Akhil Arora

How do you approach a movie inspired by a series of gruesome killings that left a scar on the public but provided no closure? The police investigation into the 2006 Nithari serial murders—where a domestic help preyed on at least 19 minors, sexually assaulting them after their death, chopping their bodies into pieces and possibly indulging in cannibalism and organ harvesting, potentially with the tacit acknowledgement of his employer—was so badly botched that the case remains in the news in 2024, as the courts and agencies debate the sentencing. The two main accused were acquitted in 2023 over lack of sufficient evidence but India’s top crime body, CBI, has challenged it. With so many unknowable factors, this is rich territory for any filmmaker.

The Penguin—premiering September 19 on HBO and Max—arrives amidst a shifting mood in a space that’s been overdone. It’s another small-screen extension of a superhero movie. Who asked for it? This kind of blatant intellectual property exploitation, solely greenlit to boost a streaming service devoid of an identity, that expands the lives of minor Gotham characters and crime families. Comic book storytelling has already taken over everything. And, what, it’s on HBO too now? (The Penguin was greenlit as a Max original in 2022, but in July, the executives pivoted and stuck the HBO sticker on it.) Isn’t anything sacred anymore? Here’s the good news: infused with the energy of an all-time HBO hit, The Sopranos, the new DC spin-off miniseries is worthy of the HBO branding.

In Call Me Bae—the new Amazon Prime Video series from Four More Shots Please! writer Ishita Moitra—an extraordinarily privileged coddled young woman falls from grace and ends up on the street. (Except she has enough ultra-expensive possessions that she could get by for years by selling them in the open market.) She stumbles her way into TV journalism and, bafflingly, lands the scoop of any reporter’s dreams on the first day of the job. (Moitra clearly has a soft spot for good-looking, fashionably dressed investigative journalists. After working with Sayani Gupta’s Damini Roy in Four More, she concocts another unlikely one in Ananya Panday’s Bella Chowdhary.) In doing so, Call Me Bae needlessly complicates its fish-out-of-water tale.

Deep into Star Wars: The Last Jedi, shortly after defeating the Supreme Leader’s highly trained elite guards, the anti-hero Kylo Ren extends his hand out to the protagonist Rey and asks her to join him. Together, he says, they can rule the galaxy. He pushes her to confront her greatest fear and assures her that she means the world to him. On the whole, the scene is both epic and intimate. A similar moment occurs late in the second season of The Lord of the Rings: The Rings of Power as the series’ two most central forces clash in a swordfight. Sauron (Charlie Vickers) reiterates his desire to make Galadriel (Morfydd Clark) the queen of all Middle-earth. There’s nothing he wants more—and he’s willing to do whatever it takes to have her by his side.

Deep into the second season of Pachinko—the generation-spanning Apple TV+ drama series that rightfully captured hearts and won several awards upon its debut almost two-and-a-half years ago—the ruthless man of many trades, Koh Hansu (Lee Minho), utters eight words that unfortunately underpin the show: “For people like us, there is no home.” The lives of Pachinko’s characters have always been ravaged by war. First, they were made to feel lesser than and uprooted from their homeland. And since then, they’ve found themselves stuck in a world—as Koreans in Japan—that won’t really accept them no matter how much they give to it. The longing for home, the desire to feel safe and settled, and a quest for solace have defined their existence.