I love it when some actors have a moment when it seems like everywhere you turn you see them in something great, like they can do no wrong. It gives you a chance to see their range in an instant.
Last year we had the Jean Smartaissance, when one day you could watch the former Charlene Stillfield cuss out her daughter while drinking a glass of wooder in an episode of Mare of Easttown and then the next, you could watch her throw a hissy fit and toss an iPad into a swimming pool on Hacks.
Olivia Colman is this year’s model. Everyone loves Colman these days; she’s approaching Betty White and Dolly Parton levels of Teflon-coating. I was an early adopter of course (my 2022 motto: “Be more insufferable”), but I don’t mind that everyone’s jumping on the Olivia Colman bandwagon! No matter when you first picked up on her—be it The Favorite, Fleabag, The Queen, Broadchurch, Flowers, The Night Manager or Hot Fuzz (JUMP IN THERE! JUMP IN WITH HOT FUZZ!)—she is a consistent deliverer.
I think the secret to her is she’s a really, really good role chooser. I mean … I suppose she gets offered bad things too, but she seems to have a nose for the good stuff. I trust her taste level. She’s currently being her usual five-star self in the absolutely spectacular and disturbing The Lost Daughter on Netflix. The movie is as good and singular as she is.
Then you can flip over to HBO’s Landscapers, a peculiar, can’t-look-away multi-part series featuring her matriciding it up in merry old England. I am practically evangelical about Landscapers. It is One. Weird. Series.
And if those aren’t enough for you—if you simply cannot get enough Olivia, which you CANNOT—she also narrates Amazon’s The Electrical Life of Louis Wain (she really does cover the waterfront streaming-channel-wise).
She’s definitely having a moment—and frankly, I haven’t been this excited about an Olivia since this happened.