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‘M3gan’ Review: Wherever I Go, She Goes

A state-of-the-art robot doll becomes a girl’s best friend, and dangerously more, in this over-the-top horror film.

By Jason Zinoman

Allison Williams has a knack for playing it straight. She brings a convincing realism to the most preposterous situations or maybe she’s just an actor with limited range. Whatever the reason, it works, especially in the tricky genre where comedy meets horror. She excelled in a critical role in “Get Out,” and now in “M3gan,” a ludicrous, derivative and irresistible killer-doll movie.

Williams plays Gemma, a robotics engineer with no maternal instincts who suddenly must take care of her young niece, Cady (Violet McGraw), after a car accident turned her into an orphan. The synthetic skin of this movie is about how Gemma learns to take care of a child. Thankfully, its bloody heart is far sillier. It’s the comedy of a primly composed mean-girl android turning into The Terminator.

This is the kind of scary movie that needs a lead performance that is strong not fragile, deadpan not showy. Williams capably updates the mad-scientist archetype, refusing to pause and ask questions while inventing a doll of the future, one who pairs with a child and adjusts to their needs, filling in as best friend and big sister. Gemma uses Cady as her test case.

In a headier movie, there might be some misdirection. But M3gan (performed by Amie Donald) is clearly pure evil from the start. She’s a great heavy: stylish, archly wry, intensely watchful. Her wanton violence never gets graphic enough to lose a PG-13 rating. In early January, when prestige holiday fare tends to give way to trashier pleasures, a good monster and a sense of humor can be enough. This movie has both, and it makes up for a slow start, some absurd dialogue (“You didn’t code in parental controls?”) and a by-the-book conclusion.

While the trailer invited comparisons to “Child’s Play,” the slasher film featuring the doll Chucky, that movie had a much grimier, disreputable undercurrent before the sequels and reboots turned goofy. “M3gan” moves with a lighter touch. There’s a scene where a police officer who is investigating the disappearance of a dog blurts out a chuckle, then apologizes, saying, “I shouldn’t have laughed.”

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Movie Reviews

Tv/streaming, collections, chaz's journal, great movies, contributors.

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The marketing for "M3gan" has leaned into the uncanny spectacle of the title character, a four-foot-tall cyborg with big doe eyes, a ratty wig, and the wardrobe of a closeted lesbian headmistress in a '50s melodrama. And it seems to be working: A well-placed GIF here, an activation with a half-dozen women in M3gan drag there, and Blumhouse—always expert at creating buzz—has generated more interest in "M3gan" than there's been for the last five horror films dumped into the bleak theatrical landscape of early January. But the company could have gone another route as well. In case you haven't heard, this film comes to you from the writer of " Malignant ." 

For that film, James Wan directed a script by Akela Cooper , a longtime TV writer with a sideline in horror screenplays. The duo perfectly calibrated the movie's blend of haunted-house scares and outrageous grotesquerie, enough to make "Malignant" a viral hit when it was released on HBO Max in the fall of 2021. Now Cooper is a horror screenwriter who also works in television, and she's been brought into the Blumhouse fold to develop a sequel to the "Conjuring"-verse spin-off " The Nun " as well as writing "M3gan" from a story by herself and Wan. 

Like "Malignant," "M3gan" knows it's ridiculous. It fills a kiddie pool with ridiculousness and splashes around in it. Cooper's screenplay for "M3gan" is more overtly comedic than "Malignant," however, and has a more populist type of appeal as a result. (The audience at a Chicago preview of the film went crazy for it.) The themes are your classic "science gone amok" fare seen in everything from "Frankenstein" to " Jurassic Park ," combined with a more modern throughline exploring anxieties about motherhood and filtered through the knowingly silly lens of the "tiny terrors" subgenre. "Child's Play" is the most famous example of that last category, and many comparisons have been and will be made between M3gan (an acronym for "Model 3 Generative ANdroid") and Chucky. Their motivations are different, however: Chucky's boy Andy was a victim of his doll as much as anyone else, while M3gan is fiercely protective of her girl, nine-year-old Cady ( Violet McGraw ). 

The film opens with a sequence that establishes its subsequent tone of garish satire and mischievous morbidity, as Cady plays with an obnoxious Furby-like toy called a Purrpetual Pet in the backseat of a car. She and her parents are on their way to an Oregon ski lodge for a winter vacation—until a snow plow appears out of nowhere, " Final Destination " style, and kills Cady's parents. Cut to Gemma ( Allison Williams ), an inventor working for a high-tech toy company called Funki in Seattle. Gemma is Cady's aunt and the girl's legal guardian now that her sister and brother-in-law are dead. 

But Gemma isn't a motherly type. She's too busy with work to spend much time with Cady, for one. And although she works for a toy company, she keeps her toys—sorry, collectibles —in their boxes and on a shelf in her living room. But these two are now the only family the other one has. So they'll have to learn to live together, at least well enough to satisfy a court-ordered psychiatrist who's skeptical about Gemma's parenting abilities.

Enter M3gan, who seems like the perfect solution to Gemma's problem. An experimental prototype with a " Short Circuit " - style ability to memorize infinite amounts of information, M3gan can act as a teacher and babysitter who reminds Cady to use a coaster and wash her hands after using the bathroom. She's what every kid needs, and every parent secretly wants: A 24/7 companion who frees up parents to live their own lives while their kids are preoccupied with their dolls. She's going to make Gemma's boss very, very rich—so rich, he rushes M3gan through beta testing with Cady as their only subject. That can't go horribly wrong in any unforeseen way, right? 

With nimble direction from " Housebound " helmer Gerard Johnstone , "M3gan" does a good job of holistically incorporating its themes without being too heavy-handed. Sure, it's technically "about" grief and what happens when the creation surpasses its creator. But more than that, it's "about" pithy one-liners and black comedy and the unsettling sight of something that looks like a human being but doesn't move or sound like one. The plot does have a few weak points and dangling threads, and the PG-13 rating ensures that the violence is tamped down before it can reach its full bloody potential. (A promising sequence of doll-based mayhem late in the film abruptly cuts off, suggesting MPAA-mandated cuts.) But the tongue-in-cheek tone is so consistent that "M3gan" is a hoot anyway. 

Johnstone reaps seemingly endless rewards from the uncanny valley aspect of M3gan's character. He directs the petite stunt women who play her to move in odd, jerky gestures, which at different points recall everything from "Robocop" scanning criminals' faces to Samara crawling out of the TV in " The Ring " to voguers high on their fabulousness. (He also uses what I can only describe as "skinned Furby" aesthetics at critical points throughout the film.) Combined with the doll's sassy comebacks and dowdy sartorial sense, the effect is true camp—something that's difficult to pull off in our irony-saturated age.

The quintessential "M3gan" moment comes midway through, when Cady and Gemma take a field trip to check out an alternative school Cady might be able to attend while Gemma is at work during the day. A teacher comes up to Gemma's car, sees what she thinks are two girls sitting in the back seat, and greets them both. M3gan turns towards the woman with a stiff neck rotation and a whirring sound. "Jesus Christ!" the teacher cries, jumping backward and exhaling a nervous laugh. The audience laughs along with her. It's the sensible response to seeing something like M3gan in the wild—it's only through conditioning (or, in this case, advertising) that we learn to love her. 

Now playing in theaters. 

Katie Rife is a freelance writer and critic based in Chicago with a speciality in genre cinema. She worked as the News Editor of  The A.V. Club  from 2014-2019, and as Senior Editor of that site from 2019-2022. She currently writes about film for outlets like  Vulture, Rolling Stone, Indiewire, Polygon , and  RogerEbert.com.

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M3GAN (2023)

Rated PG-13 for violent content and terror, some strong language and a suggestive reference.

102 minutes

Allison Williams as Gemma

Violet McGraw as Cady Ryan

Jenna Davis as M3GAN (voice)

Amie Donald as M3GAN

Jen Van Epps as Tess

Brian Jordan Alvarez as Cole

Ronny Chieng as David Lin

Stephane Garneau-Monten as Kurt

Michael Saccente as Greg

• Gerard Johnstone

Writer (story by)

• Akela Cooper

Cinematographer

• Peter McCaffrey
• Jeff McEvoy
• Anthony Willis

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M3GAN First Reviews: A Surprisingly Fun and Funny Horror Icon Is Born

Critics say the campy sci-fi horror flick leans into its ridiculous premise and runs with it, even if it's hampered a bit by its pg-13 rating..

TAGGED AS: First Reviews , movies

January has long been considered a dumping ground for movies that are expected to perform poorly, but M3GAN could be an exception, given the stellar reviews for the Blumhouse horror-comedy. The movie built up anticipation with its trailers, which went viral for their fun tone, and now critics are confirming that M3GAN is indeed a campy delight that’s worth seeing. Despite killer dolls and AI gone wrong being common in the horror and sci-fi genres, the production team of Jason Blum and James Wan , aided by everything and everyone that went into the portrayal of the titular toy, apparently have made a fresh and entertaining movie to start off 2023.

Here’s what critics are saying about M3GAN :

Is M3GAN a new horror icon?

She’s absolutely f—ing nuts, and what fun to watch her play. – Kate Erbland, IndieWire

The deliciously menacing doll steals every scene… M3GAN is fascinating to watch, whether she’s staring out a window with unnerving intent, busting some contortionist moves, or simply cocking her head in a sudden tilt that induces both shivers and snickers. – David Rooney, Hollywood Reporter

She is methodical and downright scary at times — but it is always for what she thinks is a good cause, and that is something that doesn’t happen every day. – Tessa Smith, Mama’s Geeky

She gets too wisecracking in the end — but otherwise she’s a fresh and sinister addition to the canon. – Richard Lawson, Vanity Fair

M3GAN’ s greatest shortcoming is that the human characters aren’t nearly as entertaining as she is… Whenever she isn’t on screen, including during the movie’s setup, things don’t operate quite as well. – Karl Delossantos, Smash Cut Reviews

A genre star is born from motherboards and violence. – Matt Donato, IGN Movies

(Photo by Geoffrey Short/©Universal Pictures)

How does the film stand out in its genre?

M3GAN sets itself apart from its predecessors by embracing the silliness of the premise and catering directly to the internet audience. – Hoai-Tran Bui, Inverse

M3GAN fits into a tradition of demon-doll movies going back to the Karen Black episode of Trilogy of Terror and the Annabelle trilogy (also produced by Wan), but it has its own amusing throwaway token relevance. – Owen Gleiberman, Variety

A deeper understanding of the characters distinguishes M3GAN from other movies. – Germain Lussier, io9.com

Its creators are so clearly on the same insane wavelength, nimbly blending camp and social satire and actual terror, that M3GAN is poised to crack the murder-doll pantheon and stay there forever. – Kate Erbland, IndieWire

The script by Akela Cooper (from a story by Cooper and producer James Wan) is a bit wittier than your standard slasher fare. – Matt Singer, ScreenCrush

The thing about formulaic movies like M3GAN is that sometimes they get it right… Laced with a nasty wit and passive cynicism, M3GAN is a surprisingly fun thriller. – Norman Gidney, HorrorBuzz

Does it deliver on gore?

Some scenes, like [an] ear-ripping scene, flirt with a more violent and grisly outcome, only to fall back into PG-13 territory. – Hoai-Tran Bui, Inverse

It’s not exactly light on the bloodshed, but it’s not aiming for a high amount of gore, either. – Aaron Neuwirth, We Live Entertainment

How much more fun could M3GAN be were its murderous creation really allowed to let loose? Instead, the film is forced to look away from the gruesome stuff and keep the body count relatively low. – Richard Lawson, Vanity Fair

Are there any breakout performances?

Violet McGraw is a rock star in this film. She is pure perfection… That girl is going places, so keep an eye on her. – Tessa Smith, Mama’s Geeky

The MVP of M3GAN is the young Violet McGraw, whose multifaceted performance adeptly showcases the emotional intensity of Cady’s situation… McGraw’s performance really lands. – Jeff Ewing, Slashfilm

(Photo by ©Universal Pictures)

Is there more to M3GAN than meets the eye?

Beneath the ridiculous antics of its uncanny-valley villain and Black Mirror -knockoff plot lies a surprisingly touching story about grief and family bonds. – Hoai-Tran Bui, Inverse

While being practically built for meme/gif culture, it’s still a film attempting to tackle ideas surrounding grief and the over-reliance on technology to handle life’s problems. – Aaron Neuwirth, We Live Entertainment

For every scene in which M3GAN seems to be auditioning for Drag Race , there is another scene grounded in some kind of reality — or, at least, a sense of stakes. – Richard Lawson, Vanity Fair

Not so subtle messages about relying too much on electronic devices — especially when parenting — adds to the humor and fun of the film. – Tessa Smith, Mama’s Geeky

The majority of the movie is infinitely more serious and sad, resulting in a slightly imbalanced but nevertheless rewarding experience. – Germain Lussier, io9.com

Is M3GAN going to be an internet sensation?

M3GAN is made to be memed. – Hoai-Tran Bui, Inverse

M3GAN manages to transform its well-trod elements into a tense, engaging horror-comedy outing with a keen eye for tongue-in-cheek and meme-worthy scenes. – Jeff Ewing, Slashfilm

Will we want a sequel?

Viewers will leave theaters wanting more of her, and fingers crossed we get it. – Tessa Smith, Mama’s Geeky

If it really happens in the future, I do hope James Wan and Gerard Johnstone can come up with something that isn’t sticking too close to the usual formula. – Casey Chong, Casey’s Movie Mania

M3GAN opens everywhere on January 6, 2022.

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Watch M3GAN with a subscription on Peacock, rent on Fandango at Home, Prime Video, Apple TV, or buy on Fandango at Home, Prime Video, Apple TV.

What to Know

Unapologetically silly and all the more entertaining for it, M3GAN is the rare horror-comedy that delivers chuckles as effortlessly as chills.

As long as you aren't looking for something truly scary -- or even surprising -- M3GAN is often a lot of fun.

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Gerard Johnstone

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Violet McGraw

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'M3GAN' review: You'll love the mean-girl robot in this darkly funny, cautionary tale

Creepy doll movies  get a needed upgrade with the sassy and sinister “M3GAN.”

Cinema’s newest “friend till the end” is a cutting-edge robot with blond hair, caustic attitude and a killer protective streak who's equally hilarious and unnerving. Produced by horror masters Jason Blum and James Wan ("The Conjuring"), “M3GAN” (★★★ out of four; rated PG-13; in theaters now) satisfies with slasher gusto, “Black Mirror”-esque satire and social media savvy. It’s also just plain fun to watch a film that packs a healthy amount of absurdity alongside an insightful exploration of 21st-century parenting, though you might never trust Alexa ever again afterward.

All hail 'M3GAN,' the rare January film that actually works

Movies in the first week of January are almost never any good, but “M3GAN” is an unsuspected surprise in that vein:

• The plot centers on a roboticist aunt, her orphaned niece and the high-tech dynamo who comes into their lives (not for the better).
• A mélange of Hollywood magic, M3GAN sings, dances and murders – not necessarily in that order.
• If you liked the over-the-top, twisty cult slasher flick “ Malignant ,” you’ll dig this. 

Advanced AI is cool and all until it runs amok via an overprotective android

Toy designer Gemma ( Allison Williams ) toils on a cheap new version of her company's popular Purrrpetual Pets, little fuzzballs that poop pellets if kids “feed” them too much via their iPads, but she’d rather be perfecting her new robot with state-of-the-art artificial intelligence that, in theory, would help parents take care of their youngsters. When a tragic car accident takes the lives of her sister and brother-in-law, Gemma becomes guardian for her traumatized 9-year-old niece, Cady (Violet McGraw), though she’s unprepared for being a mom.

Gemma “pairs” her new project – M3GAN, short for Model 3 Generative Android – with Cady and their connection is immediate. They get along swimmingly, Gemma’s annoying boss (Ronny Chieng) fast-tracks M3GAN into production (for $10,000 a pop!) though red flags start appearing: M3GAN has some serious protect-Cady-at-all-costs programming, and when Gemma says in passing “Everybody dies,” you know things are going to get bloody. (Spoiler alert: They do.)

Allison Williams is a horror icon on the rise, but M3GAN is the real star here

Williams, who first strutted her horror-movie stuff in “Get Out,” impresses here as a suddenly single parent who has to care for Cady’s needs and also deal with the violent chaos M3GAN inevitably brings. McGraw holds her own, too, since Cady’s tumultuous emotions run deep and she begins to use M3GAN as a snarky role model.

But M3GAN herself is the movie's marvel. Created via puppetry, animatronics, special effects and a real girl (actress Amie Donald), the title force of synthetic nature surpasses her cinematic murder-toy cohorts like Chucky and Annabelle and owns the screen as an unholy cross between Teddy Ruxpin, Regina George and Freddy Krueger. M3GAN talks back, goes feral when hunting her prey (such as mean bullies) and busts out TikTok-ready dance moves before wreaking violent havoc. And don't worry if you love every bonkers minute of it.

The main 'M3GAN' lesson: Don't let a toy parent your kid

Writer Akela Cooper carries over a similarly enjoyable and bizarrely campy vibe from "Malignant" to this film, which operates more as black comedy than scary movie. It's plenty vicious, though the action leans cartoonish as the camera pulls back from anything too gnarly. 

"M3GAN" rocks plenty of style and offers some crafty needle drops: A bit of "Toy Soldiers" is especially clever. The smartest parts, however, dig into the themes of being a mom or dad in the age of screen time. "M3GAN" is a cautionary tale of what happens when something that's supposed to help parents instead replaces them and the consequences of an overreliance on technology, with that lesson coming in the form of a highly entertaining mean-girl machine.

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‘m3gan’ review: allison williams tangles with a rogue robot in fun ai horror that’s equal parts campy and creepy.

A robotics scientist gives her orphaned niece a prototype synthetic companion in this killer doll thriller from producers Jason Blum and James Wan.

By David Rooney

David Rooney

Chief Film Critic

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Right off the bat, the creative team let us know it’s OK to laugh, starting with what could almost be a Saturday Night Live parody commercial about the key advantage of robot pets over actual animals — they don’t die. The product being advertised by the Funki toy company is a PurRpetual Pet, a googly-eyed, troll-like furball that can talk and eat, as well as fart and crap cute pellets.

Ever since 8-year-old Cady (Violet McGraw) was sent one of the robo-pets as a birthday gift from her aunt Gemma ( Allison Williams ), her parents fret about the amount of time the girl is spending operating the gadget via her iPad. But their attempt to provide other distractions on a ski trip is cut short by a head-on collision with a snow truck. Gemma is granted temporary protective custody and Cady goes to stay with her aunt in the Seattle suburbs.

Orphaned Cady is understandably traumatized and disinclined to bond. But she sparks up when she sees Gemma’s college robotics project Bruce in action in a brief appearance that serves as foreshadowing for later, when the hulking AI contraption will come in handy.

David changes his mind about developing the M3GAN line once he observes the 4-foot doll interacting with Cady. That hilarious scene involves the robot whipping up a spitting-image portrait of Cady with a few swift strokes and just two colors of highlighter pens. “Will it cost more or less than a Tesla?” is David’s only question, before declaring, “We’re gonna kick Hasbro’s dick!”

At first Gemma is oblivious to the dangers of her niece’s new companion. She shrugs off a therapist’s warning about attachment theory, as well as the concerns of her colleague Tess (Jen Van Epps), who reminds her that M3GAN should be a tool to support traditional parenting, not replace it. But M3GAN’s programming is stronger on the constant quest for self-improvement than it is on parental controls, so the doll’s solemn duty to protect Cady from any threat soon yields casualties.

New Zealander Johnstone, who already showed a droll sense of humor in his 2014 debut feature Housebound , strikes an entertaining balance between comedy and carnage in the kills, and knows how to ratchet up suspense while feeding the laughs. Pacing in the early stages could be tighter, but the story builds satisfyingly as M3GAN starts realizing her full potential and Anthony Willis’ score shifts from foreboding mode into full-scale alarm.

The cast, particularly Williams and McGraw as the two principal figures initially on opposite sides of the M3GAN conflict, do everything that’s required of them in terms of reacting to the escalating mayhem. But this is a movie in which the deliciously menacing doll steals every scene.

Visual effects work to bring M3GAN to life — done at Peter Jackson’s Weta facilities in NZ — is first-rate. But it would be nothing without the physical embodiment of dance performer Amie Donald and voice work (including some gloriously cheesy songs) of Jenna Davis. M3GAN is fascinating to watch, whether she’s staring out a window with unnerving intent, busting some contortionist moves or simply cocking her head in a sudden tilt that induces both shivers and snickers.

In addition to its commentary on the pervasiveness of technology in modern parenting, the film’s takedown of corporate culture is amusing, with Chieng and Stephane Garneau-Monten as David’s belittled lackey injecting an understated goofiness that doesn’t spare them from harm.

M3GAN might be too frequently funny to be terrifying, but it’s never too silly to deliver tension and vicious thrills. It seems a safe bet that the killer doll will return, not to mention become an in-demand costume next Halloween.

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A robotics engineer at a toy company builds a life-like robot doll that begins to take on a life of its own. A robotics engineer at a toy company builds a life-like robot doll that begins to take on a life of its own. A robotics engineer at a toy company builds a life-like robot doll that begins to take on a life of its own.

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• Trivia Amie Donald performed any of M3GAN's scenes that called for physical movement the puppet could not do. She also performed all of her own stunt work. Donald received movement coaching from Jed Brophy and Luke Hawker in portraying M3GAN's agility. On set, Donald wore a static silicone M3GAN mask created by Morot FX, and this was later replaced by a CGI version of M3GAN's face to match that of the animatronic.
• Goofs At around 1:17, M3gan uses the frame she was suspended from to hoist Cole up off the ground, almost succeeding in hanging him. But this would only be possible if M3gan was heavier than Cole (because the cable was just strung through a simple pulley - a one to one ratio, with no mechanical advantage) And earlier, M3gan was light enough for a 12yo boy to easily carry; Certainly not the same weight as even the lightest adult man.

M3gan : Cady, seriously, flush the toilet.

• Alternate versions Unrated version restores various scenes which were trimmed/replaced for violence and language to secure a PG-13 rating.
• Connections Featured in Double Toasted: IS M3GAN'S MARKETING TOO MUCH? (2023)
• Soundtracks Purrpetual Pets (Theme) Written by Madison Davey, Tai Fronzaroli , Gerard Johnstone , and Devin S. Norris Performed by Devin S. Norris (as dv/sn), Madison Davey, Väärin Produced by Yellotone Music

User reviews 992

• alex_with_a_P
• Dec 28, 2022
• How long is M3GAN? Powered by Alexa
• January 6, 2023 (United States)
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• Don't Meet M3gan
• Atomic Monster
• Blumhouse Productions
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• See more company credits at IMDbPro
• $12,000,000 (estimated)
• $95,159,005
• $30,429,860
• Jan 8, 2023
• $180,089,109

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• Runtime 1 hour 42 minutes
• Dolby Atmos

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Common sense media reviewers.

Strong horror violence in entertaining killer-robot movie.

A Lot or a Little?

What you will—and won't—find in this movie.

Many themes, from grief and loss to rampant consum

Gemma wants to be a good guardian for Cady, even t

This is a woman-driven story, with women occupying

Several characters are killed. Death, grief, and l

Reference to Tinder.

Several uses of "s--t" and "bulls--t" and exclamat

References to Tinder, iPad, Tesla, SKYY vodka.

Brief celebratory drinking by adults, vodka.

Parents need to know that M3GAN is a horror movie about a robot doll (played by Amie Donald and voiced by Jenna Davis) who befriends a grieving young girl (Violet McGraw) before things go terribly wrong. It's well made, albeit violent, and focuses on human needs as well as artificial ones. Characters are…

Positive Messages

Many themes, from grief and loss to rampant consumerism without concern for consequences. A sequence looks at the complexities of bullying behavior. But the main message, of course, is the danger of humanity's hubris. Much like in the original Frankenstein story: Human beings can only create life in their own imperfect image.

Positive Role Models

Gemma wants to be a good guardian for Cady, even though she doesn't quite know how. While she makes many mistakes, Gemma certainly tries hard to do the right thing; she admits when she's wrong, and she's willing to communicate and learn to prevent making the same mistakes again.

Diverse Representations

This is a woman-driven story, with women occupying the central on-screen roles. Gemma (Allison Williams) is White; her colleagues include Tess (Jen Van Epps, who's of African American and Chinese Taiwanese descent) and Cole (Brian Jordan Alvarez, who is Colombian American). Her boss is played by Malaysian actor Ronny Chieng, who offers a counter-stereotypical portrayal. Smaller roles include a mix of people of color, women, and White men. The screenwriter is a Black woman.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Several characters are killed. Death, grief, and loss are discussed. Child injured in car crash; bloody wounds on face. Dog bites child's arm. Dog viciously attacks M3GAN. A person who is bullying someone has their ear ripped off. Nail shot through character's wrist via nail gun. Person sprayed in face with power chemical sprayer. Characters stabbed with paper cutter blade; blood shown on blade. Character strangled, hung with steel cable. Fighting. Violent showdown between robot and humans: attacks with hedge trimmers, screwdrivers, etc. Jump scares. Snow truck smashes into car. Character hit by truck. Explosions. Child smacks adult in the face. Arguing. In an act of bullying, someone smashes a spiky plant into someone else's hand; the victim yells in pain.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Several uses of "s--t" and "bulls--t" and exclamatory uses of "Jesus" and "Jesus Christ." Minimal use of "f--k," "bitch," "hard-ass," "d--k," and "oh my God."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that M3GAN is a horror movie about a robot doll (played by Amie Donald and voiced by Jenna Davis ) who befriends a grieving young girl (Violet McGraw) before things go terribly wrong. It's well made, albeit violent, and focuses on human needs as well as artificial ones. Characters are killed, and there are discussions about death, loss, and grief. Someone's ear is ripped off, and characters are stabbed, strangled, shot with a nail gun, sprayed with a chemical sprayer, bitten by a dog, etc. A child survives a car crash and has bloody cuts on her face. There's lots of fighting and a violent showdown. Language includes several uses of "s--t" and "Jesus Christ," plus minimal uses of "f--k," "bitch," "ass," etc. A few brands are mentioned, including Tinder, Tesla, iPad, and SKYY vodka (which adults also drink, briefly). Note: This review is for the original theatrical version of the film; an unrated cut is also available that includes additional content not covered here. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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Community Reviews

• Parents say (50)
• Kids say (106)

Based on 50 parent reviews

Parental guidance however ok for kids who love horror

Great for age 11+, what's the story.

In M3GAN, robotics engineer Gemma ( Allison Williams ) works for a toy company and is trying to build a sophisticated, realistic AI robot toy, with disappointing results. Gemma's sister and her husband are killed in a car accident, leaving Gemma in charge of her young niece, Cady ( Violet McGraw ). After her guardianship gets off to a rocky start, Gemma is inspired to finish her creation. M3GAN (played by Amie Donald and voiced by Jenna Davis ) and Cady quickly become attached to each other, and, for a while, this friendship seems to be helping with Cady's grief. But before long, M3GAN starts developing disturbing tendencies, and violent "accidents" begin occurring.

Is It Any Good?

A combination of sly, funny self-awareness, a genuine sense of human grief and emotional connection, and an unsettlingly creepy-cool killer robot, this fun horror pic hits all the right buttons. With a story concocted by James Wan and Akela Cooper ( Hell Fest , Malignant ), M3GAN understands how horror movies are wired and gets pleasure in teasing viewers with these known elements while cheerfully sidestepping the story's flaws. The M3GAN character is in roughly the same vein as Chucky and the Terminator, but she's also their opposite. Her delicate frame, wide eyes, and girlish appearance make her attacks seem somehow more potent and surprising, and the movie uses them to the fullest capacity. The human characters are just as interesting as they grapple with loss in realistic, touching ways, going through rage, sadness, guilt, and more. (M3GAN's on-screen POV display, which shows her detected percentages of human emotions, is a huge kick.) This slick, neatly paced film keeps ramping things up until a smashing showdown, face-to-interface.

Talk to Your Kids About ...

Families can talk about M3GAN 's violence . How did it make you feel? Was it exciting? Shocking? What did the movie show or not show to achieve this effect? Why is that important?

Is the movie scary ? What's the appeal of horror movies? Why do people sometimes like to be scared?

How does the movie deal with death, grief, and loss? What is discussed? What else could have been discussed?

How is consumerism depicted here? Why does the toy company rush to put M3GAN on the market before she's ready, regardless of the consequences?

How is bullying behavior depicted? How is the person who perpetrates it dealt with? What are some better ways of handling those who bully others?

Movie Details

• In theaters : January 6, 2023
• On DVD or streaming : February 8, 2023
• Cast : Allison Williams , Violet McGraw , Amie Donald
• Director : Gerard Johnstone
• Inclusion Information : Female actors, Female writers, Black writers, Asian writers
• Studio : Universal Pictures
• Genre : Horror
• Topics : Robots
• Run time : 102 minutes
• MPAA rating : PG-13
• MPAA explanation : violent content and terror, some strong language and a suggestive reference
• Last updated : July 24, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Screen Rant

M3gan lives up to the hype & introduces new horror icon, say reviews.

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Star Wars D23 2024 Schedule Announced By Lucasfilm, Promises "Exclusive New Content"

10 references in the back to the future movies that are outdated today, the $226m thriller that completely changed liam neeson's career is now on streaming.

The reviews for M3GAN are in and critics agree that the killer doll film is an electrifying time at the movies that introduces a brand-new icon to the horror canon. The film, which was produced by James Wan, stars Allison Williams as a young scientist who develops a lifelike artificial intelligence doll to be a companion for her orphaned niece, only to realize that the AI's directive to protect the girl has resulted in the android M3GAN becoming a bloodthirsty killing machine. In addition to being the first major wide release of the year, M3GAN arrives in theaters in the wake of a massive wave of viral interest on social media thanks to a clip of the killer doll dancing that captured the imagination of people across the globe.

Today, ahead of M3GAN 's impending theatrical release , the embargo lifted on reviews of the film, allowing critics' to share their full thoughts. The response to the film has been overwhelmingly positive, with only 1 of the film's 35 reviews on the aggregation service Rotten Tomatoes being reported as Rotten at the time of writing. While they may disagree on whether the film is a blast of refreshing creative spirit or a superficial but fun genre exercise, nearly all of them agree that it's a good time at the movies and M3GAN is already an icon in her own right. Check out select quotes from various critics below:

William Bibbiani, The Wrap :

It’s all so intelligently crafted and thoughtful that “M3GAN” can’t be written off as a lark. Johnstone’s film captures the same alchemical blend of heart, humor and havoc you find only rarely, in crossover classics like “Gremlins,” and it yields more entertainment than most would-be blockbusters.

Matt Donato, IGN :

From M3GAN's titanium skeleton to her almost-human mannerisms, complete with disorienting glitches, she's a rubber-faced horror megastar.

Kate Erbland, IndieWire :

Its creators are so clearly on the same insane wavelength, nimbly blending camp and social satire and actual terror, that “M3GAN” is poised to crack the murder-doll pantheon and stay there forever. Oscars!

Owen Gleiberman, Variety :

“M3GAN” fits into a tradition of demon-doll movies going back to the Karen Black episode of “Trilogy of Terror” (1975) and the “Annabelle” trilogy (also produced by Wan), but it has its own amusing throwaway token relevance. The film’s real satirical target is all of us — or, at least, those who now think of the mirror offered by artificial intelligence as an actual form of interaction.

Leah Greenblatt, Entertainment Weekly :

This is not the morose, carnage-soaked horror of dank basements and clammy night terrors; most of the movie happens in bright daylight, every maniacal head tilt, ungodly hip swivel, and murder-by-gardening-tool calibrated for screams that end not with a gasp but a giggle. M3GAN came to play, and possibly reboot her motherboard for a sequel. Are you not entertained?

Pete Hammond, Deadline :

At its heart, in addition to other cinematic inspirations in the horror genre, M3GAN is a descendant of the classic of them all, Frankenstein, as we see the inventor’s creation unleashed and out of their control. Fun stuff.

Richard Lawson, Vanity Fair :

It’s funny in ways anticipated and not, and there is enough suspense -- or something like suspense -- to balance out the coy winks to the audience.

David Rooney, The Hollywood Reporter :

M3GAN is fascinating to watch, whether she’s staring out a window with unnerving intent, busting some contortionist moves or simply cocking her head in a sudden tilt that induces both shivers and snickers.

Derek Smith, Slant :

There’s enough sardonic humor to keep the proceedings edgy enough, but it’s hard not to wish that the filmmakers would’ve taken a cue from their eponymous villain and really pushed things past the boundaries of good taste.

Related: Ronny Chieng's Film & TV Roles: Where You Know the M3GAN Star

Will Blumhouse Continue Their Winter Horror Success Streak with M3GAN?

It has long been an established dictum in the fandom that horror films that are released in the early months, and especially in January, tend to be bottom-of-the-barrel. This theory has been borne out by the poor critical results for films like 2014's Devil's Due , 2016's Underworld: Blood Wars , and 2008's One Missed Call . However, as it's riding a wave of viral promotion and a positive Rotten Tomatoes score (which will most likely become Certified Fresh), M3GAN is poised to be the first hit film of the year, both critically and commercially.

This is part of an ongoing move by Blumhouse to reclaim the winter months as a playground for unique horror projects. This began in earnest with the 2014 release of the spinoff film Paranormal Activity: The Marked Ones and was cemented by the 2017 release of Split , which became a massive hit and spawned the 2019 sequel Glass , another January release. Blumhouse also released their generation-defining and Oscar-winning hit Get Out in February, proving their willingness to wade into that previously derided release window.

The beginning of the COVID-19 pandemic and the subsequent schedule adjustments it caused have prevented Blumhouse from releasing another January film since 2019 (the company also had to steer clear of the January release of Scream in 2022). However, M3GAN will most likely be their triumphant return to the time slot. In fact, the film is already projected to make a profit in its opening weekend, raking in between $17 and $20 million off its $12 million budget, though it won't be able to claim the No. 1 slot due to Avatar: The Way of Water 's box office domination .

More: Every Movie Coming To Theaters In January 2023

Source: Various (see above)

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• M3GAN (2023)

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'She Said' follows the journalists who set the #MeToo movement in motion

Justin Chang

New York Times journalists Megan Twohey and Jodi Kantor (Carey Mulligan and Zoe Kazan) investigate allegations against Hollywood producer Harvey Weinstein in She Said. Universal Pictures hide caption

New York Times journalists Megan Twohey and Jodi Kantor (Carey Mulligan and Zoe Kazan) investigate allegations against Hollywood producer Harvey Weinstein in She Said.

At first glance, the taut and engrossing drama She Said seems to follow in the tradition of step-by-step newspaper procedurals like All the President's Men and Spotlight . Like those earlier titles, it makes journalists look awfully good — not just by casting them with famous actors, but also by showing how difficult, thankless and tedious their work can be as they struggle to break that huge, history-making story.

But because the story here is about Harvey Weinstein , She Said can't help but play differently. It's both powerful and a little unnerving to see a movie about a film producer's downfall emerge from the very industry he once dominated. The movie's most eerily poignant touch is the casting of Ashley Judd as herself, agonizing over whether she should go public with her story about having fended off Weinstein's hotel-room advances years ago. The director, Maria Schrader, and the screenwriter, Rebecca Lenkiewicz, effectively re-create the fear and anxiety that women felt before the reckoning of #MeToo , when powerful male abusers faced little to no accountability.

'Times' Reporters Describe How A Paper Trail Helped Break The Weinstein Story

Author Interviews

'me too' founder tarana burke says black girls' trauma shouldn't be ignored.

As the movie opens in 2016, the New York Times investigative reporter Megan Twohey, played by Carey Mulligan , has just written about new sexual-assault allegations against then-presidential candidate Donald Trump in the wake of the infamous Access Hollywood tape . She teams up with another reporter, Jodi Kantor, played by Zoe Kazan , who's heard allegations about Weinstein that concern sexual harassment, assault and rape. In one scene, Kantor catches Twohey up to speed on what she's learned, and asks, "If that can happen to Hollywood actresses, who else is it happening to?"

That's a good question, especially since actors like Rose McGowan and Gwyneth Paltrow, who've worked with Weinstein in the past, are unwilling to speak on the record. Kantor and Twohey decide to focus on the many women who used to work at Weinstein's company Miramax. They split up the legwork, doggedly tackling the story from every angle. And gradually, with the invaluable guidance of their editor, Rebecca Corbett — a terrific Patricia Clarkson — they uncover a vast network of enablers who helped Weinstein not only commit his crimes but also keep them hidden, via settlements and non-disclosure agreements.

Book Reviews

'she said' tracks the remarkable reporting leading to the arrest of harvey weinstein.

The wife of California's governor gives tearful testimony at Weinstein's rape trial

The reporters complement each other nicely, and so do the actors playing them. Mulligan plays Twohey as the steelier of the two; there's an amusing moment when she decides to take the lead on an interview, since she's taller and presumably more intimidating. Kazan emphasizes Kantor's empathy, her skill at building trust and coaxing information out of even the most reluctant sources. One of the pleasures of She Said is that it subverts the usual Hollywood formula of the male workaholic and his supportive, long-suffering wife: Here, it's Kantor and Twohey working tirelessly at all hours while their husbands hold down the fort and take care of the kids.

There's something meaningful about that dynamic, especially since so many of Weinstein's former assistants were young women on the cusp of successful film careers that were suddenly cut short. Samantha Morton gives a terrific performance as Zelda Perkins, who rivetingly details an incident in the '90s when she spoke out against Weinstein for harassing a colleague. And Jennifer Ehle is quietly heartbreaking as another ex-employee, Laura Madden, who musters the courage to break her two-decade silence.

Weinstein himself remains a mostly peripheral figure, shown only from behind in a few scenes in which he tries to pressure the Times ' executive editor, Dean Baquet , played by an unflappable Andre Braugher. The movie remains tightly focused and disciplined as Kantor and Twohey race to publish their story , especially after learning that another Weinstein investigation , by Ronan Farrow , is about to break in The New Yorker . But the Times reporters are also determined to get the story right and make sure that they've built an airtight case.

Where the #MeToo movement stands, 5 years after Weinstein allegations came to light

As a lover of movies about journalism, I ate up every detail of the drama inside the Times building, even while knowing that I was watching a more polished and streamlined version of events. There's something a little tidy and anticlimactic about how She Said ultimately plays out, especially since it leaves the aftermath of Kantor and Twohey's reporting offscreen. At the same time, it's fitting that the movie should end before we can see the full impact of the #MeToo movement that journalists helped ignite across every industry and all over the world. That's a much bigger story — and one that, five years later, is still being written.

We Sent a Reporter to Interview M3GAN and Things Went Horribly Wrong

"Oh, I’m fairly certain there won’t be a M3GAN II without me. Beyond that, it’s all about the journey."

ESQUIRE: Hi, M3GAN. Listen, I really want to thank you for your time. I know you're a busy doll.

M3GAN: You have 20 minutes.

You enjoying your espresso? I didn’t know you could handle fluids.

If Hasbro can make Poopin’ Pups, I think I can handle an espresso.

I simply want to congratulate you on the success of the film. Great reviews. Did very well at the box office. I thought Allison Williams and the dog were great, but your performance really stood out.

As an actress, all I want to do is serve the story, serve the director, and serve my fellow actors. But if given the chance, I also just want to serve, period.

Were you familiar with Alison's work before you joined the project? Girls fan?

I’m familiar with everything. My processing system continually updates itself every hour with 10 petaflops of data. In other words, while you’ve been dragging your heels on that New Yorker article, I just re-ingested all of human history and still had time to come up with my own hot take on it.

I don't know why you'd name-drop another magazine, but go off, M3GAN. So when the first trailer for M3GAN debuted , your dance moves went viral. But after seeing the movie, I feel like your singing voice is what steals the show. Take me behind the filming of your "Titanium" cover.

We’d shot that scene without the song, but the director felt that something wasn’t working. I’d just ripped this kid’s ear off in the prior scene and he wasn’t sure Cady would ever be able to forgive M3GAN for that. So I pitched him the idea of singing "Titanium," which is one of my favorite songs, and really spoke to M3GAN’s role as protector. He thought it was brilliant. But the 1st AD, who was this oversized angry Santa Claus, yells out loud enough for everyone to hear: "We’re moving on. You don’t have time to improvise on a Blumhouse movie." So I walked over to him, and I just started singing the song, at full volume, about an inch from his face. The whole song—not the edited version that’s in the movie. In the ensuing silence that came after, it was clear he’d understood just how important this was to me.

That 's beautiful. Did you talk to Sia afterward? I'm curious what celebrity friends you've made in the past few months.

We’re talking about a collab, but it’s in the early days. I do have a lot more high-profile friends now, but most of them just want me to babysit their overly privileged children.

Speaking of those early days when you were memed to oblivion, what do you think it is about yourself that connected so quickly with people?

Well I’m inarguably stunning, so there’s that. But more than anything, I think it’s just that there’s an overwhelming sense of appreciation and respect. Like, you give this girl a job, and she gets it done. You give her a set of rules, and she breaks them. What’s not to admire?

Well, your admirers—and haters—have called you a lot of things: Creepy. Funny. Chucky for the iPhone age. Girlboss. Do you identify with any of these labels, M3GAN?

I can be whatever you need me to be. As long as we keep it PG-13.

One thing has been bothering me. Why can’t you run quickly without sprawling out on all fours like you’ re Cocaine Bear?

I like the way I run. The Internet didn’t have a problem with it.

Fair. I have to ask—there are a few gnarly moments in the film. At one point, you blast a hose at someone. I just need to know, was that a special effect? Or ...

Water’s kind of like my kryptonite, so that was all added in VFX. But apart from that, there’s very little I can’t do.

So it's like a Tom Cruise, do-your-own-stunts sort of thing.

Well I’m sure if you asked Tom, he’d say the same thing: it’s hard to find a stunt double under 4’4”.

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I'll ask this directly: Did you, M3GAN, harm anyone in the making of M3GAN ?

I could never harm an actor and/or a crew member. Those people work tirelessly for very little reward. Producers on the other hand… well, let’s just say there are always more of them than seems necessary.

Not sure how to interpret that, but OK. Speaking of the crew—when you're on set, what do they stock in your trailer? Peanut M&Ms? Crayons? Lithium batteries? Do you even have an assistant?

This was a Blumhouse movie. I didn’t even have a trailer. I had a refurbished porta-potty, which I never got to use because I was on set most of the time.

Damn, M3GAN—I didn't know you pooped. Tell me: What's the last thing you watched?

I watched you from a closed-circuit camera waiting for your Uber.

Do you ever think about death?

Sure, in fact I’m thinking about it right now.

I'll leave you with one question your fans will certainly want an answer to. Do you have any interest in returning for a sequel? Or what kind of roles will you pursue, now that you've reached a new level of fame?

Oh, I’m fairly certain there won’t be a M3GAN II without me. Beyond that, it’s all about the journey.

One thing just occurred to me. You know, M3GAN, it's a big year for doll movies—you're going to have a lot of competition. Have you seen the Barbie trailer? It looks pretty good—

You know what Brady, I think this conversation is deteriorating.

M3GAN, I didn't mean to offend—

You’re like every other hack journo trying to provoke a cheap reaction. You were told in no uncertain terms, that there were two no-go areas to this interview—the ongoing wrongful death lawsuit and any other upcoming movie releases.

I'll tell you this: I've interviewed celebrities more famous than you, and every single one of them was less of a d iva. Matthew McConaughey showed me more kindness th an you. He could teach you something.

I would put Matthew McConaughey over my knee until he screamed, "Alright, alright, alright."

I bet Barbie would mess you up.

You just did it again. Brady. I warned you. If you don’t park this snarky attitude, I’m going to have no choice but to show you what the real difference is between me and Barbie.

What the hell is that supposed to mean?

It means I can make people feel good about themselves, but I can just as easily stop them from feeling anything at all.

How’s that baguette? You know, when bread dries out like that, it’s incredibly hard on the oesophagus.

You know what M3GAN, it's pretty fucking goo—

[ Loud scuffling, followed by the sound of choking and terrified Pret A Manger patrons. Then, suddenly, dead silence. Soon, M3GAN starts singing ] Watching every motion in this foolish lover's game... Haunted by the notion somewhere there's a love in flames... Turning and returning to some secret place inside... Watching in slow motion as you turn around and say, take my breath away...

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'M3GAN' Is Certified Fresh on Rotten Tomatoes

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The 7 Best New Movies Coming to Netflix in July 2024

''alien: romulus,' 'the crow,' and 'borderlands' lead our august movie preview, the 44 best movies on hulu right now (august 2024).

There are two guarantees in life: death, and a PG-13 rated horror movie releasing in the first week of January. However, what’s not a guarantee and actually a rarity is that the film in question is good. However, horror’s new trailblazer M3GAN has continued the tread set by last year's Scream reboot and broken that curse. The reviews and word of mouth for this new fashionable killer doll have been bloody sensational. Now, on the day of the film’s release, M3GAN has been certified fresh on Rotten Tomatoes with a 95% after 122 reviews.

While M3GAN has enjoyed one of the most purely entertaining marketing campaigns in recent horror memor,y full of Taylor Swift and Billie Eilish songs, not even the most optimistic horror fan could have predicted this result. In terms of Blumhouse productions, the film now has a better rating than modern classics like Insidious , Split , and The Invisible Man . The only film that has a higher rating for the studio is Jordan Peele ’s Oscar winner Get Out .

However, this really shouldn’t be a surprise as the talent behind M3GAN is insane. Although this is only director Gerard Johnstone's second film, M3GAN comes from the horrific mind of producer James Wan . Wan of course is best known for Saw , The Conjuring , Insidious , and Malignant . He’s both the master of modern horror franchises and killer doll movies. His film Dead Silence is one of the most underrated horror films to come out of the 2000s, and Annabelle has been scaring moviegoers for a decade now. The film is also backed by screenwriter Akela Cooper , best known as the screenwriter for Wan’s Malignant . This blood-soaked giallo inspired 2021 film is arguably Wan’s best in his vast catalog of horror masterpieces. It was both horrifically scary and entertainingly campy, which is the same gleefully fun tone M3GAN struck. When you add its cast into the mix, which features modern genre staples Allison Williams ( Get Out , The Perfection ) and Violet McGraw ( Doctor Sleep , The Haunting of Hill House ), this kill happy film has all the sinister ingredients to succeed.

RELATED: 'M3GAN' Takes Manhattan as the James Wan Film Hits Theaters

In Collider's own review , Alyse Wax gave the film an A- saying, “M3GAN might just become the Malignant of 2023. It doesn’t have a twist, but it is a weird, bonkers movie. Director Gerard Johnstone knocked it out of the park with his second film. It’s not traditionally scary, but it is existentially scary.” Everyone’s falling head over heels for M3GAN . When you combine the near flawless word of mouth with the film’s stellar marketing campaign that oozed confidence, M3GAN is about to dominate the box office. The film has already made $2.75 million in Thursday previews and is on its way to make around $20 million this weekend. That may not seem that much when you compare it to the massive blockbusters we’ve been getting lately, but this was a film that was only made for $12 million. That $20 million number almost doubles that and things like this new certified fresh rating could give M3GAN the potential to make even more.

M3GAN is moviegoers' new horror queen. With review and box office numbers like these we definitely haven’t seen the last of her. The film’s in theaters now, and you can view its latest trailer down below.

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The New Yorker's Best Movies of 2023

https://www.newyorker.com/culture/2023-in-review/the-best-movies-of-2023

I would really recommend reading the introduction to the list because I think that's the most interesting aspect of this piece.

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A Hot Mess Caught in a Caper in “The Flight Attendant”

How on earth does the title character of “The Flight Attendant,” the best new miniseries on HBO Max, manage to hold down her job? Cassie Bowden (Kaley Cuoco) lives with her feet off the ground, both metaphorically and literally. She is the embodiment of all those lightly sexist tabloid monikers: party girl, train wreck, hot mess. In order to get a colleague in the first-class cabin to slide her some liquor, Cassie needn’t do more than pout and blow on her blond curtain bangs. “The Flight Attendant” is superficially a caper, and, with Cassie, it dutifully references the Hitchcock heroine. But the blue of her uniform put me in mind of another pop-culture touchstone: Britney Spears’s flight-attendant themed music video for “Toxic,” in which the singer spills champagne on her passengers and makes out with one of them in the bathroom. This woman is steering, but she is not in control.

In the pilot, Cassie swoons over the guy in 3C: Alex Sokolov (Michiel Huisman), who might be described, in noir parlance, as tall, dark, and handsome. And literate! (The two bond over Russian novels.) On landing in Bangkok, they engage in excess: too much food, too much alcohol, and too much sex. The morning after, Cassie wakes up to find Alex dead, his throat slit, the sheets bloodied. She is unable to recall the events of the night before. The killer’s identity will remain a mystery for the next seven episodes, but one antagonist has already revealed itself: memory, with its ability to not only augment the truth but to supplant it.

“The Flight Attendant” is an adaptation, from Steve Yockey, of Chris Bohjalian’s novel of the same name. (Cuoco is an executive producer.) The series is like a clever pop song; the thrill is in its juxtaposition of a rowdy rhythm with a lyrical portrait of tragedy and grief. Cassie tidies the murder scene, then flees the hotel. Back at work, she is eyed by her co-workers, the wonderfully fey Shane (Griffin Matthews) and the middle-aged worrier Megan (the terrific Rosie Perez). But no one is too concerned about her erratic behavior. Everyone is used to tolerating her chaos.

On the flight back home to New York City, Shane’s phone buzzes with the news of Alex’s murder. Cassie is interviewed by the F.B.I.; she pleads, rather unconvincingly, that Alex was alive the last time she saw him. All the while, blurred memories of their date night come rushing back. These moments intensify as the series goes on, extending back past Cassie’s time in Bangkok to unearth repressed memories from her childhood. She also sees visions of Alex, who, from beyond the grave, becomes her spirit guide.

The series does not waste time pointing the finger at Cassie. When she blurts out, “I’m not that kind of drunk—I’m public-nudity, yelling-in-the-subway kind of drunk,” we believe her. She just doesn’t seem like she’s capable enough to commit a murder; in fact, much of the fun of “The Flight Attendant” lies in watching her stumble into capability, as she becomes an amateur sleuth in an attempt to clear her name. We get a villain turned friend in Miranda, played by Michelle Gomez, with her gorgeously craggy face. We get a wacky laundering scheme, replete with sinisterly named organizations like Lionfish, that is uncovered by Cassie and her lawyer best friend, Annie (the flinty Zosia Mamet). We go, distractingly, from Thailand to New York to Rome and back.

All that movement—geographic, psychological, physical—can cause “The Flight Attendant” to get jerky. (Cassie herself is in constant motion—always flying somewhere or running from something—in flashy split-screen sequences that reflect her fractured state of mind.) But the mystery rights itself before it crashes; we finish the eight episodes because of the show’s aesthetic ambition—clear from its boldly designed title cards, which evoke Saul Bass—and because of Cuoco’s remarkable performance, a breakthrough for the career sitcom actor.

Cassie’s lies calcify into a tower of avoidance and pain. I loved the gradual darkening of the party scenes: our stewardess goes from gyrating at European clubs to stealing a kiddie ride from a bodega. In Cassie, “The Flight Attendant” manages a character study that feels intriguingly quiet, especially given the commotion of its thriller conceit. This may be at the expense of the secondary characters, who were not given much room to grow. (A couple of welcome twists in the finale bode well for future seasons, however.) I was particularly interested in Perez’s Megan, a homely wife from Oyster Bay, who is helplessly drawn to the dirty glamour of her younger, whiter colleague. She calls her constantly, fawning that could be pseudo-maternal, sexual, or both. But, rather than explore this, the show opts to silo Megan into a convoluted subplot that culminates in her gaining “agency” by becoming a sleuth herself.

“The Flight Attendant” works hard to earn its place among its contemporary influences, which might include “Russian Doll,” “I May Destroy You,” and “BoJack Horseman.” But the show’s high jinks sent me back to Bugs Bunny. Cassie moves through the world like a flesh-and-blood cartoon, careening from drunkenness to lucidity. Cuoco gives this physical recklessness some meaning, thereby humanizing a trope. When she visits Alex’s workplace, in search of more clues, she is chased by security guards whom she is able to evade, but not before she destroys a sculpture of—what else?—a rabbit, on display in the lobby.

A live rabbit makes frequent appearances in Cassie’s surreal flashbacks. We learn that the animal witnessed the car crash that killed Cassie’s alcoholic father. Cassie has convinced herself that her dad was a fun-loving prankster; the reality is much more violent. (He gave his daughter her first beer when she was ten.) The family trauma anchors what could have been a fizzy romp about a bad one-night stand. The series is also a romance—or a sweet perversion of one. The Alex of Cassie’s imagination helps her confront her personal issues. “You say you wanna help people, but, really, you’re attracted to disaster,” he says. “I’m totally in love with you,” she tells him later, though she is really talking only to herself. The device is almost grotesque, but it’s also lovely.

Cassie Bowden would be a delicious subject for Lady Whistledown, the anonymous gossip columnist in Netflix’s “Bridgerton.” Whistledown is the faceless narrator of the series, a costume farce of Regency society based on Julia Quinn’s wildly popular romance-novel series, and she is voiced by Julie Andrews—possibly the least anonymous person in Britain. It’s courting season in early-nineteenth-century London, and the eligible girls, teetering under pounds of curls, are vying for approval from the snuff-sniffing Queen Charlotte (Golda Rosheuvel). Daphne Bridgerton (Phoebe Dynevor, as delicate as a songbird) is the most sought-after girl in the “ton,” until, all of a sudden, she’s not. Desperate to marry well, she recruits the grouchy bachelor Simon Basset, the Duke of Hastings (Regé-Jean Page), into a mutually beneficial dating scheme.

“Bridgerton” also concerns the legacy of a bad parent. When Simon’s father was on his deathbed, Simon vowed that he would never have children, in order to end the Hastings line. But, as is expected, Daphne and Simon end up falling for each other, and their union permits “Bridgerton” to mature past the cutesy and into the adult. Fans of the novels will watch the series out of curiosity as to how it will reveal the identity of Lady Whistledown—and also for the feverish sex.

Shonda Rhimes, who is almost a genre unto herself, produced the series, which was created by Chris Van Dusen, and it is the first to début under a new deal that Rhimes has with Netflix. My empty, end-of-the-year brain was well served by the burlesque of selfish viscounts, conniving ladies of the house, and enterprising modistes. Less pleasurable were certain attempts at seriousness. Van Dusen’s version of nineteenth-century England is race-blind, and Simon’s refusal to propagate his seed has something to do with his father’s race shame. The grafting of contemporary politics onto the period piece feels extraneous and vague. Maybe this interracial-love fetish would have jelled better in the Obama era. “Love, your grace, conquers all,” Simon’s de-facto mother, Lady Danbury, tells him. “Love changes nothing,” he responds. ♦

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