch it on Hulu.
Say Nothing (2024)
"Urgent" is a word that can get overused in reviews of political thrillers of this nature — but with so many eery parallels to what we're seeing play out in Gaza today, it feels apt to describe Say Nothing this way. The FX limited series adapted from the Patrick Radden Keefe book of the same name is actually about The Troubles, specifically the abduction of a mother of 10 from her Belfast apartment in the '70s. But its examination of violence and radicalism ring true today. It will be interesting to see how Say Nothing fares on Emmy nomination morning. Despite receiving rave reviews, and what seemed to be promising interest and viewership at the time of its release, chatter around has seemingly died down in the months since. Could this be the result of its binge-drop rollout? Or the result of so many shows being dumped in the last month of Emmys eligibility? Who knows! But whatever happens, this is a series absolutely worth your time.Watch it on Hulu.
Vida (2018–20)
If you've made it this far, you've probably recognized a pattern. A lot of the shows that have flown under the radar have centered characters that typically exist on the margins of society. That is certainly true for Vida, the GLAAD-winning Starz comedy that was canceled after three seasons. In it, two estranged Mexican-American sisters Emma (Mishel Prada) and Lyn (Melissa Barrera) return to their old East LA neighborhood to bury their mother and in the process uncover a handful of paradigm-shifting secrets. Including, of course, the revelation that their mother quietly married a woman. Interesting, especially considering she rejected Emma's own queer identity. The authentic storytelling and lived-in characters, which critics rallied behind during its run, can be largely attributed to its all-Latinx writer's room and almost entirely female crew. Watch it on Hulu.
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'Alien: Earth' might just be my favorite show of all time — and it proves the franchise is thriving
'Alien: Earth' might just be my favorite show of all time — and it proves the franchise is thriving

Tom's Guide

time3 hours ago

  • Tom's Guide

'Alien: Earth' might just be my favorite show of all time — and it proves the franchise is thriving

Hearing we were getting a TV show set in the 'Alien' franchise had me a little worried at first. As a superfan, I've always found the iconic sci-fi horror movies incredibly effective, especially in how much terror they pack into just 90 minutes of claustrophobic space. So, the idea of stretching that into eight hours of content definitely gave me some concerns. But now, having seen the first six episodes, I can confidently say I'm genuinely blown away. I'll admit some of my opinion might be a little biased, but I tried to distance my love for the franchise and be critical of 'Alien: Earth' fairly. Even then, it still blew me away. 'Alien: Earth' is pure sci-fi goodness, wrapped in a smart TV show format that's equal parts character drama and savage horror. There's so much to appreciate here, and showrunner Noah Hawley exceeded all expectations. He clearly knows the franchise inside and out, delivering exactly what fans want from an 'Alien' series. With a flashy marketing campaign (including an exhibit at the Natural History Museum in London) Disney and Hulu clearly want 'Alien: Earth' to be the next big TV event. And I'm not alone in thinking this: my colleague Rory Mellon called it the best new show of the year in his review. Now that 'Alien: Earth' is streaming its first two episodes on Hulu (and Disney Plus in the U.K.), I just have to talk about why it might rank as my No. 1 show of all time, and why you need to stream it right now. Most of the 'Alien' movies follow a group of human characters (plus an android) who come face-to-face with the Xenomorp, with each of them dying one by one until only the final girl remains. 'Alien: Romulus' leans heavily on this concept, and while I still love this format (and wouldn't mind seeing it used in future 'Alien' movies), I'm glad 'Alien: Earth' breaks away from it. Don't get me wrong, in the first two episodes we follow a group of search and rescue soldiers who encounter the Xenomorph aboard the Weyland wreckage (and soon discover exactly what they're up against). Episode 5 takes that format almost entirely, feeling like a 60-minute 'Alien' movie, which was incredible. But for the most part, the series breaks that mold in a really smart way. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. That comes down to its storytelling structure and how Hawley clearly wanted to explore the concept of 'man is the monster' even further. Instead of following characters' traumatic survival on a spaceship, we're introduced to Prodigy, a major Earth-based corporation that, in 2120, is one of five companies governing the planet. Prodigy is another example of corporate greed, led by the ego-inflated, shoe-hating CEO Boy Kavalier, who is very unlikeable (Samuel Blenkin delivers one of the strongest performances). After learning about the Weyland research vessel crashing into his city, he becomes determined to obtain everything on that ship including every species that was caged on board. 'Alien: Earth' strays from the usual movie format by introducing multiple species and showing how organizations like Prodigy constantly hunt for the next big innovation. Instead of characters dying one by one, the group of hybrids in 'Earth' must survive the very organization that created them. Unfortunately, in the process, they encounter several species (and the deadly Xenomorph) under far from ideal circumstances. In essence, 'Alien: Earth' expands the franchise's storytelling from a simple survival horror into a deeper, more layered drama about corporate power, scientific experimentation, and diverse alien threats. It's a remarkable piece of TV. I think any 'Alien' fan will agree that the franchise has always been visually stunning. Even the clean aesthetic of 'Prometheus' was pleasing to look at, alongside the grittiness of 'Romulus' and the rough, gritty look of 'Alien 3' (despite some dodgy special effects). 'Alien: Earth' takes all these elements and meshes them together. We experience the claustrophobic terror of spaceship corridors, the sleek corporate design of scientific labs inside Prodigy's main building, and the fresh addition of the natural setting at the Neverland research facility, which is something new for the franchise. From the very first scene in episode one, it nails the vibe. You could probably guess it's 'Alien' even if you closed your eyes and listened to the sound alone, including the iconic clicking of the computer interface. Every aspect of the TV show screams 'Alien' and I found myself almost jumping with excitement when something recognizable pops up. The set design, haunting music, and satisfying opening title sequences only add to the quality of this incredible series. Most of all, I had so much fun watching 'Alien: Earth,' and I was sad every time an episode ended. Franchise fans will eat it up, and even those who haven't encountered any piece of 'Alien' media can still enjoy this show with no prior knowledge. Hawley does an incredible job setting up the story and characters without relying on lore from the movies. Plus, even though we see 'more Xenomorph on screen,' the design is still incredible. I'm glad they stuck with practical effects for the costumes, especially since other species required special effects. The Xenomorph looks as cool as ever with its flashy silver fangs and dripping drool, and horror fans will especially love how gory things get. This show actually has some pretty shocking scenes, to say the least. Based on the first six episodes, I could easily say 'Alien: Earth' is my favorite show of all time. Maybe. 'The Walking Dead' has been my top show for years and one I've rewatched the most, so it's hard to say anything could truly top that. But 'Alien: Earth' is definitely giving it a run for its money. In fact, I'd fight a Xenomorph barehanded to experience this sci-fi masterpiece again for the first time. The first two episodes of "Alien: Earth" are now streaming on Hulu in the U.S and Disney Plus in the U.K.

Xenomorphs on Earth? Find out on FX's Alien Earth—watch on Sling
Xenomorphs on Earth? Find out on FX's Alien Earth—watch on Sling

Indianapolis Star

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Xenomorphs on Earth? Find out on FX's Alien Earth—watch on Sling

The Alien franchise debuted in 1979 and we're still in Sigourney Weaver's universe. In a franchise nearly as complex as Star Wars, where does Alien Earth fit? There's a great (but lengthy) ScreenRant recap of the entire series, but in short, Alien Earth is somewhere after Alien: Covenant and two years before the events of the original Alien. Confused? No worries, you can catch up on Prometheus and Alien: Covenant on Sling with HBO Max. According to the FX website, the series will feature a deep space research ship crash landing on Earth. You can watch the series premiere at 8 p.m. ET on Tuesday, Aug. 12 on FX, live on Sling. Here's how to stream Alien Earth on FX with your Sling subscription: Alien Earth premieres on FX on Tuesday, Aug. 12 at 8 p.m. ET. Episodes will air every Tuesday. Watch Alien Earth on Sling Sling TV has flexible and affordable plans all year long and regularly offers special deals to help you save even more. Prices will vary depending on other add-ons and offers you select. Below, we break down the differences between Sling Orange and Sling Blue. Try Sling today! Sling is putting you in control of how you watch TV. The live-streaming TV service is offering a new way to watch your favorite live TV shows and sports for less. You can now purchase a Sling Day Pass, Week Pass or Weekend Pass to watch your favorite content on-demand. No matter which pass you select, you're getting access to the Sling Orange package, but here's a breakdown of how they will work and what each pass will cost: Sling is now offering day, weekend and week passes so you can catch the game, binge a series or watch a whole tournament on your own terms.

‘Alien' Has Always Feared AI and Big Corporations. That's More Relevant Than Ever
‘Alien' Has Always Feared AI and Big Corporations. That's More Relevant Than Ever

Yahoo

time6 hours ago

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‘Alien' Has Always Feared AI and Big Corporations. That's More Relevant Than Ever

The new FX series 'Alien: Earth' traffics in familiar themes about greed, oligarchy and mysterious robots that tie into what's going on in the real world The 'Alien' movies vary widely in quality — there arguably hasn't been a truly satisfying one since the first two in 1979 and 1986 — but a key thread has endured across the 46 years: However scary the xenomorphs are, 'Alien' has always feared AI and the greed of faceless corporations. And in that respect, its time has come. The latest entry in the franchise, 'Alien: Earth,' which premieres on Tuesday, certainly exhibits those political undercurrents while bringing the threat home, both in the location and the shift from theaters to FX and Hulu, where only your neighbors can hear you scream. More from TheWrap Jimmy Fallon's Greg Gutfeld Interview Scores Biggest 'Tonight Show' Audience Since 2023 | Exclusive 'Wednesday' Season 2 Debuts to 50 Million Views in Just 5 Days on Netflix 'Alien' Has Always Feared AI and Big Corporations. That's More Relevant Than Ever Alex Ross Perry's 'Videoheaven' Charts the Rise and Fall of Video Stores, I Was There | Essay Granted, nobody comes to an 'Alien'-branded project — a franchise with one foot firmly planted in sci-fi and horror — for a lecture about the perils of unfettered capitalism. Still, the underlying apprehensions feel even timelier now, from the AI threat to the notion of corporations supplanting governments. 'Alien: Earth' lands at a moment of heightened unease about income inequality and the growing political clout wielded by billionaires like Elon Musk, Mark Zuckerberg and Jeff Bezos — moguls who have become household names. Their companies, meanwhile, keep growing, with trillion-dollar valuations — which would have sounded like the stuff of science fiction a few decades ago — now a reality, with Microsoft, Apple, Amazon and Google among those cracking that barrier. 'The Trillion Dollar Stock Club Is Bigger — and Richer— Than Ever,' blared Barron's headline closing 2024. Despite healthy profits, those same companies are also embracing AI in a way that both ignores potential unintended consequences and threatens the careers of its own employees. Several have explicitly stated as much, with Amazon CEO Andy Jassey issuing a memo in June spelling out that the technology will 'reduce our total corporate workforce as we get efficiency gains from using AI extensively across the company.' The eight-episode series takes the real-world drift toward corporate oligarchy to its dystopian extreme, with Earth governed by five massive corporations, which, as usual, exhibit few compunctions about sacrificing human life to advance their objectives and enhance their profits. In the broad strokes, though, this latest addition to the mythology — as conceived by showrunner Noah Hawley, who previously translated 'Fargo' to TV — very much contains the same core of distrusting those in charge, along with some new wrinkles that work more fitfully. The end game of those corporate objectives as usual remains murky, but again involves using synthetic androids — whose actions and motivations prove suspect — and seeking the means to capitalize on the alien creatures. Naturally, that requires the customary hubris about attempting to cash in on something so uncontrollable, unpredictable and dangerous. By adding a human face, in the form of a young technocrat (Samuel Blenkin) running a company appropriately named Prodigy Corp., 'Alien: Earth' does endeavor to make the story more contemporary. The self-proclaimed 'boy genius' feels like a composite inspired by any number of CEOs, which says something about this plutocratic moment given that the character would have seemed exaggerated or cartoonish before the modern tech explosion. As Hawley said during a pre-launch press conference, 'If I had done the 1970s version of capitalism it wouldn't have felt right for the world we live in today,' adding that humanity is 'trapped between the AI future and the monsters of the past.' The shock of the first 'Alien' — beyond wedding a haunted house to striking monster biology and set design — hinged in part on the cavalier attitude 'the company' harbored toward the lives of the crew. What they intended to do with the xenomorph was ill defined — something about the bio-weapons division — but the key point was treating the survival of those manning the ship as a secondary concern. That aspect became even more pronounced in the brilliant sequel 'Aliens,' directed by James Cameron, which features Paul Reiser as Burke, a mid-level manager, and the kind of corporate suck-up everyone has encountered. Burke gradually reveals who he is, balking at eradicating the aliens because a space installation has a 'substantial dollar value,' before seeking to curry favor from his superiors by allowing Ripley (Sigourney Weaver) and a young child to be 'impregnated' by the monster in order to bring specimens home. As Ripley says whens he exposes the plot, 'You know, Burke, I don't know which species is worse. You don't see them fucking each other over for a goddamn percentage.' Their shortcomings aside, the subsequent films, up to last year's 'Alien: Romulus,' have continued playing with these themes. Even after it was given a name, the company, Weyland-Yutani, cares more about the research and development possibilities in that enticing alien DNA than preserving the humans in its employ. Of course, there's some irony in that, since 'Alien' has itself become a title with a 'substantial dollar value,' spanning nine movies (including two crossovers with the 'Predator' franchise) totaling almost $2 billion in global box office. In an interview last year, original director Ridley Scott conceded the third and fourth films 'ran that firmly into the ground,' while more generously appraising the subsequent sequels, having directed two of them. In later episodes, 'Alien: Earth' pointedly addresses some of the issues the franchise has contemplated, with a character discussing the irony of smart people who are 'too stupid to realize you don't bring parasites home with you.' There's a possible lesson there regarding AI, where the lure of its potential might be blinding us to its dangers, and massive real-world companies appear either oblivious — or worse, indifferent — to the societal harm that it might do. That's evident in the commentary from the likes of Meta and OpenAI, who are pouring billions of dollars in an AI arms race against each other and China. Even if the robots don't murder us, as envisioned in the sci-fi version of these scenarios, they appear more tangibly destined to replace us by killing off a lot of our jobs. The employees in 'Alien: Earth' also recognize who's calling the shots, with one acknowledging that everything being done and the risks they're facing are 'always about power,' which includes exploring space to serve the company's ends. 'Alien' notably premiered at the close of the 1970s, a decade seen as a golden age for paranoid conspiracy thrillers — including those that reflected the callousness of corporate greed, like 'The China Syndrome' and 'Coma.' In that sense, having five corporations run things, like the American Mafia's five families, hardly feels like an accident. Because in 'Alien,' then and now, 'the company' rules the world, and the rest of us just try to hang on working for them. 'Alien: Earth' premieres Aug. 12 on FX and Hulu. The post 'Alien' Has Always Feared AI and Big Corporations. That's More Relevant Than Ever appeared first on TheWrap.

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