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Hulu’s November offerings span the spectrum and include everything from urgent docs tied to contemporary issues, to a new Marvel animated series about a killer monkey.
November also brings back some of last year’s most beloved shows—one for kids and one for adults who like to combine history with comedy—for a second season and features the streaming premiere of a great Nicolas Cage comeback film. But let’s start with a look at domestic terror.
The Informant: Fear and Faith in the Heartland (November 1)
Anchored by George Stephanopoulos, this documentary looks at a failed terror plot targeting a group of immigrants in Garden City, Kansas and the unlikely man who folded it by wearing a wire for the FBI.
Breaking News in Yuba County (November 1)
Allison Janney stars in this dark comedy about a Kentucky woman who becomes a media celebrity when her husband disappears. Directed by Tate Taylor (The Help, Ma) the film earned mostly unkind reviews but a supporting cast that includes Mila Kunis, Regina Hall, Awkwafina, Wanda Sykes, and Juliette Lewis might make it kind of hard to resist, especially when it’s just a click away.
Animaniacs (Season 2 Premiere, November 5)
The beloved Nineties cartoon made a welcome return in 2020, introducing a whole new generation to the antics of Yakko, Wakko, and Dot, Pinky and the Brain and a host of new characters. Already picked up for a third season, the series’ second season premieres in its entirety today.
Marvel’s Hit-Monkey (Hulu, November 17)
Not all Marvel series end up on Disney+. Aimed at an older audience, this animated series focuses on the bloody/comic adventures of a money assassin (Fred Tatasciore) who’s coached by a ghost mentor (Jason Sudeikis). Like M.O.D.O.K., which premiered earlier this year, that’s not exactly a family-friendly premise, but it could be quite funny.
The Curse of Von Dutch (November 18)
Arriving on the heels of LuLaRich, this look at the troubled history of an inescapable 2000s brand suggests a dark-side-of-fashion documentary trend might be in the works. The press release promises a story featuring “surfers, gangsters, European garmentos and Hollywood movers and shakers.” Trucker hats go unmentioned, but expect plenty of those, too.
Mandibles (November 18)
Director Quentin Dupieux (Rubber) has carved out a niche for himself making movies that mix absurdist comedy with genre conventions. With Mandibles he keeps carving via the story of two small-time criminals who decide to tame a giant fly to aid their crimes. Things, as you might guess, don’t go according to plan.
The Great (Season 2 Premiere, November 19)
Speaking of mixing genres, Elle Fanning returns for a second season of comedy and Russian history in this much-liked retelling of the life of Catherine the Great. This second season finds Catherine still vying for control of the throne with her husband Peter III (Nicholas Hoult), a battle of will that threatens to erupt into outright violence.
Ride the Eagle (November 25)
We really haven’t seen enough of Jake Johnson lately and though this comedy didn’t make much of an impression when it arrived in theaters it looks like it might deserve a second life. Johnson plays Leif, who stands to come into a desirable inheritance but only if he fulfills the obligations of his mother’s to-do list. D’Arcy Carden, Susan Sarandon, and J.K. Simmons co-star.
Pig (November 26)
What do you do when you’re a reclusive truffle hunter and thieves steal your beloved pig? If you’re Rob (Nicolas Cage), the protagonist of this first feature by Michael Sarnoski, you reluctantly head into the city, look for the pig, and confront your past. That might sound like the premise of a John Wick-like tale of revenge, but viewers should expect something far more reflective and lyrical (and far less violent) than the set-up suggests. If you missed one of the year’s best movies when it played theaters a few months ago, now’s your chance to catch up.
All Light, Everywhere (November 29)
Documentarian Theo Anthony’s (Rat Film) latest uses a look at police body cameras as a jumping-off point to discuss how we look at surveillance, prejudice, misperceptions, and how we don’t always see what we think we’re seeing when we look at the world.