Entertainment
Eric Swalwell’s Allegations and Investigation Explained
Congressman Eric Swalwell is facing sexual assault allegations from multiple women, a Manhattan District Attorney’s investigation and calls from top Democrats to end his campaign for California governor.
Four women — including a former staffer who claims the politician raped her — accused Swalwell in April 2026 of sexual misconduct and harassment. Swalwell has categorically denied all the allegations.
“These allegations are false and come on the eve of an election against the frontrunner for governor,” Swalwell said in a statement. “For nearly 20 years, I have served the public — as a prosecutor and a congressman and have always protected women.”
Swalwell, a Democratic congressman representing California’s 14th congressional district, was the frontrunner in the 2026 race for California governor before the accusations made headlines.
Keep scrolling to learn more about the scandal and resulting investigation:
What Are the Allegations Against Eric Swalwell?
One of Eric Swalwell’s former staffer, who was 21 when she was hired, claimed that he attempted to pursue her romantically when she worked at his district office in Castro Valley, California, in 2019. She alleged he messaged her via Snapchat, sent her images of his genitals and sought nude pictures in return. She also claimed Swalwell tried to kiss her in her car and later asked her to perform oral sex on him.
The woman further alleged that Swalwell invited her out for drinks in September 2019, where she “blacked out” and allegedly woke up naked in Swalwell’s hotel bed, at which point she felt the effects of vaginal intercourse.
“I kept figuring out ways to blame myself: I shouldn’t have reached out to him at all, I should have left, I should have done this,” an anonymous alleged victim told CNN in April 2026. “Well, Eric shouldn’t have raped me.”
Another woman, Ally Sammarco, claimed that Swalwell offered to “share her resume” with other congressional offices before sending her “very inappropriate” messages via Snapchat. Two additional women also accused the congressman of sexual harassment and unwanted touching. All the women, sans Sammarco, wished to remain anonymous fearing retaliation.
Eric Swalwell’s Denial and Apology to His Wife
Eric Swalwell addressed the allegations in a social media video, while also apologizing to his wife, Brittany Watts.
“I do not suggest to you in any way that I am perfect or that I’m a saint. I have certainly made mistakes in judgment in my past,” he said in a social media video in April 2026. “Those mistakes are between me and my wife. And to her, I apologize deeply for putting her in this potion.”
Watts, who shares three children with Swalwell, has not publicly addressed the scandal.
Ally Sammarco’s Husband Reacts to the Scandal
Alleged victim Ally Sammarco‘s husband, Adam Parkhomenko responded directly to Swalwell’s denial video in April 2026.
“My wife’s name is Ally Sammarco. Obviously you know that, but she’s not named anonymous,” Parkhomenko, a Democratic strategist and former DNC National Field Director, wrote via X in April 2026. “She also went on the record with CNN so that hopefully this does not happen to other women and maybe it would help other women come forward.”
In a second statement, Parkhomenko added, “I would just like to reiterate that if Eric Swalwell and his attorney believe any statements that my wife and I have made are not true, he should sue us immediately.”
Democrats Call for Eric Swalwell to Drop Out of Governor’s Race
Prominent members of the Democratic Party publicly reacted to Eric Swalwell’s misconduct scandal in April 20226.
“This extremely sensitive matter must be appropriately investigated with full transparency and accountability,” Nancy Pelosi said in a statement. “As I discussed with Congressman Swalwell, it is clear that this is best done outside of a gubernatorial campaign.”
House Minority Leader Hakeem Jeffries, meanwhile, issued a joint statement with Democratic Whip Katherine Clark and Democratic Caucus Chair Pete Aguilar. They called for Swalwell to “immediately end his campaign to be California’s next governor.”
Adam Gray, a Democrat from California who served as a campaign cochair for Swalwell, also called the reports “deeply disturbing” and withdrew his support in the congressman’s gubernatorial race.
Manhattan DA Opens Investigation
The Manhattan District Attorney’s Office launched an investigation into Eric Swalwell on April 11, 2026.
“We urge survivors and anyone with knowledge of these allegations to contact our Special Victims Division at 212-335-9373,” the DA’s office told CNN in a statement. “Our specially trained prosecutors, investigators and counselors are well-equipped to help you in a trauma-informed, survivor-centered manner.”
Us Weekly reached out to Swalwell’s communications director for comment.
Congressman Eric Swalwell’s Staff ‘Horrified’ By Sexual Misconduct Allegations
On the heels of the Manhattan District Attorney’s Office opening an investigation into Congressman Eric Swalwell’s alleged misconduct, staffers from his 14th congressional district and the “Eric Swalwell for Governor 2026” campaign released a joint statement condemning him.
“As leaders of teams working for Eric Swalwell, we’re horrified by the recent reporting in the San Francisco Chronicle and by CNN,” they said. “We stand with our former colleague, and the other women who have come forward. We believe you should stand with them, too. The behavior detailed in these reports is abhorrent, beneath the dignity of those serving in public office and betrays the trust of all Californians.”
His staffers addressed why it was impossible for many of them to quit their jobs with Swalwell amid the ongoing scandal.
“We also understand that we lead teams who need guidance and stability now, more than ever. We are focused on supporting our colleagues during this challenging time,” they said in a joint statement.
“Any decision of staff members to remain in their roles in the interim should not be viewed as support for Eric Swalwell. “We recognize that not everyone — in particular our junior staff — can immediately forfeit their income and benefits without significant personal risk or consequence. Our responsibility now is to them.”
Their statement concluded, “We, more than he, understand that we have obligations to the people we lead and to the constituents of California’s 14th Congressional District. Those of us that remain on staff do so for the sole purpose of ensuring that as many of those obligations are fulfilled as possible.”
Us Weekly has reached out to Congressman Swalwell’s office for comment.
If you or someone you know has been sexually assaulted, contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673).
This story was compiled with the help of AI tools and edited by journalists.
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HBO is no stranger to producing great television. In fact, they’ve spent the last five years doing what they’ve done best: dominating the landscape with shows that feel distinct, purposeful, and (more often than not) worth the emotional investment. Indeed, from sprawling fantasy epics and prestige dramas to offbeat comedies and genre-bending experiments, the network’s output hasn’t just been strong—it’s been varied in a way that keeps audiences constantly on their toes.
No wonder they’ve prevailed throughout awards season. In the past half-decade, HBO has delivered a handful of shows that redefined what their genres could look like—whether through bold storytelling choices, clever IP selections, unforgettable performances, or a willingness to take creative risks. Either way, these are the most recent shows, starting from 2021 (sorry Succession fans), that prove to be a cut above the rest.
10
‘The Last of Us’ (2023–Present)
Set in a post-apocalyptic America, ravaged by a fungal outbreak, hardened smuggler Joel (Pedro Pascal) is tasked with escorting young Ellie (Bella Ramsey) across the country as she may hold the key to creating a cure. But what starts as a transactional mission quickly evolves as the pair navigate hostile survivors, militant factions, and the lingering ghosts of their pasts—all while forging an unexpected bond.
As an adaptation of a beloved video game, The Last of Us shines in how it shapes survival as both a physical feat and an emotional cost. This is because, unlike others in its genre, this show is not a mere tale about zombies: it’s a careful analysis of human nature. Joel’s growing attachment to Ellie isn’t just framed as heroic—it’s messy, selfish, and by the finale, morally devastating. It’s a show that constantly asks whether love is a saving grace or a destructive force. Add in the career-best performances, and you’ve got an adaptation that’s genuinely haunting and incredibly moving. Fingers-crossed, Season 3 doesn’t fall into a slump.
9
‘House of the Dragon’ (2022–Present)
Nearly 200 years before Game of Thrones, King Viserys (Paddy Considine) of House Targaryen breaks centuries of tradition by naming his daughter, Princess Rhaenyra (Milly Alcock, later Emma D’Arcy), as his successor. However, when Viserys later remarries and produces a son, the realm (and his family) engage in a bitter dispute over who has the rightful claim to the Iron Throne.
Rather than chasing the obvious spectacle of the legendary Targaryen dynasty, House of the Dragon leans into the psychology of power: how it warps relationships, distorts truth, and erodes trust over time. Most of the characters aren’t painted as simple rivals but as products of a system that pits them against each other, making every confrontation feel tragically inevitable. It strangely feels like a more intimate, deliberate kind of storytelling, but one that pays off in its devastating portrayal of a family tearing itself apart. Let’s hope Season 3 can up the ante.
8
‘Somebody Somewhere’ (2022–2024)
After the death of her sister, Sam (Bridget Everett) returns to her hometown in Kansas, but struggles to find her footing in a place she once knew. Thankfully, just before she fully disconnects from those around her, Sam forms an unexpected bond with Joel (Jeff Hiller), a former classmate and now colleague who introduces her to a community of outsiders who embrace self-expression and vulnerability.
While simple in its premise, its radical sincerity is exactly what makes Somebody Somewhere resonate so deeply. There’s no rush in “fixing” Sam or neatly resolving her grief. Instead, the show finds meaning in the slow, often uncomfortable process of healing. Better still, the humor is less punchline-driven, allowing the comedy to come out by simply letting its characters exist. And in doing so, the show captures something incredibly universal about the loneliness and courage of seeking out connection.
7
‘A Knight of the Seven Kingdoms’ (2026–Present)
Deep within Westeros, humble (but naive) hedge knight, Ser Duncan the Tall (Peter Claffey), travels across the land, with his young squire Egg (Dexter Sol Ansell) in search of purpose and opportunity. Their journey takes them through tournaments, political tensions, and crazed chance encounters, all of which gradually reveal that Egg is more important than he seems.
Despite this being yet another Game of Thrones spin-off, its smaller scope is what gives A Knight of the Seven Kingdoms its special charm. Dunk’s earnest sensibility and Egg’s hidden complexity create a dynamic that feels refreshingly grounded in a world of mythology and cynicism. Instead of constant betrayal, the show explores what it means when characters consistently try to do the right thing. Yes, it’s perhaps a gentler entry into the world of the Iron Throne, but one that still carries the weight of its history.
6
‘The Rehearsal’ (2022–Present)
Nathan Fielder helps ordinary people prepare for major life moments by constructing meticulously detailed simulations of real-world scenarios. From confessing a long-held lie to navigating parenthood, each “rehearsal” involves increasingly elaborate layers of planning. But as the experiments grow more complex, Nathan inserts himself deeper into the process, blurring the lines between facilitator and participant.
The brilliance of The Rehearsal lies in how it weaponizes discomfort. Beneath the absurdity is a sharp exploration of control, anxiety, and the impossibility of training for life’s messiest moments. As Nathan inserts himself deeper into his own experiments, the show begins to question its own ethics, turning the camera inward in ways that are both hilarious and deeply unsettling. Think of it as a twisted (and much darker) Jury Duty.
5
‘The White Lotus’ (2021–Present)
A group of wealthy guests arrives at the luxurious White Lotus resort expecting a time of relaxation, only to be met with personal tensions bubbling to the surface. As staff caters to their every need, classes divide, relationships fracture, and hidden resentments begin to unravel, all of which culminate in a shocking death.
Despite the rotating cast and locations, The White Lotus has secured its addictive status for its razor-sharp social commentary that just so happens to be wrapped in dark humor. The characters are often deeply flawed—sometimes outright insufferable—but never without dimension, making their unraveling both entertaining and revealing. It helps that the performances are top-tier, especially with Mike White‘s iconic and extremely quotable lines from The White Lotus. Think of it as satire with teeth, one that knows exactly where to sink them.
4
‘Mare of Easttown’ (2021)
In a small Pennsylvanian town, detective Mare Sheehan (Kate Winslet) is tasked with investigating the murder of a young mother, while still reeling from her own personal tragedies. As the case unfolds, Mare’s professional responsibilities begin to collide with her personal life, pulling her deeper into the secrets of a community so intensely connected.
Like all great crime dramas, Mare of Easttown refuses to separate the mystery from its central character. Indeed, Mare isn’t just solving a murder; she’s navigating grief, guilt, and the weight of expectation in a place where everyone knows her history. The performances ground the story in something deeply human, ensuring that every twist carries emotional consequences. So, if you’re in for a solid single-season binge, this should be at the top of your list.
3
‘The Penguin’ (2024)
Following the events of The Batman, Oswald “Oz” Cobb (Colin Farrell) makes his maneuvers to rise through the ranks of Gotham’s criminal underworld. And with the city in complete disarray from the floods, this becomes much easier. His plan of attack? Meddle with the deep-seated rivalry between the Falcone and the Maroni families—the city’s greatest criminal overlords.
In a world of superhero fatigue, The Penguin stands out for its centralization of a deeply complex being. For many, there’s an intrigue in how Oz’s ruthlessness feels somewhat human. His hunger for respect, his insecurity, and his extreme adaptability are what make him both dangerous and strangely sympathetic. And the show doesn’t shy away from that, nor paint him as a cartoonish villain. Instead, it paints a portrait of ambition unchecked, and where every victory comes at a cost of moral darkness.
2
‘Hacks’ (2021–2026)
Legendary Las Vegas comedian Deborah Vance (Jean Smart) is forced to reinvent her act if she hopes to stay relevant in the modern cultural scene. This leads her to reluctantly hire Ava (Hannah Einbinder), a young writer whose career has stalled after a public controversy. But while the two women initially clash over generational differences and opposing perspectives, they learn to collaborate, which leads to their relationship evolving into something much more complicated and unexpectedly personal.
At its core, Hacks thrives on the push-and-pull between its leads. Deborah and Ava challenge each other in ways that are often uncomfortable but ultimately necessary, with their growing bond forming the backbone of the entire series. It’s sharp, funny, and deeply reflective of the vulnerabilities that come with reinvention (especially within the entertainment industry). Throw in some other iconic ensemble members from Hacks, and you’ve got an award-winning show that captures the intersection of ambition, ego, and insecurity.
1
‘The Pitt’ (2025–Present)
Set in the high-stakes environment of a chaotic, underfunded emergency department in a Pittsburgh trauma center, Dr. Michael “Robby” Robinavitch (Noah Wyle) leads his team during a 15-hour, real-time shift. But as time passes, and the pressure of the job mounts, personal struggles and professional responsibilities begin to blur, revealing the emotional toll of working within an overstretched system.
While there are many great dramas on television, The Pitt sets itself apart with its unflinching commitment to realism—one that also never loses sight of its humanity. The medical cases are intense, but it’s their cumulative weight that truly lands, shaping every character in subtle, lasting ways. There’s no easy catharsis here, just the quiet resilience required to keep going in the face of exhaustion and loss. It’s gripping without being overly sensational, emotional without being manipulative. A rare perfect balance in the medical genre and one that makes it HBO’s most compelling recent achievement.
The Pitt
- Release Date
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January 9, 2025
- Network
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Max
- Showrunner
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R. Scott Gemmill
- Directors
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Amanda Marsalis
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Noah Wyle
Dr. Michael ‘Robby’ Robinavitch
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Tracy Ifeachor
Dr. Heather Collins
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Tanya Montana Coe said that not seeing her father before his death is “a hell I wouldn’t wish on my worst enemy.”
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When it comes to prestige television, live-action shows typically receive the most viewership and accolades, with most lists of the greatest TV shows being overwhelmingly dominated by the medium. However, that doesn’t mean that animation doesn’t have its own advantages over live-action work. Animated shows arguably allow for more creativity, often taking place in worlds outside our own, even if masterpieces such as BoJack Horseman mirror our own reality closely. These beautiful, original universes allow us to explore moral complexities free from the biases of our own world, since the storyteller can shape the context entirely.
One of the greatest examples of this is the original animated Avatar: The Last Airbender. On the surface, some may consider it a show for children, but it is anything but. Avatar: The Last Airbender is a joy for everyone, whether it is your first or hundredth time watching. Not only does it balance its tone between a fun adventure series and a nuanced depiction of war, but its themes are extremely complex, with gorgeous animation that creates a dynamic and evolving universe.
What Is ‘Avatar: The Last Airbender’ About?
Avatar: The Last Airbender follows Aang (Zach Tyler Eisen), a 12-year-old boy who has been frozen for 100 years, while the Fire Nation has engaged in a war of aggression against the other nations. As the Avatar, destined to master all four elements of air, water, earth, and fire, Aang must save the world, with the help of his friends, Sokka (Jack De Sena), Katara (Mae Whitman), Toph (Michaela Jill Murphy), and his sky bison, Appa (Dee Bradley Baker), and winged lemur, Momo (Dee Bradley Baker). Since these are a group of children, many of their journeys across the world turn into bottle-adventure episodes where the stakes are arguably low, such as helping protect a village from the pollution of a Fire Nation factory.
Yet, Avatar: The Last Airbender balances this fun, comedic tone with layers of depth in its characters. One of these is Zuko (Dante Basco), son of the Fire Lord and Aang’s main antagonist at the beginning. Zuko seeks to redeem himself in the eyes of his father with the help of his kind uncle, Iroh (Mako), representing a complex character who is both sympathetic and a serious threat to our heroes. With this and episodes that truly emphasize the scale of the war, such as “The Siege of the North,” Avatar: The Last Airbender manages to convey numerous tones and genres throughout its 3 seasons.
‘Avatar: The Last Airbender’ Explores Dark Themes Such as War in Nuanced Ways
Some would expect that the lines would be clear between good guys and bad guys in Avatar: The Last Airbender, given its comedic tone and suitability for kids. Yet Avatar: The Last Airbender is at its best when dealing with complex topics, and it uses fascinating characters to do so. While Aang is essentially the chosen one and burdened with the mission to defeat the Fire Lord, he struggles with violence, especially around the subject of killing, exploring whether it is just to kill our enemies. Through Zuko and his obsessive drive to make his father happy, along with his growing hatred of Aang, we see how childhood trauma and revenge can create monsters, while Iroh’s belief in Zuko challenges the audience to see the good in everyone.
Even characters who don’t have huge roles throughout the series leave lasting impressions, such as Jet (Crawford Wilson), whose brutal methods of guerrilla warfare against the Fire Nation reflect how the ends don’t justify the means. Whether it is someone fighting for the right reasons, but in the wrong way, or vice versa, Avatar: The Last Airbender makes sure that every character has a purpose in developing the story.
‘Avatar: The Last Airbender’ Has Some of the Most Creative Animation
Of course, the quality of animation is always a necessary measure in said medium, and Avatar: The Last Airbender uses the rules of its world to create striking visuals and give its characters personality through their movements. Due to the different styles of bending being so distinct, with a more flowing form for Katara’s waterbending compared to the stocky movements of Toph’s earthbending, each character has a distinct visual identity. Avatar: The Last Airbender also gives these powers the scale they deserve. Together, Toph and Aang can turn a mountain of stairs into one smooth incline in seconds, and Aang can hold back an erupting volcano without breaking a sweat. You not only feel the strength of their powers, but also how a bender is limited by their own creativity rather than the plot or an overcomplicated power-scaling system.
Overall, there are very few shows that can accomplish what Avatar: The Last Airbender did over its 3 seasons. Some may, at times, confuse animation as a genre in and of itself, and Avatar: The Last Airbender is a classic example of why. It never sticks to one genre but uses itself as a vehicle to convey several. To be funny or philosophical is one thing, but to combine the two, along with a fascinating world, is truly special. Even if you’ve never watched an animated show before, once you binge Avatar: The Last Airbender, you’ll be kicking yourself for not watching it sooner.
- Release Date
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2005 – 2008
- Network
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Nickelodeon
- Showrunner
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Michael Dante DiMartino
- Directors
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Giancarlo Volpe, Ethan Spaulding, Lauren MacMullan, Dave Filoni, Joaquim Dos Santos, Anthony Lioi
- Writers
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Tim Hedrick, Elizabeth Welch Ehasz, Joshua Hamilton, James Eagan, Joann Estoesta, Nick Malis, May Chan, Katie Mattila
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Venus Williams’ Met Gala looks have been a smash hit over the years.
Williams attended her first Met Gala in 2008 where the theme was Superheroes: Fashion and Fantasy. The tennis pro stunned in a silver strapless gown. Since her premiere strut on the museum’s iconic stairs, Williams has continued to elevate her fashion.
Ahead of the 2026 Met Gala, Williams was announced as one of the event’s cochairs alongside Beyoncé and Nicole Kidman. Williams teased her excitement for the festivities and the theme “Costume Art.”
“I love the theme. It’s a perfect fit for me,” Williams said in an April 2026 interview with Vogue. “It’s even more important today because people feel so much pressure to look a certain way. Though there’s so much beauty in difference.”
Keep scrolling to see William’s best Met Gala looks over the years:
Some shows do not get forgotten because they were bad. They get forgotten because streaming trained people to move on too fast. It’s like pop-culture gripped other shows way too fast, for way too long, and these shows got sidelined. Netflix especially has this ugly habit of swallowing its own history.
A show arrives, finds the exact people it was made for, wrecks them a little, gives them a mood or a world or a relationship dynamic they start living inside for weeks, and then the platform buries it under the next wave of content until it starts feeling like you imagined the whole thing alone. That is what happened to these series. And what makes it so frustrating is that they were not half-successful curiosities. They were the kinds of shows that had texture in the bloodstream.
‘Dead to Me’ (2019–2022)
What people miss about Dead to Me is how viciously exact it was about grief. Not movie grief. Not prestige-TV grief. The real kind. The kind that makes you angry at the wrong person, funny at the wrong time, controlling when you should collapse, clingy when you should walk away, and weirdly attached to the exact person who seems most dangerous to your emotional survival. Jen Harding (Christina Applegate) and Judy Hale (Linda Cardellini) were the greatest damaged pairing Netflix ever stumbled into.
The show understood immediately that if you put a woman held together by rage next to a woman held together by apology, the result will not be healing at first. It will be combustion. And that is why it stayed so good. It never turned their bond into a neat friendship arc. Every time it got close to sweetness, it would remember the blood under the floorboards. Another lie. Another guilt spiral. Applegate gave Jen that clenched, exhausted, punishing intelligence that grief sometimes sharpens into cruelty, and Cardellini made Judy feel like someone whose need to be loved had already broken every internal boundary she had. The show’s brilliance was that it kept letting both women be unbearable and lovable in the same breath. That is near-perfect writing to me.
‘The OA’ (2016–2019)
This one still feels like a robbery. Not a cancellation. A robbery. Because The OA was not just another ambitious Netflix mystery where you wait for clues to click into place. It was doing something much stranger and much riskier. It was asking the audience to surrender to belief as an emotional act. Prairie Johnson (Brit Marling) returns after seven years, is able to see, gathers those five lonely people in that unfinished house, and tells them what happened to her. That should not have worked as powerfully as it did. On paper, it sounds almost absurd. On screen, it felt sacred and unstable at the same time. The show understood that stories can function like portals long before they function like explanations.
The real genius was that it never treated the listeners as furniture. Steve Winchell (Patrick Gibson), French Sosa (Brandon Perea), Buck Vu (Ian Alexander), Jesse (Brendan Meyer), and BBA (Phyllis Smith) mattered because the show was also about the kinds of lives that are so emotionally starved they become vulnerable to miracles. Prairie was not just giving them exposition. She was giving them a shape of meaning large enough to interrupt despair. That is a huge thing for a show to attempt without irony. Then Season 2 somehow got even bolder, wider, more structurally deranged in the best way, and instead of being rewarded for that nerve, it got cut off just when it was opening into something enormous. That is why people who love The OA talk about it the way they do.
‘Sense8’ (2015–2018)
There are shows people admire. There are shows that people binge. And then there are shows people attach to in this almost embarrassing, full-body way, because the show touches a need they do not get met anywhere else. Sense8 was that kind of show. It was not just clever sci-fi about psychic connection. It was about how unbearable isolation is, and how intoxicating it would be to be truly reached by other people, not politely understood, not “related to,” but reached.
To have somebody else inside your panic, your desire, your shame, your language, your body, your memory. The premise itself was already emotional dynamite. What made the show special was that it actually believed connection could save people. That sounds cheesy when written plainly. Good. It was. It was gloriously, vulnerably earnest about human interdependence in a television era that often hides behind detachment. Watching the cluster become a real cluster was the whole thrill. Sun Bak (Bae Doona)’s control, Lito Rodriguez (Miguel Ángel Silvestre)’s fear, Wolfgang Bogdanow (Max Riemelt)’s damage, Kala Dandekar (Tina Desai)’s divided heart, Nomi Marks (Jamie Clayton)’s courage, Capheus Onyango (Aml Ameen and Toby Onwumere)’s optimism, Riley Blue (Tuppence Middleton)’s ache, Will Gorski (Brian J. Smith)’s steadiness, each one becoming part of the others without disappearing into them. It was brilliant.
‘Marco Polo’ (2014–2016)
This is one of the easiest shows for people to dismiss lazily, which is exactly why it belongs here. People remember the budget, the early-Netflix prestige push, the fact that Marco Polo did not become the platform-defining sensation somebody wanted it to be. But if you actually watched it, really watched it, you know it had heft. It had an appetite. It had that old-fashioned historical-drama pleasure of stepping into a world where every glance, every seduction, every ritual, every silence around the throne might change somebody’s fate. It was not always elegant, and honestly that was part of the charm. It had a little excess in its bloodstream, which a court drama should.
The smartest thing it did was refuse to make Marco the entire point. Marco Polo (Lorenzo Richelmy) is there, yes, but the world around him kept threatening to outgrow him, which made the series richer. Kublai Khan (Benedict Wong) had gravity. Hundred Eyes (Tom Wu) had mystery. The women around the court were not decorative wall decor but players that read power with terrifying speed. The whole show felt built around the idea that empire is theater and blood at once, and that anybody surviving inside it has to learn how to perform before they can even think about freedom. When people call it forgotten, what they usually mean is that Netflix did not turn it into a forever brand. That is different.
‘Bloodline’ (2015–2017)
Bloodline should not be forgotten. This one feels personal. It should still be sitting right there at the center of any serious conversation about Netflix’s best dramatic work, because season one in particular is one of the most suffocating family thrillers the platform ever produced. The setup was already poisonous in the right way: the respectable Rayburn family, all local charm and inherited standing, slowly coming apart when the damaged son comes back and starts pressing on every buried bruise. But the show’s real power was not in its secrets — it was in the humidity of the secrets. The sense that this family had been breathing around the same lies for so long, they had forgotten what clean air was supposed to feel like.
And then there was Danny Rayburn (Ben Mendelsohn), who gave one of those performances that changes the chemical balance of an entire series. He was not a villain in the neat sense, but a grievance with memory. He was the family’s guilt returning in human form and refusing to stay at the polite distance they had assigned him. Every scene with him felt unstable because he knew where the emotional rot lived, and he had the cruelty and hunger to keep pushing there. That made John Rayburn (Kyle Chandler), Meg Rayburn (Linda Cardellini), and Kevin Rayburn (Norbert Leo Butz) more interesting too, because the show never let their damage separate cleanly from his. They were all trapped in the same family myth, just occupying different corners of it. Bloodline understood a truth a lot of family dramas miss: love does not cancel rot. Sometimes it protects it.
Bloodline
- Release Date
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2015 – 2017-00-00
- Network
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Netflix
- Directors
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Mikael Håfström, Todd A. Kessler, Michael Morris, Ed Bianchi, Mario Van Peebles, Jean de Segonzac, Johan Renck, Daniel Zelman, Dennie Gordon, David Manson, Alex Graves, Michael Apted, Daniel Attias, Simon Cellan Jones, Stephen Williams, Tate Donovan, Carl Franklin
- Writers
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Arthur Phillips, Bill Cain, Lizzie Mickery, Addison McQuigg, Ashlin Halfnight, Lucas Jansen, Barry Pullman, Melanie Hoopes, Dani Vetere
New Oscars rules battle rise of AI to protect actors, writers — plus shocking acting category change
How Man Utd and Liverpool FC can BOTH qualify for Champions League this weekend
Man charged over death of Australian Indigenous girl that sparked outback riots
Manchester United reach agreement with Casemiro over contract clause amid transfer speculation
US brings back mandatory military draft registration
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