Ghosts has become a true ensemble show in its third season, and it starts its new season with an episode that shows just how much of a family the ghosts and the “livings” have become.

The New Look may spiral into ridiculousness as the story gets away from its World War II beginnings, but it starts off as a unsparing look at how two French designers dealt with being under Nazi occupation.

If you like reality television, we recommend giving Couple to Throuple a shot! The show takes the voyeuristic nature of reality programming to the next level and offers nonstop jaw-dropping moments. But if you’re looking to learn about polygamy in an ethical and educational manner, stick to the YouTube explainers — or book a private session with Howard.

Tracker works mainly because Justin Hartley doesn’t try to reinvent his acting style to play Colton Shaw. And the show has just enough of a backstory, and quirky side characters, to give viewers reasons to tune in beyond the case-of-the-week stories.

Halo feels more streamlined in its second season. While still based on a video game franchise with nearly 25 daunting years of established lore, it’s leaning into the autonomy within himself that John-117 has unlocked, which could very well emerge as Master Chief and his team’s biggest asset against the Covenant and threats closer to home.

Tokyo Vice is stylish, mysterious, and full of powerful acting turns that put a sharp edge on its depiction of the places where crime and violence intersect with tradition and ambition.

It is a will-they-or-won’t-they rom-com? Is it a friendship story? Is it a saga about moving into adulthood and figuring out your life and your priorities and enduring heartbreak and loss? Will it make you cry? Yes, it’s all of those things, and it manages to capture all the muddled, complicated, aching emotions of them all.

Despite our reservations, #Cybersleuths: The Idaho Murders is still a good review of this grisly case, and we think that the filmmakers will eventually get their message across about the good and bad aspects of online speculation about cases like these.

Raw and impactful, the new season will keep viewers on their toes in more ways than one.

We give Quinta Brunson a lot of credit for not standing on her laurels for Abbott Elementary‘s third season. Even though she’s shaken things up a little bit, the show still seems to be at the top of its game, and we hope that continues through Season 3.

Shōgun‘s size and scope and overwhelming excellence explain why it took so darn long to get the series right.

The final season of Curb Your Enthusiasm is pretty much more of what we’ve seen over the past 24 years. But it’s still funny, howlingly so at times. And that’s pretty much all we’re looking for from Curb as Larry and company kvetch into the sunset.

This new take on Mr. & Mrs. Smith is funny and full of surprises, with great chemistry between Glover and Erskine that may lead to some interesting sexual tension as the series goes on.

Three Little Birds is intended to be a feelgood series, but it’s not schmaltzy and doesn’t shy away from the issues Jamaicans and other Black people faced in England in the 1950s.

We’re hopeful that Feud: Capote Vs. The Swans will provide some juicy scenes among its amazing cast, and that will be enough to keep us watching. But the story itself is so low-stakes that it just leaves us cold.

In The Know is a quirky, funny series that works on a few different levels, and it effectively combines animation and live action.

Expats is a show that should be better than it is, given its cast and Wang’s pedigree. But its storytelling is frustrating and its characters are ones we feel we’ve seen on TV a whole lot over the past few years.

Not only is Sexy Beast a series that feels unnecessary, given its connections to a film that wasn’t a big hit a quarter century ago, but it doesn’t even rise to the level of being a good heist show on its own merits.

While there are parts of Griselda that feels like a generic cartel drama, Sofia Vergara’s fierce performance in the title role demands our attention, as well as helping the show move along at a confident pace.

Masters of the Air is a thrilling, entertaining watch that lacks the depth of its HBO-produced predecessors.

This is the Sex Ed Talk generations of women wish they could’ve received, even better than what Novak jokingly refers to as “diagonal learning” from an older female acquaintance. This is over the top, on the up and up, and oh so funny.

Superhot: The Spicy World Of Pepper People is full of colorful characters and it’s about a subculture we’re interested in. We’re just not sure there’s enough there to sustain the show for ten episodes.

Hazbin Hotel is very queer, raunchy, and fun. The animated comedy is filled with memorable songs, exciting character arcs, and a thrilling story. The episodes will have you on the edge of your seat, while filling your heart with equal parts joy and angst. Even if it doesn’t sound like it’s fit for you, get it a try.

The Woman In The Wall succeeds because of the lead performance by Ruth Wilson as well as the grey areas that the tragedy of the Magdalene Laundries caused.

It still reliably makes us laugh, but we just wish it wasn’t so completely dependent on one character to generate those laughs, as legendary as that character (and the actor who plays him) might be.

American Horror Stories definitely takes care to tell stories that are satisfying and complete despite their relatively short length, but we just wish a few elements of those stories were a little more thoroughly considered.

And just like Larry The Cable Guy, Slay has found his own way to connect his Southern style to a wider audience, and he’s definitely getting it done.

American Nightmare teases out the story of Denise Huskins’ kidnapping to a bit of an irritating degree, but we do understand why the filmmakers did what they did. It’s a fascinating story of law enforcement and confirmation bias, one that needs to be on a platform like Netflix.

Owen’s performance transcends the languid plotting in the first episode of Monsieur Spade. Will Owen make us forget about Bogart’s portrayal of Spade? Absolutely not. But he does a good job of bringing Spade into a more of a modern context.

While there are elements of Death And Other Details that have the potential to be entertaining, the show feels overstuffed and too interested in messing with the viewers to sustain what is a very complex whodunit.

The Traitors pits some of the most memorable (and duplicitous) personalities against each other using a formula that’s wickedly dramatic and fun.

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.

Ted had the potential to be a heartwarming show with good coming-of-age stories — at least as heartwarming as a show about a pot-smoking, cursing, bigoted teddy bear could muster — but the episodes are drawn out by Seth MacFarlane-style gags to the point where we got bored.

Cush Jumbo and her character are the reasons why we’re going to keep watching Criminal Record. Not that we hate Peter Capaldi’s character, but at the outset he feels much more generic than Jumbo’s character, and given that the two of them face off during the entire season, that could end up being a big problem.

We were pretty bored by the first episode of The Trust: A Game Of Greed, and we’re not sure if the rest of the series is going to get any more interesting.

If you’re a diehard tennis fan, Break Point has plenty of behind-the-scenes action to offer. If you’re a newbie to the sport, it’s the perfect introduction.

If you approach Echo like the five-episode movie that it is, you’ll be a lot more satisfied with the pace of the limited series’ storytelling. It’s certainly darker than much of the MCU fare we’ve been seeing, but it’s also one of the MCU series that’s most grounded in reality and family, which is refreshing to see.

Any chance to try to understand Pete Davidson a bit better is an opportunity worth taking, especially if you’re the type to absorb all of the tabloid fodder about him.

Grimsburg is a comedy that suffers from too many jokes, which seems to be impossible, but this show proves that it can happen.

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.

Falchuk and Wu managed to create a unique and addictive action-comedy that highlights veteran talent and a few fresh faces while seamlessly building the foundation of the complicated history between three very different people.

Viewers who aren’t familiar with the facts surrounding the killing will find them well-presented in John Lennon: Murder Without a Trial, buttressed by eyewitness interviews. But ultimately, this docuseries is a SKIP IT. Conspiracy theories alluded to don’t materialize, and we’re left with a docuseries that wants to apply the structure of generic true crime to a momentous celebrity death.

I wish Netflix added chapters so I could urge you to SKIP AHEAD to the stories and avoid all the unnecessary transphobia. .... This Netflix contract with Chappelle is his dream, not ours.

True Detective: Night Country doesn’t ever quite hit the smarmy noir notes Pizzolatto’s seasons were known for, but it’s crisp, chilling fun. Foster is fantastic, Reis a revelation, and López an auteur on the rise. It’s a dark and twisty thriller that’s perfect for these cold winter Sunday nights and even better for dissecting Monday morning with friends.

If I have one criticism to lob at Netflix’s Pokémon Concierge, it’s that the first season is too damn short. Just as Haru acclimates to her new role, the first season is over! There’s literally only four episodes of Pokémon Concierge and they all clock in at about 15 minutes in length. On the one hand, that makes the series a powerfully potent cocktail of sweetness. On the other, it leaves you desperate for more.

While Berlin doesn’t bring anything new to the heist genre, the charm of Alonzo as Berlin makes the prequel worth watching for both fans of Money Heist and newcomers to the franchise.

Is there a chance that Extended Family can transcend its awful first three episodes? Sure; sitcoms take time to find their comedic footing. But when you’re starting with tired plots, scattershot storytelling, lame gags and stars who don’t use the skills we know they have, it’s an awfully steep hill to climb to get to mediocre.

Fool Me Once has enough potential for some intriguing plot twists, and more than enough solid performances, to make up for some awkward dialogue and plot points that feel like they’re going to unnecessarily complicate things.

Despite our reservations, Gyeongseong Creature has a good story buried in all the murkiness. But we’re not sure if the show will actually be able to focus on that story as the first season goes along.

Percy Jackson And The Olympians tells a straightforward quest story with good writing and well-defined characters, but takes its time to set up Percy’s story without dragging the show to a halt.

It avoids being too salacious and trashy (despite the fact that the subject matter could easily go that way), and looks at things from a legal perspective more than a tabloid headline perspective to represent both parties as well as it can.

Such Brave Girls could be a little funnier than it is, but the three main characters have such well-defined personality quirks that seeing them interact with each other and the world around them is pretty entertaining.

In season two, he’s got backup in the form of some also lethal old friends, as well as another personal score to settle. This series understands what it does best, and honors its source material by casting the correct version of its main character.

Fans of the original Yu Yu Hakusho manga will definitely want to check how this energetic live action version realizes its classic characters. But there’s plenty to enjoy for the rest of us, too, with Takumi Kitamura’s detached sense of cool as rookie spirit detective Yusuke, the series’ unpredictable sense of humor, its high-flying fight choreography, and sharp use of VFX.

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.

Noughts + Crosses has its issues, but the cast is compelling to watch and we hope that some of its obviousness will get smoothed out as we get more into the actual story.

While James May: Our Man In Japan gets as goofy as any other travel series, May’s sincere desire to get a feel for Japanese life is worth watching.

Precisely because Wolf chose to split up her new material into multiple episodes, you’re much more likely to want to watch the first 20 minutes so you can decide for yourself whether you want more where that came from.

Born In Synanon is unique among cult-related docuseries because it shows that not all cults start because of one person’s narcissism and messiah complex; some actually have good intentions. Of course, it makes it all the more fascinating to watch it all go wrong.

The show is a daring take on the saturated genre. .... When it returns to the investigation and drops the “oh-too-predictable” bombshells, it contextualizes them beyond the gritty details. Hehir’s direction and story sequence is riveting, and the interview subjects have much to offer, whether it be from a first-hand account or through decades of research and advocacy.

Despite some stylistic missteps, Archie is a well-paced story about the life of Cary Grant, who most of us really only know from the roles he played in films that are 60 or more years old.

In many ways, My Life With The Walter Boys is typical teen romance fare. But it’s pleasant enough, and Nikki Rodriguez’ lead performance is compelling enough, to keep us watching.

Obliterated isn’t trying to be anything more than what it is, which is a fun show with a lot of action and sex. And it succeeds at that in spades.

Again, it’s really hard to get excited about anything in Irvine Welsh’s Crime outside of Dougray Scott’s performance. But once again his performance draws viewers into the story.

Bad Surgeon: Love Under The Knife is going to detail this two part fraud on the part of Macchiarini, and it’s a compelling watch.

The Artful Dodger doesn’t try to replicate the vibe of Oliver Twist. It has its own vibe, one that moves quickly, is often funny, and is mostly entertaining to watch.

Slow Horses is sharply written at every twist and turn. Forceful, funny, and conspiratorial, it’s constantly finding new ways into spy thriller dynamics while showcasing the terrific work of its cast and letting Gary Oldman just completely go off as the jaded, aged spy at its center.

Steeltown Murders has the potential to be a really intriguing mystery that spans 30 years, as long as the scenes from the Seventies flow well into the scenes from the Aughties and vice versa.

Faraway Downs doesn't entirely fix the criticism of white saviorism that Australia received. That would’ve been an impossible feat given Lady Sarah's character. That said, the series spends more time with the Aboriginal characters and expands on their origin story and aspirations, rather than casting them to the wayside. Overall, the series transforms the lukewarm drama into the grand epic that Luhrmann originally set out to make.

You’re better off watching Squid Game again than watching the cynical, depressing mess that is Squid Game: The Challenge.

Waddingham knows what her fans – and Ted Lasso fans – want, and she delivers.

By scaling down the scope of the Season 5 story, at least to start Noah Hawley has brought Fargo back to the show that we enjoyed so much during its first two seasons.

Julia continues to tell the story of Julia Child’s rise to pop culture ubiquity in a way that’s funny and warm, with an ensemble of well-written characters whose stories we also want to follow.

If you don’t care about the MonsterVerse movies, this show probably won’t change your mind. However, if you’re into Godzilla, Kong, or the various Titans who square off against them, Monarch is a lot of fun.

The end of the first episode of Scott Pilgrim Takes Off is bound to turn off some viewers, but just take a deep breath and proceed. By the halfway point, your anger and confusion will fully dissipate as the story plays on and divulges new findings about the beloved characters. If you venture into this series with an open mind, you’ll love it. The show has all the charm, humor, and action of its source material!

If the writing on The Crown Season 6 Part 1 falls a bit short where it counts the most, the cast at least delivers the goods. Imelda Staunton is still the most ineffectual Queen Elizabeth II the show’s produced, but she’s no longer in the spotlight, so it’s fine. Instead, The Crown Season 6 Part 1 belongs to Princess Diana and Elizabeth Debicki.

A Murder at the End of the World is here for your wintertime whodunit watching, with a terrific lead performance from Emma Corrin, a strong cast throughout – while they’re still living, anyway! – and layers of forward-looking tech and classic mystery elements to pick at and peel.

We are always tempted to say that any new NCIS will appeal to fans of the franchise, but we’re just not sure about NCIS: Sydney. There’s snippets of hope here and there, but the overall setup seems clumsy, and much of the dialogue is just as clumsy as the setup.

Stream it, all the way to Mars and back. For All Mankind continues to audaciously rewrite history in season four. It’s got a handful of legacy characters with over thirty years of baggage to process, as well as new frontiers of the continuing space race to explore with both its sharp writing and stunning production design.

Big Mouth Season 7 is still treading the same worn-out waters as it has across the rest of its runtime, and the only positive thing that can really be said here is that next season is its final set of episodes.

007: Road to a Million is in many other ways just a conventional challenge-based reality show. But it makes the right moves to establish its Bond branding as a frame, and rejects much of the superficiality common to the genre.

The chemistry between Dyer and Brammall is the key to Colin From Accounts; they show how these two comically flawed people can foster a relationship, even if the only thing they have in common is a disabled dog neither of them owns.

There feels like there’s more substance to Escaping Twin Flames than Desperately Seeking Soulmate, or at the very least more testimonials to what Twin Flames Universe was all about and exactly what Jeff and Shaleia Ayan’s grift really was.

The result is a totally unvarnished meta meditation on his journey. And from the euphoria of instant stardom to all of the adversity, hits and misses that came after, it becomes much more of a personal document than just another celebrity documentary.

The Buccaneers is entertaining enough, but just doesn’t feel like it’s going to go much deeper than the Yanks vs. Brits trope we see throughout the first episode.

Lawmen: Bass Reeves benefits from a sturdy performance by David Oyelowo at its center, effectively strikes the balance between tough talk, gunplay, and sentiment typical of a Tyler Sherdian production, and offers some perspective on a formative era of US history.

Even if Pluto strikes some sci-fi watchers as a bit derivative or self-serious, animation fans should appreciate its designs, fluidity, and invention. This is a great-looking show, and effective testimony for how sometimes fantastical stories are better-served by animation rather than live-action.

Fans of Fielder’s comic work might struggle to find familiar laughs in The Curse, but the series is a deftly woven tapestry of tension. At its best, The Curse‘s surrealist approach edges close to the creative heights of another Showtime series, Twin Peaks: The Return. At its worst, the social satire feels a bit too on the nose, especially on the heels of an “Eat the Rich” cinematic boom.

The second season looks like it’ll be more complex than the first, but we’re confident that the second season will be as cohesive as the first.

Hidden Assets is all about the conspiracy at the center of the first season, and we see signs from the first moments that it'll be twisty and keep our interest, even if there isn't a ton of character development.

Despite a squinchy mystery at the center of the first episode, the overarching story of Signora Volpe, with a good performance from Emilia Fox, is enough to keep us watching.

Despite Kenneth Branagh’s brilliant transformation into Boris Johnson, This England takes too much time rehashing the beginnings of the response to COVID-19 as if they were 20 years ago instead of something that, even though it was almost four years ago, still feels like it happened yesterday to most of us.

Black Cake works best when it concentrates on how Covey became Eleanor and managed to make a life for herself despite the secrets she kept. The impact of those secrets on the present day feel like more of a punctuation on the story instead of part of the story itself.

A ghastly failure. The glossy adaptation of the Pulitzer Prize-winning novel of the same name flattens morally ambiguous characters into two-dimensional avatars of pure good and absolute evil.

Mayflies is an affecting story of a friendship tested by end-of-life issues, with some fantastic performances from Compston, Curran and Jensen.

While the writing in Time is strong, the performances by Bean and Graham are what will connect with viewers.

While it won’t win any points for originality, its ambition, creativity, beauty, and slightly menacing tone will keep your attention, and its moments of “whoa!” deliver. You can tell from one episode that this is going to be a lot of people’s favorite animated series of the year, even if it’s unlikely to be mine.

There’s just enough archival pictures and footage, along with the traditional talking head interviews, though, to give the series the right amount of docuseries legitimacy. But the lip-synched reenactments, combines with the access the recordings from Grosse, Playfair and others provide, paint an appropriately scary picture of a house that seemed to either be legitimately haunted or suffering through lots of scary, unexplainable natural phenomena.