Over 20 years later, this series does a good job of stripping away the excess and offering the essentials of the case and the evidence against Scott. Most of all though, the series provides the narrative that, despite his best attempts to seem like a man in mourning, Scott Peterson knew what he was doing all along and was pretty bad at concealing it.

The Great tries to be irreverent and funny but fails on both accounts. In fact, some of what passes for jokes on this show is downright painful to watch because it’s so dark and mean-spirited.

Queenie has some equally funny and dramatic moments in its first episode, and Dionne Brown handles both sides of her character well.

It’s frustrating to know that Savile never got his comeuppance while he was alive. At the same time, even documenting his horrors posthumously can serve some honesty to his true legacy. STREAM IT if you’re not worried about being triggered by it. Otherwise, quite obviously, SKIP IT.

Spacey Unmasked is a relentless series of stories detailing horrific behavior by Kevin Spacey, but it also tries to give a little context by delving into the actor’s life. Still, it’s hard to watch.

The Tower does a good job of telling its central mystery without a lot of filler, and Whelan’s performance as Collins is both intense and emotional.

Twenty Twenty Six is a funny take on a workplace focused on putting together one of the world’s biggest sporting events, helmed by a person who is experienced with all the craziness and somehow manages to get things done in spite of it.

Carême is compelling enough to recommend, especially given the show’s lavish look and Voisin’s charismatic performance. But the storytelling needs to become a bit more robust after the first episode in order to keep viewers’ attention.

The Patient delivers a good story and dramatic tension in a compact package. It’s an exercise in “less is more”, and Carell and Gleeson are especially good at reining in their characters’ extreme emotions.

At times, Spector doesn’t seem to know how to align the man’s competing legacies. But it does its best to portray a fuller picture of the woman who paid the ultimate price for his behavior.

The Mole isn’t quite as fun as the Anderson Cooper version, but it’s still a solid reality competition format that we’re glad is getting new life with Netflix.

Creature Commandos features a ton of James Gunn’s trademark wit and sweetness, lots of gleeful destruction, an adult-animation-worthy helping of boobs and butts and stuff, and for comic book heads, a shared visual aesthetic and the deliberate centering of oddball characters straight off the page.

The story of Outrageous is deathly serious, but the vibe is still somehow effervescently fun. This balance makes it intoxicating. .... Outrageous is the platonic ideal of what the period drama can be.

After dozens of adventurous movies and the visionary WandaVision, I feel confident that The Falcon and the Winter Soldier is going to take flight and soar—but right now we’re still on the runway.

The supporting cast is solid, from Sewell’s smarmy Hal on down. The show has a mild sense of humor that can alleviate some of the seriousness. But there’s nothing about the show that makes it a buzzy must-watch.

ZeroZeroZero is surprisingly engaging given just how many locales and characters the viewer needs to keep track of.

As big as Stranger Things has stretched in season four, the avenues by which its parallel narrative threads will converge are becoming more clear with the revelations of volume two. And that’s exciting, watching as all of these characters, long broken apart, find their way back to each other.

The Girl From Plainville is a nuanced look at a sensational case that played out with the usual media-induced broad strokes. It may be too nuanced for people looking for a show that utilizes those broad strokes, but the approach will probably be appreciated by those tired of campy true-crime scripted series.

It feels like Turning Point takes a half-measure, going over that day in some detail but glossing over what truly made it horrifying to the people who lived through it or people like us, who were just in the tri-state area. ... If you’re interested in either a 9/11 documentary or a War on Terror documentary, there are better ones out there than Turning Point: 9/11 And The War On Terror, which tries to go into both in depth and accomplishes very little that’s new.

Controlling Britney Spears is equal parts shocking and infuriating, a necessary examination of the reality of the pop icon’s conservatorship and why so many have been calling for her freedom for so long.

If you’ve stuck with Sweet Tooth to this point, there is nothing about the final season that would make you stay away from completing the story.

Because of the funny moments, and the idea that these two coddled young men are now going to have to get into hardcore criminal activity, we are feeling pretty good about the prospects that the first season of Deli Boys will be entertaining.

The storytelling of Angelyne leaves a lot to be desired, but Rossum’s performance cuts through the script gymnastics, making us curious about what parts of Angelyne’s life the series will explore.

World On Fire is certainly a character-driven drama, but those characters, and the fine performances that shape them, are more than enough to work through the disjointed first episode and see where their lives go as World War II grows in scope and danger.

Schmigadoon! is silly, sweet, sharp, and most of all, sensational. It’s just the latest in a string of Apple TV+ comedies to balance wit and heart.

It goes without saying that Evan Rachel Wood’s story is a tough one, and the fact that she’s decided to put it all out there in Phoenix Rising makes the docuseries all the more worth watching.

Acapulco is definitely not a high-key comedy by any means. But the character-driven story will lure yo