Hallowed Ground reframes Eyes on the Prize for the 21st century while also encouraging us to dig into the award-winning series. It stirs up some emotion and surely offers some inspiration to the next generation of activists — just like Hampton did.

As the first spinoff from Citadel, Citadel: Diana carries over and adds to that show’s world-building, establishes its own international flavor, and maintains an urgency driven by Diana’s double agent intentions.

While the world of Patience is humming along pretty well in Season 4 of Resident Alien, we’re still here to watch Alan Tudyk do his thing.

Hawkeye works because of the chemistry between Renner and Steinfeld, but also because it prioritizes character slightly more than action.

The direction of Gemstones, together with its whip-smart editing and consistently top tier music cues, helps push the series toward darkness as much as the unscrupulous behavior by its characters. It also has its garish heart revealed in riotous costuming, bizarre framing – get a load of the gleaming white spires and towers of the gilded Zion’s Landing – and craven decision making, which only makes the world it’s built for itself come even more weirdly to life.

Smith eschews his normally wordy dialogue style, but keeps the characters smart and real, which helps us want to follow all of them as they go on their journey. He also hews closely to the convoluted world that is Eternia, where there’s layer upon layer of intrigue and mysticism that needs to be restored or captured. The animation is an upgraded version of the ’80s Filmation style the original show had, but with just enough retro touches to keep the show connected to its predecessor.

The first episode of Adventure Time: Distant Lands is able to add to this series without once trivializing its legacy. “BMO” proves that there are more stories to tell from the Land of Ooo, and we can trust Pendleton Ward to deliver even more heartwarming tales of adventure and friendship.

Youssef might not change your mind specifically about whom you’re voting for or what side you’re on politically, but hopefully he’ll get you thinking about how you engage with your friends, your families, and even with strangers, whether you’re on Instagram or at Olive Garden.

There’s little about A Teacher that should feel comfortable. FX on Hulu’s latest miniseries focuses on the relationship between a teacher and her underage high school student, and creator Hannah Fidell does everything possible to sell this romance. Yet it’s that grueling feeling of discomfort that makes this miniseries work.

Jury Duty is working on a lot of levels. ... Jury Duty generates ever more laughs from the everyday absurdities of human interactions as its actors disappear into their constructed identities. But there’s built-in tension, too.

Myth & Mogul: John DeLorean succeeds because it’s nicely-paced, with moving graphics filling in information where a narrator might in similar docuseries. It also succeeds because of the access director/producer Mike Connolly got to important people in DeLorean’s story during the era when he designed his now infamous car. ... Where the docuseries really shines is in the footage that Pennebaker’s family provided. It fills in the other blanks that most docuseries have to use reenactments to fill.

It’s that very back and forth that makes Industry so much fun. This workplace and its employees are so callous, so singleminded you want to see them trip over their own inflated egos not once but a dozen times. You want to see them rise from the ashes of their own mistakes and try to make it, even if doing so will make you hate them just a little bit more.

With its global backdrop, imaginative designs, and two of the friendliest faces you’ve ever seen reunited on TV, Making the Cut is exactly the show we need right now.

Duster knows exactly what it mainly is, which is a terrific vehicle for Josh Holloway. Rachel Hilson’s chemistry with Holloway is also a win, and sets up a wily criminals-and-cops yarn that delights in period references and music cues and exalts in the kind of car-as-character hero shots that defined a previous TV age.

The first couple of seasons of [Last Comic Standing] packed its contestants into a house to live together, and everything that happened in the house was far funnier than the contrived comedy competitions with live studio audiences. LOL: Australia does just that, and it’ll make you LOL IRL.

With new babies on the horizon, new business ventures bubbling up and closer looks into the lives of America’s royal family, The Kardashians Season 5 certainly does not disappoint thus far.

Colman Domingo brings a veracity and intensity to his character in The Madness that elevates what is potentially a run-of-the-mill thriller. But so far, the show isn’t giving us any reason to think it’s getting ridiculous, which is a good thing.

After you watch it, you’ll be more aware of just what can go wrong, even when people’s lives are on the line.

The episodes of Through Our Eyes are short but informative, not because they’re crammed with statistics, but because they feature kids who are going through real-life issues and managing to live full childhoods despite their circumstances.

This show is equally as fun as its bright young cast, and it depicts enough of a twist on the classic coming out story that you’ll want to watch more.

While Intelligence’s first episode could have been a skosh funnier, Mohammed, Schwimmer and the rest of the cast do such a strong job of embodying their characters that we’re eager to see where things go.

Avenue 5 packs its half-hour episodes with laughs and a kind of manic absurdity that’s well-positioned to carry this comedy in whatever direction its hapless luxury space liner is pushed in next.

Abbott Elementary is not only funny, but its pilot sets up a workplace family that can endure for multiple seasons.

In its riot of visuals and breathless narrative, the 29-minute premiere of Guardians of Justice packs quite a punch.

Outer Banks season four is charging ahead with a solid new adventure while leaning into the cast of characters these actors have honed and developed over the past four years. The chemistry between all of these personalities feels real, and there’s a creaky, spooky vibe surrounding their new mission that adds to the fun.

If you don’t go in looking for bombshells from Harry or other superstars, The Me You Can’t See is a revealing look at mental illness and how our awareness of how pervasive it is in its many forms is just starting to develop.

Moonshine is a fun show with a dreamy, summer vibe, solid performances from Finnigan and the rest of the cast, and just enough darkness and drama to make things interesting.

Chad works mainly because Pedrad doesn’t treat her role as a gimmick, and has built a world around Chad that will be fodder for stories this season and (hopefully) however many other seasons the show gets.

Interview With The Vampire is still a bit melodramatic in its manner and baroque in its language, despite the time shift from the novels and film. But it reestablishes its story so well that we can see it continuing for a number of seasons.

We feel like Liam Hemsworth fills the boots of Geralt of Rivia just fine, and are quite enjoying the action sequences and touches of humor as The Witcher returns for Season 4.

Elon Musk’s Crash Course is yet another example of how The New York Times Presents concisely presents complicated news stories in a fast-moving, compelling package that gives viewers more than enough depth to understand the issue and who the players are.

The reason why James May: Our Man In India works is that May is curious, witty and humble, a fantastic combination for the host of a travel series.

Even Chappelle admits near the end: “This is not funny at all.” But it needed to be said. And this could only be said by Chappelle.

The series features insightful conversations with fascinating public figures, and is genuinely educational.

It’s not a stretch to say that Tehran is certainly a good-looking, well-acted series. Sultan is excellent as the conflicted Tamar, and Toub, whom Americans have seen in Homeland and a ton of other shows, does a great job as Kamali.

The Crossover is a warm family dramedy with just enough of the drama part to keep us interested in following the Bells as they navigate life, school and hoops.

Despite the fact that the huge cast and massive number of storylines made us dizzy, Rivals is deliciously and unapologetically trashy, and we have to give the show credit for that.

Somehow, Boy Swallows Universe pulls off a pretty dark coming-of-age story without being depressing or hopeless, thanks to some deft writing and fantastic performances by the cast.

Syfy Wire’s The Great Debate is one of those shows that’s funny, moves quickly, and helps give you something light to watch in between all the heavy stuff that’s going on these days. And any place that mentions Bad Dudes and Burgertime (thanks, Brian Posehn, for the second item) is aces in our book.

With season 3 of Dave, it’s no longer possible to discern any lines between the Lil Dicky of TV, the real life/YouTube Lil Dicky, and Dave Burd – a real, human man who created both personas and is at his best when acting as the Dave behind the Dicky, a person who just wants to feel seen.

The Sex Lives Of College Girls continues the good vibes in Season 2, with a well-oiled comedic ensemble and an easygoing charm that makes the show very bingeable.

This series of live talk shows demonstrates why Mulaney would’ve been and still remains a great candidate to anchor anything like Update.

The best thing about Dexter: New Blood is that it is unapologetically fun. The episodes sent to critics are full of dark — borderline campy — humor and some truly compelling human drama.

Moon Knight rides on Oscar Isaac’s ability to believably inhabit distinct personalities, but that might be more than enough for people to watch this six-episode MCU side story.

Poker Face sometimes indulges itself in the cult of personality of its guest murderers and Charlie’s BS detector skills at the sacrifice of making a more intricate case for her to solve. But Lyonne always puts in a winning performance and the guest killers are fun to watch, which is why mystery nerds like us don’t get frustrated watching the series.

Yes, seeing Carol’s elderly parents in the buff, doing the things that throuples do with their burly aide Michael, is funny. But it’s also poignant; even at their advanced age, Carol’s parents are doing the things they never got to do simply because it’s everyone’s last chance. But Carol’s desire for maintaining her routine makes us like her all the more.

Taste The Nation With Padma Lakshmi won’t make anyone forget about Bourdain and his various shows, but it’s well-shot, Lakshmi is a warm and knowledgeable host, and the food she discovers is both comforting and surprising.

Law & Order Toronto: Criminal Intent is pretty much what you expect from any entry in the L&O franchise, which is a good thing.

From Cradle To Stage gives viewers a great look at how their favorite music stars became so driven to succeed in what is an impossible business, and the moms who helped make them that way.

Matthew Rhys’ powerful performance is the main reason to watch this reboot of Perry Mason, but the mystery is intriguing enough to justify watching all of the show’s fine performances.

With its vibrant and unique art style, engaging psychological drama, and compelling main character, Nippon Sangoku: The Three Nations of the Crimson Sun could very well be a hidden gem of Prime Video’s spring programming slate. Give it a chance.

Jack Thorne has managed to make the series adaptation of Lord Of The Flies fresh by giving viewers as close to a visceral experience of being in the middle of the chaos as possible, with good performances by the actors playing the main characters.

A fine lead performance from Justin Theroux, in addition to a story that’s been rejiggered just enough to make it more modern than its source material gives this new version of The Mosquito Coast a real chance to be the next talked-about series.

The access that the filmmakers have gotten makes this series all the more fascinating to watch.

It made me laugh. And that kind of involuntary giggle that you can’t help, it’s just your body’s way of reacting, not a polite, calculated chuckle at any point. It’s not light, easy viewing by any means, but this chaotic special is a respite from the other kind of chaos that is 2020 and anything that provides a laugh these days is worth watching.

Short of Michael Jordan, there’s no figure in basketball history quite as compelling as Shaquille O’Neal, and SHAQ is a worthy documentary treatment of the man, myth and legend.

This is the time to embrace absurdity and silliness, and the six episodes will fly by in under two hours. When the world feels upside down, leave it to three men from Down Under to make you feel right again.

A three-part docuseries, How To Create A Sex Scandal turns the tables on what a true crime documentary typically is.

Magic City: An American Fantasy is a fun look at a club that was integral to making Atlanta one of the country’s most desirable and diverse cities.

This doc can and should inspire many important conversations across the legal, music, and media industries. Framing Britney Spears is entertaining to watch, but even more than that, it is shocking and hopefully motivating.

Volume 4 of Love, Death & Robots again makes tremendous use of its anthology form, allowing space for left-field thematic choices and story adaptations, a rich palette of animation styles, and a streak of mischievousness that keeps the whole thing consistently interesting.

Whether you’re a fan of Tegan and Sara or looking for a queer, playfully nostalgic teen series, High School’s endearing, admirably restrained take on the genre is worth an afternoon of your time. More 30-minute dramas, please!

The Big Door Prize works because it allows us to spend time with a group of appealing characters that have become a “found family” as they try to figure out just what they want to get out of their lives. That vibe continues in Season 2.

Alex Rider is definitely an above average entry in TV’s spy genre; it takes its main character seriously and develops him enough that we can actually believe he’ll do a good job as an agent. That’s saying a lot.

Rainn Wilson And The Geography Of Bliss is aided by Wilson’s history, genial grumpiness and what seems like a true desire to figure out what makes people happy.

The Other Black Girl definitely takes a different approach to demonstrating systemic racism, and combined with the fine performances from Daniel, Murray, Young and others, makes for a show that definitely kept us engaged.

The thought-provoking new direction will challenge, confuse, and likely divide viewers, but it will also deepen the show’s sci-fi roots and evoke more comparisons to Silo Season 2, LOST, and The Last of Us than ever before.

The talented cast, clever mystery, and ’90s nostalgia are a winning combination. For these summer girls, 1999 might be cruel, but for the rest of us, the show is the perfect summer escape.

In its second season, Gossip Girl has morphed into exactly what you want from a reboot. The costumes and directorial work are more refined and swoon-worthy than the original, and even though the drama is new, it feels familiar. There is a real sense that this is a new chapter in a beloved story.

If you don’t consider yourself the biggest Steve Martin fan or you need a refresher course on how he became the most popular comedian of the late 1970s, then by all means STREAM IT to the first episode, but everyone should make sure to watch the second part, which provides a much richer, fuller portrait of the comedian, actor, playwright, art collector, and in his later years, husband, father and comedy partner.

If you were a fan of the original Legends Of The Hidden Temple, this reboot will bring back fond memories. But even if you weren’t (we were adults when the show came out), it’s still a light, fun watch that leans completely into its goofiness.

While you may know the story of the Jonestown massacre, Cult Massacre: One Day In Jonestown brings it to life in a new way, with lots of vivid recollections by people who were there.

The Muppets Mayhem is a funny, fast-paced show which doesn’t sacrifice story or characters for pop culture references and celebrity cameos. And the fact that it’s family friendly is a bonus.

Lebowitz is hilarious, and Scorsese captures her humor, as well as her love of New York City, very well. You may not want to binge Pretend It’s A City, because one can only take so much “New York humor,” even those of us who know the city well. But it’s certainly worth taking in an episode or two at a time.

By shifting its focus from Dev to Denise, Master Of None gives us a third season that’s fresh and poignant and makes us want to see more after its first episode. Does it trip over its own pretentiousness at times? Sure. But that’s not a deterrent for us.

The Gilded Age Season 2 is a fine, fizzy treat. Julian Fellowes has once again crafted a perfectly elevated soap opera for the masses.

his series wins when it feels as though we, the audience watching via Netflix, are getting secret insider tips about the coolest most authentic places to check out, like a local whispered it to us. it doesn’t feel exploitative at all or that it’s trying to be a cool Instagram post. Street Food: Latin America isn’t quite changing the game when it comes to food or travel or culture shows, but it’s a pretty solid contribution that will leave you feeling hungry and educated at the same time.

Hostage is a solid political thriller made better by the performances of Suranne Jones and Julie Delpy, especially when they’re on screen together.

The more we see of the community around the team, one that has become bigger via the series but at its core is still what binds the residents of the town together, the more we want to watch.

For all its manufactured conflict — the schism between Snow and Jones, the unprecedented summer tour — it’s still a largely unvarnished glimpse into a place both wonderful and strange.

Some episodes pick up days after their previous installment. Some take place months, or even years down the line. At times it can be a bit jarring. Suddenly, the House of Evangelista jumps from being ballroom mainstays to largely absent legends. Characters who barely dabble with drugs have full-blown addictions. But this season has so much heart, these little logical leaps can be forgiven. If anything, they add to the ethereal feeling of the series’ conclusion.

Shining Girls takes its time to reveal the entire picture of what its story is about. But with a fine lead performance by Moss and expert direction, it’s still got enough tension to make us OK with getting only little bits of info.

The Choe Show is full of artsy weirdness, but the interviews are genuine, as are the responses David Choe gets from the friends he talks to.

Kid Cudi and Barris do a fine job of making Entergalactic feel like much more than a vehicle for Cudi’s latest music; it’s a hip hop take on a familiar story, but is a satisfying watch despite knowing how it’s going to turn out.

I was entertained by The Creep Tapes. It all pretty much depends on Duplass to make us laugh and creep us out, and he delivers.

Q: Into The Storm may make you shake your head for six hours, but it’ll also give you a better understanding of the QAnon phenomenon and just how so many people could buy into theories that seem to not make a lot of sense.

The charm of Anna Lambe and the Arctic small-town setting make North Of North a breezy, fun watch.

Chimp Crazy is a docuseries that piles on the storytelling drama, but it also evokes strong emotions from us, which is what a good docuseries should do.

A Very British Scandal benefits from fine performances and a scandalous story that touches both on early feminism and salacious scandal.

The Reagans is obviously a partisan production, but that doesn’t mean it’s not worth watching. By re-contextualizing Ronald Reagan’s presidency, the series makes a clear case for how we got to this point as a country. It didn’t just start with Donald Trump.

Lupin’s twists and turns, and a fine performance from Omar Sy (who is also the show’s artistic director, helping to establish the series’ lavish look) makes the show eminently watchable.

This is a winning portrait of two guys in South Central L.A. with opposing life philosophies who find they each have something to learn from the other.

Terminator Zero takes a fresh crack at the most familiar stuff from the Terminator franchise – twisty time-travel hijinks, machine-born sentience, human-cyborg conflict – and lends the story new direction and life, as well as a distinctive, animé-inspired new look.

Devil May Care is a funny commentary on social media, religion and people’s views of Hell.

Eyes On The Prize III: We Who Believe In Freedom Cannot Rest 1977-2015 is a compelling companion series to the 1987 original, putting the civil rights movement into a modern context through the stories of the people at its forefront.

Is there an overriding plot aside from escaping the rubble? Is there any kind of character development? Not really. But a show this crazy doesn’t really need that, as long as it continues to be daring through its entire run.

The anthology series is putting us in a new twilight zone with its season 7 tales of technology run amok and raw emotion as the timeless driver of the human condition.

Adults definitely starts out a bit frantic, and the characters a bit cartoonish, but there is more than enough that’s funny about this group of friends that makes us want to spend more time with them.