It's the best new series we've seen in a while.

Strictly fan service, but fans will love it.

Funny, melancholy, flawless.

Settled, thoughtful and at times engaging coming-of-age sequel.

Will this be your next "Downton Abbey?" Probably not, but it could be your next "Poldark." Nothing wrong with that.

If all this sounds hopelessly hokey — and there are stretches in "The Madison" where it irredeemably is — then you'll want to do something else with your Saturday night. Otherwise, there's beauty here, some nice performances and a welcome pivot away from the mayhem of "Yellowstone."

Steady start to the final season of a TV treasure.

With some of the zip of the original, and some of the heart too.

Nicely crafted, but still Hillerman-lite.

The main reason to give this version of "The 'Burbs'" a chance, of course, is the interplay between Palmer, Pell, Proksch and Julia Duffy ("Newhart") as the neighbors with a lot of time on their hands. They keep the energy high and the laughs coming.

The test for the picture, then, comes in whether it's possible to emerge from it with any new insight into the man himself and into why his work resonates as much as it does. And the filmmakers find plenty of material on both fronts.

In England, critics have called Cohen the new Peter Sellers. If that's the case, it's not Sellers at his "Dr. Strangelove"-"Being There" shrewdest but, rather, at his do-it-for-the-money "Pink Panther"-sequel broadest. [21 Feb 2003]

Slow at first, with gratuitous violence, but Dunk and Egg should win hearts.

Often a great-looking newcomer with an often tedious YA throughline.

The best show of 2025 also happens to be the best show of 2026.

It's extraordinarily familiar territory, as well-trod as any moment of pop cultural history. And yet "The Beatles Anthology" still feels as fresh and as relevant as ever today in the way it presents the dizzying whirlwind of this sort of fame from the front lines.

This is a thinking viewers' show, filled with plump, meaty ideas — just not too plump or meaty.

Miller's series offers a chance to understand Martin Scorsese's movies in a new way. What a gift.

"House of Guinness" is always entertaining, but there's a hollowness to it that's hard to shake.

Another fine Hawke performance — and entertaining series — but the character he's created never quite gets a backstory, at least over the first five episodes.

Well-crafted thriller, and a reminder of just how good an actor — and director — Bateman is.

It's a wonderful show. Don't miss it.

Does "The Office" proud.

Mostly entertaining late-summer thrill ride, decent horror too.

Just let the romance flow because true love conquers all, or at least it conquers plot holes, continuity errors, pacing issues and funky time travel stones that buzz like angry bumblebees. That's all part of the charm of "Outlander," and potentially "Blood of My Blood," too.

It's completely out-there and a lot of fun.

It's a smart and compelling drama, with some great acting and a real sense of place.

Lacy isn’t overselling her project. "And So It Goes," named for one of Joel's more ruminative songs, may not contain any true bombshells but it delves into Joel’s life in unprecedented detail. Anchored by Lacy’s lengthy interviews with Joel. .... Virtually everyone from Joel’s life — even those carrying painful baggage — shows up to speak.

Stalter's fun — no surprise there — but we've seen this show before (a few times).

Get beyond the talk, inertia and emotional overload, and there's still some truth and beauty here.

It's fun, but totally insubstantial.

If you're looking for groundbreaking high art, you won't find it at a golf comedy. If you're after a little bit of solace, a tiny measure of happiness and feel-good uplift when we could all use it, "Stick" has the goods.

Sharply crafted show, but far too long at eight hours.

Another "Friends" (or "Girls"?) knockoff with a likable cast and some sharp writing.

Fascinating, incomplete, portrait of a man of mystery.

A standout Skarsgård, with excellent support, in an entertaining send-up of cyborgs— but strictly for sci-fi fans only.

This is a fun throwback and a return to form for J.J. Abrams.

It's unclassifiable and unpredictable, in the best possible ways.

All the performances are outstanding — O'Reilly has played Mothma in various movies and series for two decades — but the ones that'll knock your socks off are by Kyle Soller and Denise Gough.

The violence and horror of this season are extreme, absent any glimmer of light down that long, Stygian tunnel. .... But that shouldn't detract from the genuine pleasures here either — the acting, the superlative craftsmanship, even the spectacular Canadian Rockies. You could do worse. You will rarely do better.

"The Bondsman" is not for everyone. But it knows what it wants to be and has the confidence to see it through.

TV's best of the year, so far.

It's a mildly enjoyable sports comedy that could have been more.

Not to worry, fans — the third is hugely enjoyable, but someone's missing and you know who.

Smart and compelling, with great performances, "Apple Cider Vinegar" also has a lot to say about human nature.

"Paradise" is what TV executives used to call "high concept," except that any Fogelman show (or movie, like "Crazy, Stupid, Love") usually gets around to what he's really interested in — human relationships, romantic entanglements, tragic loss. There's a lot going on in "Paradise," but if this big swing of a series connects — a medium-size if — it'll be for that reason.

We want to know what happens to Helly and Mark — all four of them. We care about the others along with their "outie" doubles. And goats aside, the abiding mystery still hints at something consequential. Perhaps "Severance" will get around to a genuinely profound insight into our own fraught life and times. Perhaps. If only this second season weren't so self-serious about the whole process.

The beats here are familiar and comfortable. Perhaps best of all, they are actually moving.

Great cast, funny lines, but "Deed" loses momentum after a strong start.

This "100" is indeed dazzling to look at and to listen to (in English, this "100 Years" would be — well — strange) while the cast is excellent. But what's missing is what possibly matters even more — those ideas, that magic. Without them, this is just another intelligent TV series with a lot of money on the screen. Márquez was right. His masterpiece is impossible to adapt.

Good, smart, propulsive spy thriller.

Magnificent.

Edge-of-the-seat viewing but seat-of-the-pants storytelling. At least both Redmayne and Lynch shine.

Solid opener that otherwise oversells the premise.

Some (make that a lot of) funny lines, but far too fat a target.

It's a slow burn that can be patience-trying at times, and it's fair to wonder whether there's really enough here to support eight episodes instead of, say, a single movie. But there's confidence to spare and a real sense that the show knows exactly what it intends to be, without compromise. And whenever the pace slows to a crawl, the actors are there to keep you engaged.

Wild, fun ride.

Engrossing history (and with an eyebrow-raising omission).

It's an ideal match of creative talent and material, with serious appeal for history buffs of all ages.

The 10 episodes that dropped late Wednesday pretty much say there's nothing to worry about here. In fact, a few of these do gently temporize, and at least one treads water, but there are also four which are flat-out great (more on those in a bit). A pleasure as always if hardly perfect, this balance seems about right for a series that explores the gulf separating craftsmanship from genuine artistry, and whether perfection can bridge it.

Superb second season, if the early episodes are any indication.

The elements don't quite congeal, but it's intriguing and well-crafted.

Fun, lively, imaginative — with a whiff of Disneyfication.

Fine import with not just one, but three emotional payoffs.

Skillful, at times powerful, blend of fact with fiction — and not always clear which is which.

Brilliant, unsettling, entertaining.

The first five episodes are best, with their show-within-a-show structure, specifically those San-Ti virtual reality headsets that Mark Zuckerberg would give half his kingdom for. They're a portal into a whole other world, with its own set of narrative rules, and even the occasional flash of humor. Mostly they're just fun. “3 Body” noticeably sags when the San-Ti no longer deploy them (although one does reappear in a closing scene of this first season).

Cerebral, engrossing.

Not a lot of laughs — as if — but the payoff succeeds and so does Winslet.

Watching “Shōgun" is a you-are-there-you-are-not-there experience — both bracing and chilly, not consistently engaging yet (paradoxically) always engaging, “Shōgun" draws you in, but never quite makes you feel welcome to be there.

Sometimes you have to take what you get in a series, and what you get in this one is a Capote you may not want all that much of. .... A beautifully acted, directed and written bummer.

Magnificent achievement.

"Fargo" is still funny, bleakly so, and smartly written. Best of all, it's effectively cast three legendary actors (after "Ted Lasso," is Temple now officially "legendary"?) in memorable roles. Very memorable.

These four episodes are just about flawless — a cohesive and deeply moving picture of the final hours of two desperately lonely people. Much better still, Dodi is humanized rather than demonized.

Yet as good as "Travelers" often is — the performances of Bomer and Bailey in particular — something is missing. There are no female characters of any particular substance or depth. A few arrive, then go, while Williams' Lucy is mostly a sketch of the "long-suffering" variety over too many of these hours.

Hard to watch, brilliantly told.

Sweet, sad, nice, and a tad dull.

Overall, "The Irrational" is decently acted, competently written, and adequately directed.

Fake news, real soap — and still watchable.

Being Mary Jane has been formulated for being fascinating. Now comes the follow-through.

A lot of fun, especially for theater buffs.

An overlooked TV gem wraps, and for the most part, beautifully.

The story shambles at first, then picks up but never quite enough to place this among the better seasons of "Justified."

With "Succession" now over, "The Bear" makes a compelling case for being the best show on TV.

Good, sharply written (and acted) series that lacks the sizzle, pop and magic of the movie.

It's ideal family viewing: Thought-provoking and fun, without one element compromising the other.

A viewing of the first two episodes of "Silo" shows that it exemplifies the best of what the genre can be.

Get past the first episode — better yet, skip it — and "Bupkis" gets better and better.

Don't come for a fresh perspective or revisionist history or faithful recounting. Do come for the laughs. "Plumbers" probably gets that part right anyway. ... Amusing, inconsequential.

This "Dead Ringers" carves out a path that's fundamentally different from the one laid out by Cronenberg, and not just because of the gender-swapped leads. But even if it takes some time to understand exactly where things are going and why, it can fall back on one of the most remarkable performances in a good long while.

Fast, furious, funny, with a twist.

"Maisel" is still that charming, or irritating (your call) embrace of ethnic stereotypes, and filled with that dazzling, or grating, patter of quips, wisecracks, put-downs and zingers. It remains more about presentation, less about plot or character development.

It's a compelling, epic production with a strong central concept.

"NYC" celebrates the human spirit, not just an institution. ... A beauty.

"Succession" is going out with a bang, but — at least in the early episodes — a resigned one.

A sharp, introspective style — relying on disturbing ambient sounds, changing color gradients and consistent shifts to Dre's first-person perspective — allows for the audience to have a way in. And Fishback's performance, mysterious and unsettling while also tapping into measures of deep pain and sadness, completes the picture.

Some very funny stuff, ultimately overwhelmed by the very indulgent stuff.

What it's really about is the stuff that dreams are made of. As this third season will remind true-blue fans, that stuff can be very funny indeed. ... Hilarious.