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.

While some aspects of Everyone Else Burns might get repetitive in a hurry, there is more than enough stories revolving around the Lewises trying to live in the world while prepping for Doomsday to make for a pretty funny show with well-rounded characters.

Life On Our Planet is a fascinating look at how life evolved on Earth, with stunning visual effects that show how long-extinct species might have lived.

hat it brings to mind the most? The hyperbolic sleaze of TV “newsmagazine” Hard Copy. Get Gotti is slick and sensationalist and tiptoes right up to the edge of bad taste, occasionally dipping the tip of a toe in it. It’s also tonally conflicted.

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

Welliver’s ability to keep the quaking emotions of his character consistently interesting – has always been a highlight of Bosch: Legacy and the series it emerged from. And with Bosch as PI existing untethered by department rules and regs, it’s enticing to consider what walls he’ll run through next.

Season three proves that the show is still as reliably funny and original as ever thanks the array of funny supporting characters and an intriguing plot refresh.