Imagine diving into tales of outlaws who thumbed their noses at the law, mixed with heartfelt family dramas and comedic reflections on fame—streaming options this week have something for everyone, but they also stir up debates on heroism, trauma, and the blurred lines between fact and fiction. Buckle up, because we're about to explore shows that not only entertain but challenge how we view real-life criminals and personal struggles. And here's where it gets controversial: Are these stories glorifying bad behavior, or are they just humanizing the anti-heroes we secretly root for?
Starting off with Run (★★½ on Binge), a gripping six-part series loosely inspired by the life of Brenden Abbott, Australia's notorious 'Postcard Bandit.' Abbott, a career criminal still behind bars in Western Australia, became infamous in the 1980s and 1990s for pulling off around 50 bold bank heists, evading capture for years as a fugitive, and even staging dramatic jailbreaks. Legend has it he taunted police with postcards, but that part? Turns out it was a myth spun by the cops themselves. Fittingly, Abbott's story screams for creative license, and the show delivers with a disclaimer right upfront, reminding us that 'based on a true story' means room for invention.
The drama stars George Mason as Abbott during his peak years, blending high-stakes action with psychological depth. It hits the familiar beats of cops-and-robbers thrillers competently, but where it falls short is in truly capturing the essence of Abbott's elusive genius—like how he meticulously planned his escapes in a pre-digital world, relying on patience and clever tactics rather than impulsive outbursts. Instead, the narrative often portrays his heists as knee-jerk reactions to personal turmoil, such as family abandonment or relationship woes. Take, for instance, a scene where he targets a bank right after a rejection from his father; it's dramatic, but it simplifies the real cunning that kept him one step ahead for so long.
What makes this compelling is the show's effort to humanize Abbott, showing him as a flawed 'cool professional' driven by ambition but sabotaged by personal demons. He teams up with his reckless brother, Glenn (played by David Howell), longs for a bond with his absent dad, and struggles to balance love with his partner Jackie (Ashleigh Cummings) and their daughter Lily (Roxie Mohebbi). It echoes figures like Don Draper from Mad Men—charismatic yet self-destructive. Yet, critics argue it's reductive to paint him as an anti-hero without fully grappling with the terror he inflicted. The series doesn't shy away from the trauma: Watch how a bank teller, Nola (Julia Nihill), grapples with PTSD from Abbott's masked gunpoint robbery in 1987 Perth, her life unraveling in the aftermath. It's a stark reminder that behind every crime is human suffering.
And this is the part most people miss: The police pursuit feels underdeveloped, with Detective Gary Porter (Keiynan Lonsdale) serving as Abbott's mirror but remaining a bit of a blank slate for too long. Plus, the great Robyn Malcolm shines as Abbott's mother, Thelma, adding layers of familial tension. Ultimately, Run leaves you wondering: Is Abbott the villain we can't look away from, or a product of his broken world? But here's where it gets controversial—does portraying criminals this way risk romanticizing their actions, or does it help us understand the roots of crime?
Shifting gears to stand-up comedy, Kumail Nanjiani: Night Thoughts (★★★½ on Disney+) brings back the Pakistani-American comedian after a decade in Hollywood stardom with hits like Silicon Valley, The Big Sick, and the divisive Marvel flick The Eternals. Filmed at Chicago's Vic Theatre—where he started his career—this special dives into the clash between his past as an outsider and his current fame. Nanjiani humorously reflects on how success has altered his self-perception, riffing on everyday absurdities like his aging cat's health problems and mundane married life banter that feels straight out of a sitcom.
He pokes fun at his physique too—bulking up for The Eternals but keeping those 'decorative' muscles post-shoot—without directly bragging about fame. The humor sticks because it's genuine, building to a poignant finale where he explores how others' views of his celebrity affected him, turning it into a shared experience: 'I wasn't okay, and maybe you aren't either.' It's a hall of mirrors effect, making you laugh while nodding in recognition. For beginners, think of it as a relatable chat about aging, fame's pitfalls, and staying grounded—Nanjiani's wit makes complex feelings accessible.
Moving on to thrills, Run Away (★★★ on Netflix) kicks off the year with another Harlan Coben adaptation, following the tradition of twisty British mysteries. This one centers on Simon Greene (James Nesbitt), a devoted father hunting for his drug-addicted daughter Paige (Ellie de Lange), amid a web of cruelty and unlikely plot turns. While not perfect—some elements strain plausibility—it's elevated by strong performances and keeps you guessing, much like past Coben stories.
If you're in the mood for something sharper, check out Shiva Baby (★★★★ on Mubi), the 2020 breakout film by Rachel Sennott. If you've binged I Love LA on HBO Max, this tart comedy about 20-something ambitions and anxieties will feel like a natural next step. Sennott stars as Danielle, a young New Yorker whose boredom and risky impulses explode at a Jewish mourning ceremony with her family. Directed by Emma Seligman, it's darkly hilarious yet suspenseful, like a thriller where you await Danielle's next meltdown. Sennott's reactions are spot-on, revealing layers of inner turmoil—perfect for understanding how small frustrations can lead to big outbursts.
Then there's Goodbye June (★★½ on Netflix), Kate Winslet's directorial debut, co-written with her son Joe Anders. It follows aging matriarch June Cheshire (Helen Mirren) as she rallies her fractured family for one last holiday before her terminal cancer diagnosis. With a stellar cast including Timothy Spall and Toni Collette, it aims for heartfelt reconciliation but can veer into sentimental clichés. Winslet herself appears, adding emotional weight—think of it as a meditation on family bonds under duress, though it doesn't always escape predictable tropes.
Finally, rejoice: Top of the Lake (★★★★½ on Stan*) has found a new streaming home, bringing Jane Campion's 2013 masterpiece back into the spotlight. This small-town crime mystery, set in a rugged New Zealand village, follows the search for a missing 12-year-old girl. Elisabeth Moss plays the troubled detective, Holly Hunter as a mysterious American observer, and Peter Mullan as the abusive father. Visually breathtaking and unflinching, it peels back layers of community secrets scene by scene, feeling like a timeless artifact from an era of bold storytelling.
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But here's the big question: Do stories like Run make us sympathize with criminals at the expense of their victims? Or is it essential to explore the human side for real change? What do you think—does fame turn comedians like Nanjiani into sellouts, or does it enrich their perspective? Share your thoughts in the comments; I'd love to hear if you agree or disagree!
