Deadloch (2023 – present)

If it weren’t for caricaturizing men, there wouldn’t be a show. Deadloch builds its comedy on reducing nearly every male character to a stereotype—buffoonish, sexist, or simply incompetent. That choice doesn’t just limit the humor, it flattens the entire narrative. A satire can be sharp without being one-note, but here the punchline is always the same, and the story suffers for it. The homosexual empowerment trope is overplayed. The imbalance is hard to ignore. If the roles were reversed and women were written with the same broad ridicule, the backlash would be immediate and fierce. Yet in this case it’s packaged as bold "social commentary". The result is less a compelling mystery and more a predictable exercise in mockery—smug where it should be clever, shallow where it should be biting.