Here’s what’s happening in the world of television for Wednesday, May 19. All times are Eastern.
Who Killed Sara? (Netflix, 3:01 a.m.): Created by José Ignacio Valenzuela, this Mexican thriller has grasped Netflix audiences since its first season dropped only two months ago. It centers on professional hacker Álex Guzmán’s attempts to find the person responsible for the death of his sister Sara after he spent 18 years in jail for a crime he did not commit. The streaming platform announced last month that Who Killed Sara? was streamed by 55 million households in its first four weeks. The show stars Manolo Cardona, Alejandro Nones, Carolina Miranda, Fátima Molina, Ximena Lamadrid, and Claudia Ramirez.
The Handmaid’s Tale (Hulu, 12:01 a.m.)
ABC Finales (ABC, 8-10 p.m.): The network is bidding goodbye to its Wednesday night lineup until fall, starting with the eighth season finale of The Goldbergs. Home Economics wraps up its debut season right after, followed by The Conners’ season three finale. While all three shows will return for another year, it’s the permanent end for the Kyra Sedgwick-led Call Your Mother.
Love, Death & Robots season 2 (Netflix): The first season of this Netflix animated sci-fi anthology series was a sprawling and uneven affair. Like any anthology with a large number of entries, there were more than a few duds in the bunch. Happily, it seems executive producers Tim Miller and David Fincher narrowed their focus for season two. With eight episodes, they’ve trimmed the fat, leaving behind only a crisp and diverting assemblage of tales that can be enjoyed in less time than it takes to watch any of their respective feature films. Bringing aboard supervising director Jennifer Yuh Nelson (The Darkest Minds), the variety of animated shorts here run the gamut from sprawling, immersive science fiction (“Snow In The Desert”) to creature-feature horror (“The Tall Grass,” based on a Joe R. Lansdale short story) to a one-joke cartoon (the four-minute Christmas tale “All Through The House”). As with season one, the best installments are just as much an excuse to gape at the bold visual possibilities of the medium as they are engaging stories, from the evocative, comic-book-like imagery of Robert Valley’s “Ice” to the almost photorealistic beauty of “Snow In The Desert” or Yuh Nelson’s own short, the bleakly dystopic “Pop Squad” (featuring the voice talent of Uncharted’s Nathan Drake himself, Nolan North). Surprisingly, Miller’s own concluding entry, based on J.G. Ballard’s “The Drowned Giant,” is one of the weaker ones, but by then, the dazzling array of styles and visual panache should have already satisfied. [Alex McLevy]