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

Bitter, brutal, depressing.

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.

Murder mystery obsessives will want to check out "Scarpetta," but it's a waste of time for the rest of us.

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.

A great historical story gets wasted in this endurance test for viewers.

Mostly boilerplate CBS procedural but at least the horses look great.

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

Wish the news were better here, but "Reggie Dinkins" is just OK.

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.

It all floats along, watchable enough as far as it goes. It unfolds in that middle ground somewhere between utter boredom and compelling entertainment. But you can do better than that.

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.

Even the most diehard of Western fans should keep on scrolling.

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.

Work in progress, but at least the progress seems to be in the right direction.

"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).

A viewing of the first two episodes proves to be quite the chore. We're introduced to one-dimensional characters, presented a mystery that the characters themselves barely seem to be interested in pursuing, and we're asked to just sit there and put up with it. It can be rather excruciating.

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.

A big, beautiful bore.

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.

Has boundless contempt for its characters and their empty lives of not-so-quiet desperation. This would be OK if the satire had bite and wit or the lead character had a single redeeming quality. Instead, Coop is a self-pitying schlub without the brains or moxie to pull himself out of his tailspin.

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.

It becomes a challenge to endure a show that jerks its audience around this much, and cannot decide whether it wants to be tabloid-level trashy television with horror leanings, a serious depiction of human failings, an expose of the dark side of the adoption world, the story of a marriage falling apart, or something else.

TV's best of the year, so far.

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

Interesting idea, otherwise deadly dull.

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.

The characters are too unformed, the story too careless, the payoff (a word loosely applied here) too abrupt, although the end is obviously a setup for a second season. .... Ruth has some funny moments, at first anyway. If only there were more.

Good, smart, propulsive spy thriller.

If you must, watch for the little stuff: Some good performances (Chieng, Yang, Bennet), some funny lines, a clever kicker and that compelling premise. A shame all the rest is a mess.

Magnificent.

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

At least "Before" had the decency to come up with a different ending. It's the beginning and everything in between that's the problem.

Solid opener that otherwise oversells the premise.

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

You must be content with a standard-issue mob turf war TV series, with thick overtones of "The Sopranos," as heavy and as gloppily applied as all that clay weighing down Farrell. This "Penguin" is a proximate real world, and not even a slightly heightened version of one, with no Batman and no fantasy world to escape to — or for it to escape to.

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).

The weirdness is welcome, the concept has merit, but the execution leaves a lot to be desired.

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

As a viewer, you end up with a show that looks great, but ultimately trips up on the mechanics of basic storytelling.

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.

An inert, talky bore.

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.

Too much going on, but still an improvement over seasons two and three.

"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.