On Our Streaming Radar: Kim Kardashian’s Legal Drama

This week’s streaming lineup feels like a perfectly curated sampler platter — a mix of high drama, historical intrigue, and legendary reimaginings. Whether you’re in the mood for courtroom chaos, 19th-century politics, medieval rebellion, or gothic monsters, there’s something here for every type of viewer. Let’s dig in.

All’s Fair

Ryan Murphy’s All’s Fair is the kind of glossy, star-studded legal drama built for watercooler debates and endless memes. The headline, of course, is Kim Kardashian — stepping into her first major leading role in a scripted series. And yes, it’s exactly as wild and fascinating as it sounds.

Kardashian stars as one of Los Angeles’ most high-powered divorce attorneys — a premise that feels tailor-made for someone who has built an empire on managing fame, image, and reinvention. The twist is that Kim isn’t just playing pretend here. She’s been publicly studying law for several years, finishing her apprenticeship and reportedly awaiting the results of her California bar exam this month. It’s a case of art imitating life, or perhaps the other way around.

Surrounding Kardashian is an incredible ensemble of women who elevate the show beyond any gimmick. Niecy Nash-Betts, who continues her career renaissance following Dahmer, brings both warmth and wit as Kim’s mentor and rival in the courtroom. Teyana Taylor, fresh off her critically acclaimed film One Battle After Another, steals every scene she’s in with her fiery charisma and emotional depth — it’s no wonder some are whispering “Oscar buzz.” Add Naomi Watts, Sarah Paulson and Glenn Close to the cast, and you’ve got an embarrassment of acting riches.

All’s Fair streams on Hulu on November 4th.

Death by Lightning

From Beverly Hills to the White House, Netflix’s Death by Lightning might be the most surprisingly gripping historical drama of the season. The limited series chronicles the rise and assassination of President James A. Garfield — one of America’s most overlooked leaders — and his disturbed assassin, Charles Guiteau.

I traveled to New York City to speak with stars Michael Shannon and Matthew Macfadyen, who bring electrifying contrast to their portrayals of Garfield and Guiteau.

“I don’t think there’s any way you get to be President of the United States without possessing some ambition,” Shannon says, “He wasn’t just blown into it like a tumbleweed. But I do believe he was truly interested in making America a better place — his main focus was improving the lives of other people, which is a very beautiful thing.”

Macfadyen, on the other hand, described Guiteau a man who “just wanted to be part of the gang” Macfadyen would expound on this notion by saying, “He wanted to be valued and to belong. He started as a sort of grifter — he was hopeless at everything. He tried to be a lawyer and that didn’t work. He tried to be a journalist and start a newspaper, and that didn’t work. He even joined a free love colony and got kicked out because nobody would sleep with him. Then he latched onto Garfield in a serious way and became his most devoted supporter. That became everything for him — and it was deeply unhealthy.”

The dynamic between the two men forms the show’s emotional backbone — one defined by idealism on one side and obsession on the other. That’s what makes it tragic. They both wanted to be remembered, and they were, but for very different reasons.

The series we shows how ego and faith collided in a country still reeling from the Civil War. The result is haunting, human, and strangely modern — a story about ambition’s light and shadow. This is one of the best shows on Netflix all year: gripping, emotional and powerful.

Death by Lighting streams on Netflix November 4th.

Robin Hood (MGM+)

MGM+ continues to quietly surprise viewers with high-quality originals, and its latest — Robin Hood — is a prime example. Forget the green tights and cartoon arrows. This version, created by Jonathan English and John Glenn, digs deep into the real medieval England that birthed the myth. It’s an origin story grounded in blood, politics, and rebellion — less fairy tale, more history lesson with a sword.

When I spoke with the cast — Jack Patten, Lauren McQueen, and Lydia Peckham — all three spoke passionately about how the show redefines what we think we know about Robin Hood.

Director Jonathan English — whose background in medieval history helped shape the show’s texture went back to the earliest Robin Hood ballads from the 13th and 14th centuries. Those stories were darker, more desperate, and rooted in class struggle. That’s the Robin Hood the show wanted to bring to life.

The result is a strikingly authentic reimagining, featuring Connie Nielsen as Eleanor of Aquitaine and Sean Bean as the Sheriff of Nottingham. It’s smart, stylish, and refreshingly unpolished — a perfect companion to the age of prestige period dramas.

And finally, the one that might overshadow them all: Guillermo del Toro’s Frankenstein, premiering November 7 on Netflix.

Starring Oscar Isaac, Mia Goth, Jacob Elordi, and Christoph Waltz, this is not the stitched-up monster movie of old Hollywood. Del Toro’s Frankenstein is equal parts gothic tragedy and philosophical meditation — a story about creation, morality, and the aching human need for belonging.

The film has already generated major awards buzz and looks to be a showcase for del Toro’s signature blend of beauty and horror. Visually, it’s said to be among his most ambitious projects — a sweeping, painterly production that feels more like an operatic fable than a horror film.

Where Frankenstein distinguishes itself is in its emotional core. Del Toro has always been fascinated by monsters as metaphors for humanity — from Pan’s Labyrinth to The Shape of Water — and here, he returns to that theme at its origin. The film examines what happens when man tries to play God and how love, rejection, and loneliness can shape the soul far more than science ever could.

Expect Frankenstein to dominate both awards conversations and streaming charts alike. It’s the rare adaptation that promises not only to terrify but to move you — proof that after two centuries, Mary Shelley’s creature still has life left in him.

Keep an eye out for our full Frankenstein review from Houston Press critic Pete Vonder Haar later this week — but for now, circle the date. This one’s unmissable.

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