Meer
Monday, January 5, 2026
The Pitt: one hospital shift, told in real time, where urgency becomes a character and time itself is the antagonist
Adolescence turns the true-crime framework inward, focusing not on the act itself, but on the emotional vacuum it leaves behind
Vince Gilligan returns with a series of quiet detonations, where moral gravity, visual precision, and character choice reshape the scope of modern television
The Pitt finds intimacy not in reflection, but in survival—who these people are is revealed by how they keep moving
A portrait of adolescence as a closed room—full of adults watching, none fully understanding what they’re witnessing

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