It’s that time of the year where midterms are starting and you need some gucci de-stress shows. You know, those guilty pleasures that are like Dorito’s Nachos, but for your eyes? Here they are:
How to Get Away With Murder
(spoilers ahead, vroom vroom.)
Annalise and your problematic fave law students are back with some stellar new cases (it’s like if Scooby Doo took on more complex social issues). Frank has gone awol and Wes is still trying to come to terms with the fact that his father is dead and gone (throwback JT song reference, anyone?). Other drama? Annalise is in hot water with the university, and someone keeps putting up ‘KILLER’ posters around campus with her face on them (and I’m not talking killer graphic design, friends.) Why am I still watching this soapy-disaster of drama? Five words: Viola “tears on command” Davis.
This Is Us
(buckle up, more spoilers ahead.)
No, this is not the One Direction movie, but the new NBC drama that centers on the generations of a family with some issues. Tissue for your issues? I’m not quite in tears yet over this family, but I could get there. Mandy Moore’s character’s marriage is starting to show its cracks and I do love a good divorce fight, though the 60’s husband coming home drunk from the bar spiel does feel a little tired at times. Why am I still watching this, though? This show deals with obesity with a lot of heart: it’s not a joking matter, and it deals with a lot of the social stigma. It also throws in some good twists now and again.
American Horror Story: Roanoke
(you already know I’m going spoil things.)
Gaga is back with even less lines than last season (I didn’t think that was possible.) This year AHS has taken on the horror documentary genre, and from the beginning it just feels like fresh-squeezed grapefruit juice: tangy, sour, scary and something that shouldn’t be consumed past 7PM (don’t worry, that’s an urban myth.) Although I gotta give praise to AHS for finally being more diverse in its cast, for hiring at least 50% POC/LGBTQ+ directors, and for being much less campy than the past two seasons, I’m still waiting for the social commentary strength of season 2, or the complex characters of season 1. (Maybe I just miss Jessica Lange? Very possible.) Why am I still watching this? Sarah Paulson and Angela Bassett are still giving it their all every week (even though I’m still confused as to why they don’t just leave the house).
(spoilers like that milk in your fridge.)
I really want to hate this show and stop watching it, but I am still tuning in every single week to see what happens to my hella problematic Chanels and Dean Dr. Munch as they enter the world of medical problems that no one can get to the bottom of (except Chanel #1 for some reason). This show is ridiculous, and the addition of John Stamos, Taylor Lautner and Kirstie Alley make it even weirder. Why am I still watching it? I don’t honestly know, are you watching any other horror comedies right now? Didn’t think so. Also, Jamie Lee Curtis is in her prime.
(If you think I’m not going to reveal things, you’re wrong.)
This little TVLand gem follows forty-something Liza as she re-enters the workforce posing as a 26-year-old because no one will hire her for who she is (a divorcée, who took time off to raise her daughter). The bones of this show scream ageist activism, but Sex and the City creator Darren Star points it in more of a indie-romcom direction, which I don’t hate, but it definitely had more potential. Why am I still watching it 3 seasons later? I’m utterly transfixed to see what happens when she gets found out at work. That, and stars Sutton Foster and Hilary Duff are just a joy to watch. (Almost as much of a joy as Hilary Duff’s latest album.)
Hope this article gets you in the fall, binge-watching mood HCUBC!