Box Set Binge – a smorgasbord of binge-worthy TV and streaming treats

CHARLIE BROWN AND PEANUTS SPECIALS

First published in various American newspapers in 1950, Charles M. Schulz’s Charlie Brown and Peanuts have become one of the most famous comic strips ever produced.

In creating the Peanuts gang, Schulz mixed intelligent comedy with childhood’s innermost fears, joys and anxieties, challenging a series of old-fashioned views of child psychology along the way. Over the years since Charlie Brown first appeared in print, 18,000 comic strips have been translated into over 21 languages in 75 countries. But the TV specials truly cemented Charlie, his dog Snoopy, and the Peanuts gang’s place as a cultural phenomenon.

Since 1965, over 45 specials have been produced, many earning the title ‘legendary’ for bringing the world of Charlie Brown to life in glorious technicolour. Of course, it all started with the fabulous A Charlie Brown Christmas, which remains a family favourite fifty-nine years later. But now, with Apple TV+ on board, a new world of Charlie Brown stories and adventures is opening up for a whole new generation, including the fabulous Welcome Home, Franklin. 

TITANS

Following hot on the heels of the equally dark and underrated Gotham, Titans finally gave the Teen Titans an adult makeover. Here, DC Comics classics such as “Death in the Family” and “The Red Hood” would be amalgamated into a dark, brooding, and violent slice of comic book entertainment that finally laid the 1960s comedic Robin to rest. It is therefore interesting that Titans has never received the credit it was due for the quality, diversity, or brilliance of its four-season run.

As with many DC shows, the reason for this lies in internal wrangling at Warner Bros., as the DC Universe platform was launched only to be scrapped later. At the same time, HBO Max wasn’t available in most international territories, including the UK, with Titans suffering long delays in arriving on Netflix worldwide.

But despite the problems behind the scenes, this is one DC show well worth your time, as the Teen Titans face a range of classic enemies over four exquisite, action-packed seasons.

ANGELS IN AMERICA

Tony Kushner’s epic gay fantasia on national themes began its life in the late 1980s when a San Francisco theatre company approached Kushner. Kushner began to work, drawing on his experiences of politics, sexuality, religion, and the human condition in 80s America.

Set amid the AIDS crisis, the play would interweave the lives of various characters, each grappling with their own struggles as they search for meaning in a world of chaos, oppression, and uncertainty. Here, the ‘angels’ Kushner created served as a metaphor for hope and transformation rather than as a reflection of any particular religious iconography.

Angels in America is unlike any play that came before it in its sheer scale and vision; it would dissect Reaganomics and the oppression of individuals and communities as a new millennium approached. In Angels in America, the horror of AIDS is viewed through a prism of division, unity, intolerance and love as the capitalist machine continues its march.

Kushner’s play extends beyond the AIDS epidemic, enveloping the audience in its scope as it explores what it truly means to be human. Each character’s life is shaped by differing worldviews, political opinions, and beliefs; yet they are united by one thing: they are outsiders in a world built on predefined norms.

The resulting drama prompts its audience to examine their beliefs, motivations, and biases while advocating collective responsibility in driving social change. Here, the play confronts political and social injustice issues during the AIDS crisis and reminds us that capitalism can breed division and cloud our compassion and empathy for one another, no matter our community background.

INTERVIEW WITH THE VAMPIRE

Many questioned whether Interview with the Vampire should rise from the dead following Neil Jordan’s exquisite 1994 film adaptation starring Brad Pitt, Tom Cruise, Kirsten Dunst, and Christian Slater. Boardwalk Empire’s Rolin Jones proved them wrong.

In modern-day Dubai, vampire Louis de Pointe du Lac (Jacob Anderson) sits down with renowned journalist Daniel Molloy (Eric Bogosian) to share the story of his life — or rather, his afterlife—which begins in the hustle and bustle of 20th-century New Orleans. There, challenged by the constraints as a queer Black man in 1900s America, Louis finds it impossible to ignore the irresistible allure of Lestat de Lioncourt’s (Sam Reid) offer of the ultimate escape: a chance to outmanoeuvre the confines of mortality and join him as his vampire companion.

But Louis’ new powers come at a precious price, and the introduction of Lestat’s latest creation – the child vampire Claudia – propels them on a path of revenge and redemption spanning decades. Epic and sweeping in its visual beauty and performances, Rolin Jones’ adaptation of the Anne Rice classic is proudly queer, gloriously gory and bloody riveting.

GAME OF THRONES

Based on the book series by George RR Martin, Game of Thrones would transform and forever redraw the boundary between television and cinema with a show that took the 16:9 TV in the corner of your room into unexplored territory.

Game of Thrones was event-viewing as it built a world unlike anything seen on TV, while re-igniting the public’s love of historical fantasy through intrigue, sex, violence, sumptuous character design, and stunning effects. Like many shows, its ending may have faltered in the eyes of many, but no ending would have been perfect for a show that left such a lasting mark and rich, dramatic legacy.

HOUSE OF THE DRAGON

As Game of Thrones came to a close in 2019, many wondered if the media fire it had generated had been firmly extinguished; after all, the final season of the blockbuster show was and still is hotly debated as one of TV’s biggest anti-climaxes. Therefore, when House of the Dragon was announced, a fair bit of scepticism was mixed with the excitement of a new beginning in King’s Landing.

Thankfully, some of that scepticism was put to bed just three episodes in, as the trademark mix of betrayal, intrigue, medieval politics, and power that made Game of Thrones fascinating found a fresh voice through a host of exceptional new characters. Performances writhe with the same fearless energy as its predecessor, with Matt Smith, Olivia Cooke, Ewan Mitchell, Emma D’Arcy, Tom Glynn-Carney and Co absolutely spellbinding.

I AM NOT OKAY WITH THIS

What do you get when you cross a John Hughes movie with Stephen King’s Carrie before adding a sprinkling of Stranger Things? The answer might be found in the Netflix comic book drama I Am Not Okay With This, a deliciously dark comic book adaptation from the same universe as The End of the F***ing World. Here, we find the story of a teenage girl struggling with grief, awkwardness, acne, emerging sexuality, and some troubling latent superpowers.

Still reeling from her father’s suicide, Sydney Novak (Sophia Lillis) is not exactly living the teen dream as she battles with her recent relocation to a small town, arguments with her mum and a best friend, Dina (Sofia Bryant), who may be something more. Meanwhile, Sydney’s weed-smoking geeky neighbour (Wyatt Oleff) happens to fancy the hell out of her. But the cherry on top of all this teen angst is her emerging telekinetic powers, over which she has little control.

There is nothing new in the notion of superpowers interfacing with puberty; it’s a mainstay of the comic book origin story. But it’s rare to see these stories placed into the hands of a teenage girl, and even more rare to find them dovetailed with the coming out process.

I Am Not Okay With This felt fresh, new and sharp in an ocean of competing titles, helped enormously by the casting of Sophie Lillis and Wyatt Oleff, yet Netflix pulled the plug, and just like Lockwood & Co. and a host of other YA titles, we were left wondering what could have been.

DON’T EVER WIPE TEARS WITHOUT GLOVES

Don’t Ever Wipe Tears Without Gloves was not the first TV drama to explore the AIDS epidemic, nor would it be the last. But SVT’s Swedish drama is one of the most achingly beautiful and emotionally charged stories of love in a landscape of discrimination, death, and heartbreak ever made.

Based on Jonas Gardell’s trilogy, the story follows a young gay Jehovah’s Witness who arrives in Stockholm seeking to rebuild his life and the young man who befriends and protects him. But it is also the story of a liberal country during the AIDS epidemic and the cracks that would form in the liberal ideals Sweden held dear as homophobia raised its ugly head. It’s the story of a gay community in Stockholm under siege, and of love as gentle and delicate as the snowflakes drifting in the air.

DEUTSCHLAND 83

While proving to be a considerable success abroad, Deutschland 83 and 86 flopped in their home country. However, this is one killer series with its mix of espionage, tongue-in-cheek humour, action and 80s tunes. Here, we see Jonas Nay’s Martin Rauch transformed from a wide-eyed twenty-something into a killer spy against the backdrop of a segregated Germany in the first season.

Meanwhile, the second season, Deutschland 86, picks up the story three years later as the cold winds of change blow south in a sequel that continues to hum with all the ingredients that made the first outing a total blast.

THE MOSQUITO COAST

Apple TV+ originals have embraced unique, engaging, and different TV journeys over the past few years, and The Mosquito Coast was a part of that trend.

However, due to the pandemic and the gap between seasons one and two, many have forgotten just how great its two-season run was when viewed as a whole. The TV drama would take a different path from the film, as Neil Cross and Paul Theroux combined the classic road-trip thriller with family drama, suspense, and high-octane action. The success of this fresh interpretation lies with an exceptional cast, including Justin Theroux, Melissa George, Logan Polish and Gabriel Bateman.

Some found this reimagining of Paul Theroux’s book problematic, but regardless of one’s views, it’s brave and bold. There is more than a nod to Sidney Lumet’s classic Running on Empty in this taut, energetic, and imaginative road-trip thriller, which is addictive, visually stunning, and utterly enthralling.

THE MUPPET SHOW

Fun fact: I once electrocuted myself while watching The Muppet Show! I was five or six and staying at my grandma’s house when I stuck my finger in a socket while playing with my Star Wars figures! Thankfully, the shock wasn’t all that bad, and I watched the rest of The Muppets on my grandma’s lap with what seemed like a giant slice of chocolate cake.

But I digress! The Muppet Show was one of the highlights of my TV week as a kid, with each episode transporting me into the wondrous world of Jim Henson’s misfit creations. The opening credits were enough to make the outside world evaporate as The Muppets took me under their wing.

Henson’s Muppet Show was pure escapism, joy, and innocence — a family show that would appeal to audiences of all ages through its humour, intelligence, and colourful parade of unique characters. So dive into Henson’s glorious world because, whether you are new to The Muppet Show or an adult who grew up with its wondrous creations, Jim Henson’s sublime TV show has something for everyone.

THE MANDALORIAN

Unlike the mediocre finale to the third Star Wars saga, The Rise of Skywalker, The Mandalorian felt fresh, innovative, and rooted in George Lucas’s vision.

Created by Jon Favreau, The Mandalorian draws inspiration from the Saturday children’s matinees that influenced George Lucas’ original vision by blending science fiction with a classic Western visual style.

However, the real genius lies in exploring a post-imperial world following the Return of the Jedi. Here, Pedro Pascal’s bounty hunter sits in a universe where Imperial forces are still very much alive on the fringes of the galaxy, and a small Yoda-like green “child” offers them a power that could once again overthrow the fragile democracy of the rebellion.

Offering us a kaleidoscope of characters and monsters, many of whom sat in the background of the original Star Wars films. The Mandalorian is a love letter to all those magical, wondrous Kenner figures who had no clear backstory until now.