The long nights of winter offer Netflix subscribers in the United States the opportunity to binge three solid series before they leave this monthibetph, along with two horror chillers, a couple of uproarious comedies and more. (Dates reflect the final day titles are available and are subject to change.)
‘Focus’ (Jan. 9)Stream it here.
online slots real moneyBefore collaborating in “Suicide Squad” (and before “Barbie,” and before the Slap), Will Smith and Margot Robbie teamed up for this sly, smart, sexy caper from the writer-directors Glenn Ficarra and John Requa (“Crazy, Stupid, Love”). Robbie is a up-and-coming con artist, specializing in quick scams and picking pockets, who wants to learn how to play for higher stakes; Smith is the old pro who teaches her the ropes. The locations and costumes are gorgeous, the stars even more so, while Ficarra and Requa’s script is clever but not too convoluted. Fans of the “Ocean’s” movies and their ilk will find much to like here.
‘The Magicians’ Seasons 1-5 (Jan. 14)Stream it here.
This enjoyable series, which ran on Syfy from 2015 to 2020, isn’t the most original thing on Netflix — the show, based on the novels by Lev Grossman, is unmistakably aiming to scratch the wizarding-school itches of Harry Potter fans. But granting the nakedness of its ambitions, there’s much to admire about this modest charmer: the charisma of the lead, Jason Ralph; the WB soapiness of the conflicts between its college-age characters; and the better-than-average (for basic cable, at least) visual effects and settings. It’s junk food, sure, but undeniably tasty.
‘Monk’ Seasons 1-8 (Jan. 14)Stream it here.
This durable, popular USA mystery series (2002-9) helped give that channel a distinctive identity and helped lift its star, Tony Shalhoub, from a valued cinematic character actor to a marquee name (and even sex symbol) for a certain demographic of television viewers. He stars as Adrian Monk, a consulting detective for the San Francisco Police Department, whose investigative prowess rivals that of Sherlock Holmes and whose obsessive-compulsive disorder rivals Jack Nicholson’s in “As Good as It Gets.” The mysteries are consistently smart and engaging — “Columbo” is a clear inspiration, and a deserved comparison — but the reason to watch is Shalhoub, who turns what could have been a collection of tics and eccentricities into a fully realized, unforgettable television character.
‘Cats’ (Jan. 15)Stream it here.
It’s said that they don’t make really, truly, memorably bad movies anymore; the basic level of technical competence is too high, and I.P. obsession means that studios play it so safe that no one takes the kinds of big swings that can go entertainingly, disastrously awry. But there are occasional exceptions to every rule, and this 2019 adaptation of the long-running Andrew Lloyd Webber stage musical is one of them, serving as a vivid illustration of the vast chasm between what we’ll accept onstage and onscreen. The singing and dancing cats at its center might have played in an animated film, but this peculiar mixture of live actors, theatrical makeup and C.G.I. is ill-advised from start to finish — it was roundly rejected by moviegoers even with Taylor Swift in the cast. But it’s much more fun to watch than any number of big-budget studio hits; say what you will about these “Cats,” but they’re never boring.
The agency, in an update to its industry guidelines published this week, signaled that it’s paying closer attention to how companies back up the new environmental buzzwords and said it “strongly encourages” meat and poultry purveyors to get those claims verified by independent third parties.
‘New Amsterdam’ Seasons 1-5 (Jan. 15)Stream it here.
This NBC medical drama accomplishes two things simultaneously: It presents a protagonist whose good intentions and can-do attitude can, for at least an hour, assure viewers that the health-care industry is working in their best interests; and it can deploy the tools of the hospital show, a longtime television staple. The central character is Dr. Max Goodwin (Ryan Eggold), the new director of a New York public hospital who embarks on an idealistic mission: to put patients before profits and to help people no matter what the cost. It occasionally comes off as wish fulfillment fantasy, but the performers are likable, the stories are often moving, and at its best, it is top-notch comfort television.
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