All of this has happened at a time-spring into summer, kinda-post-Covid but not quite-when streaming was, and still very much is, vomiting content at an unprecedented rate. Amidst all of this, I still had no time to watch the movies piling up in my ever expanding queues, including the dystopian thriller Mother/Android and the documentaries Ailey, High Score, and Our Father.Ĭontext, as always, is crucial. (Yes, I signed up for Paramount+’s free trial, and yes, I watched the precooked American version of Love Island without one morsel of embarrassment.) I only just completed The Gilded Age (10/10 recommend-it’s Housewives before Housewives) and have yet to start Station Eleven, the sophomore season of Succession, and couldn’t even tell you where I left off on Ozark (actually I just checked season 3, episode 1). I find myself unable to keep pace with the overflow of television and film offered across all the major streamers (I binged Reservation Dogs last month on Hulu, FX’s corporate partner), and on the network and cable outfits that have belatedly gotten with the times by generating cultural IP on various platforms. My lingering wasn’t deliberate, but it did mean I had missed out on one of the more fulfilling aspects of what makes TV, especially a trinket of a show like Reservation Dogs, all the more appointment-worthy in this piggish age of streaming: the opportunity to absorb its quirks while watching and arguing about it alongside everyone else on social media. By the time I finally got around to watching, and quickly falling in love with, Reservation Dogs-the ethereal dark comedy on FX about four rebellious Indigenous teens who stir up trouble on a small-town Oklahoma reservation-almost a year had passed since its 2021 premiere.
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