The first season of “Solar Opposites” was wild and funny and fast, a clear cousin to “Rick and Morty” (the shows share a co-creator, Justin Roiland). Season 2, which came out last month, is even funnier and faster, and bolder, too. The series follows a group of aliens trapped on Earth, and it has a ton of lewd and juvenile humor. It also has a subplot about a shrunken-down humans who’ve established their own renegade society inside a wall, and I care more about those characters than I do about anything that has ever happened on “The Walking Dead.” If you want something naughty and terrific, watch this.
From left, Dyllón Burnside, Hailie Sahar, Mj Rodriguez, Indya Moore and Angel Bismark Curiel in the new season of “Pose.”Eric Liebowitz/FX
When to watch: Sunday at 10 p.m., on FX.
The season premiere of this gorgeous drama is set on the day of O.J. Simpson’s Bronco chase, an ominous detail that adds to the sense of liminality as the show enters its final season. It’s 1994, and everything feels, somehow, even more fragile than before: House of Evangelista is a shell of its former self, the AIDS pandemic rages on, and Pray Tell and Angel have developed unhealthy coping mechanisms to deal with their anguish. Because “Pose” often introduces new characters who know less about the ballroom scene and about the world in general than our heroes and heroines do, you can just jump in and start watching now — everything is explained.
Nature docs are always a good way to hit a mental reset button — what’s Twitter drama to an aquatic beast? — and this mini-series has an especially hypnotic and satisfying combination of astounding footage, fascinating information and artful writing. (Sigourney Weaver as narrator doesn’t hurt, either.) Episode 1 is about orcas; Episode 2, humpback whales; Episode 3, belugas and narwhals; and Episode 4, sperm whales. Each installment focuses on whale “culture,” how the animals communicate and collaborate and care for their young. If you want to remind yourself how big the world is, how mysterious and surprising, how strange and wonderful, how small you are but in a good way, watch this.
Your newly available movies
Abbi Jacobson voices Katie Mitchell in “The Mitchells vs. the Machines.”Netflix
A surprisingly dull, dated Tom Clancy thriller with Michael B. Jordan may be the biggest debut on streaming services this week, but it’s not among the four films our critics recommend, including “About Endlessness,” the latest in existential deadpan from the Swedish director Roy Andersson. Also among this week’s picks: “The Mitchells vs. the Machines,” a lively animated adventure from two writers of the wonderful “Gravity Falls.”
Some independent films are available via “virtual cinemas,” which share the rental fees between distributors and theaters. Unless otherwise noted, other titles can generally be rented on the usual platforms, including Amazon, Apple TV, Google Play, Vudu and YouTube. SCOTT TOBIAS
‘About Endlessness’ (A Critic’s Pick)
The Swedish filmmaker Roy Andersson may be the great cinematic bard of failure and futility, though his version of rapture is a decidedly low-key affair. “About Endlessness,” his new feature, is at once gloomy and vivid, 76 minutes worth of vignettes that are individually somber and cumulatively exhilarating. — A.O. Scott (Read the full review here.)
‘Best Summer Ever’ (A Critic’s Pick)
This is the kind of movie that vibrates with the energy of the people who made it, whose enthusiasm radiates from the screen. The actors and filmmakers seemed to have had an extremely good time bringing “Best Summer Ever” to life. — Calum Marsh (Read the full review here.)
With a rousing, kinetic style reminiscent of “The Battle of Algiers,” and confrontational close-ups of fiery eyes and faces, the film is not merely a historical biopic — it’s a provocation. And a riveting one, too. — Glenn Kenny (Read the full review here.)
‘The Mitchells vs. the Machines’ (A Critic’s Pick; Netflix only)
Directed by Mike Rianda and written by Rianda and Jeff Rowe, who both worked on the beloved series “Gravity Falls,” “The Mitchells vs. the Machines” not only has laughably eccentric characters but also a script packed with bonkers, fast-paced action — with elaborate, wild visuals to match. — Maya Phillips (Read the full review here.)
The director, Stefano Sollima (“Sicario: Day of the Soldado”), manages the proceedings with a minimum of zest, relying on a score by Jonsi (of Sigur Ros) for ambient energy. Even the visuals are gray and indifferent, and the briefer-than-expected running time does not correspond to a brisk pace. — Ben Kenigsberg (Read the full review here.)
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