Be­cause ’tis the op­ti­mal sea­son for net­flix and chill

Toronto Life - - Culture -

The Crown | Novem­ber 4, Net­flix In the age of royal ma­nia, it was only a mat­ter of time be­fore the Wind­sors got tele­vised. The Crown, an or­nate, out­ra­geously ex­pen­sive Net­flix orig­i­nal, is set to run for six sea­sons, each cov­er­ing a decade of Queen El­iz­a­beth II’s ex­ten­sive reign. First up: her mar­riage to Prince Philip, her lav­ish corona­tion and the evo­lu­tion of the Com­mon­wealth. The Good Place | Sep­tem­ber 19, Global The ef­fer­ves­cent Kris­ten Bell plays a cruel and vin­dic­tive woman who is struck by a trac­tor-trailer and ends up in the after­life, where she is men­tored by Ted Dan­son (be­cause that’s every­one’s idea of heaven). The Good Place was cre­ated by Michael Schur, the weirdo ge­nius be­hind Parks and Re­cre­ation and Brook­lyn NineNine—ex­pect a high quo­tient of silli­ness and sur­re­al­ism. Divorce | Oc­to­ber 9, HBO Canada Sarah Jes­sica Parker’s new HBO se­ries is a spir­i­tual se­quel to Sex and the City, fol­low­ing a mid­dle-aged woman in Louboutins who fi­nally re­al­izes that her hus­band will never be emo­tion­ally avail­able. Parker is the mar­quee name, but we’re more ex­cited about the sup­port­ing play­ers: Thomas Haden Church is her mous­ta­chioed hus­band, Molly Shan­non is her out­landish best friend, and—best of all—Catas­tro­phe’s Sharon Hor­gan is the writer and showrun­ner. Des­ig­nated Sur­vivor | Sep­tem­ber 21, CTV It’s the year of the Kiefer come­back. The erst­while Jack Bauer re­leased a coun­try al­bum last spring and stars on ABC’s lat­est po­lit­i­cal soap, Des­ig­nated Sur­vivor. When a ter­ror­ist at­tack kills the Amer­i­can pres­i­dent and every­one else in the line of suc­ces­sion, a mi­nor cabi­net mem­ber (played by Suther­land) is ap­pointed com­man­der in chief. Cap­tive | De­cem­ber 9, Net­flix Net­flix is cash­ing in on our in­sa­tiable ap­petite for gritty true crime with this new se­ries from Doug Li­man, the direc­tor be­hind The Bourne Iden­tity. Un­like Se­rial or Mak­ing a Mur­derer, Cap­tive is episodic: each in­stal­ment de­scribes a dif­fer­ent hostage case, div­ing deep into the world of ne­go­ti­a­tion, re­con­nais­sance and re­cov­ery.

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