Berg throws dirty, cold water onto any romantic notion about the Wild West and that might put some off. If you’re one of them, stick with “Yellowstone” instead. But if you were a fan of “The Revenant” (Smith wrote it), this addictive series needs to make it way into your queue.

Apple TV+’s ingenious mind-blower of a series returns and it’s just as brilliant as in its first season.

The plot gets so dense you practically need a road map to follow its many paths, but that is part of the fun of a mystery-thriller that hits you with surprise after surprise.

Netflix’s eight-episode black comedy series doesn’t grab you with the audaciousness of “Dead to Me” and it doesn’t always realize the full potential of its characters, but does it ever have one killer cast and an intriguing premise that takes a good twist near the end.

Creator Howard Overman understands that an action film can’t stand on the merits of its thrills alone and needs interesting characters to make it all that more involving.

Yes, it has a rough spots (a bit involving Hsu singing in a car goes on way too long) but it rights itself every time because of the comedic and dramatic chops of Hsu and others in this talented cast.

Terrific. .... “Get Millie Black” devotes time to all of its characters’ stories, which heightens its portrayal of why Black is so determined to bring bad people to justice at all costs.

"Black Doves" does go off the rails, but it does so with a wink. Everyone in the cast understands this is not deadly serious and gets into the energetic spirit. But it is the pairing of Knightley and Whishaw that make "Black Doves" fly high.

“Senna” does less well when chronicling his love affairs, including with Brazilian TV host Xuxa (Pâmela Tomé), which seems perfunctory and less than revealing. Another bump in the road comes in the fictional creation of a female journalist (Kayla Scodelario) who pops in and out and serves as narrative shorthand for Senna’s sports career and how the media portrayed him. Fortunately, the magnetic performance from Leone makes up for much of those misgivings, and brings the series satisfactorily over the finish line.

It’s been compared to “Game of Thrones,” and while it’s an apt comparison, “Dune: Prophecy” exists in its own universe, and is a strategizing sci-fi headtrip with outstanding effects and production values. I’m certainly hooked.

Of course, anyone with a low tolerance for sugary sweet, sometimes sticky sentimentality would want to suck on a pack of lemons afterwards. For others, this is pure comfort and joy.

The new streaming series starring Eddie Redmayne as an illusive assassin known as the Jackal is not as good as the original 1973 movies but makes for fun viewing.

Since many of the men in the study haven’t been extensively interviewed, the National Geographic series does say something new, a feat, given there have been a number of films — some good, some bad — focused on the subject. Eisner balances those personal reflections with one of Zimbardo’s final interviews.

Author Patrick Radden Keefe’s award-winning dive into the nefarious activities of a handful of IRA rebels as well as the abduction of a 38-year-old Northern Ireland mom from her home in 1972 gets turned into a top-notch, tragic nine-episode FX series.

Prime’s eight-episode thriller from creator Ben Winter takes a creepy premise and makes it violent and watchable, even if the plot does doughnuts around logic. What saves it is that Hodge and Winters allow novelist James Patterson’s well-known character to be more of an anguished soul than the actors who previously portrayed him.

Showrunner Marco Ramirez’s setup bites off a lot to chew on in six episodes, but even when “La Máquina” doesn’t connect, it bobs and weaves with style and fire whenever Luna and Bernal take center stage together.

Throw in grandiose crime scenes with those biblical implications and a bubbling cauldron in the desert and you have another bizarre guilty pleasure that taps into our dark sides and keeps us watching.

“Disclaimer” is tremendously acted and directed and designed with painstaking detail.

Crisply animated (particularly when it ventures into SF’s Chinatown) and gives us a multi-layered fantasy that’s unpredictable and even addresses issues of racism, sacrifice, family dysfunction and defying how others label you – without becoming pedantic.

While nothing in “A Very Royal Scandal” is particularly eye-opening (except for what happened to Maitlis after that interview), it’s worth the watch to see two actors at the top of their game.

The series doesn’t need to warble on for as long as it does, but what compels you to watch is Rivera.

The actors enlisted to play the lengthy list of suspects are a treat. “Moonflower Murders” is pure comfort food for the mystery lover, and holds true to the Christie spirit.

[Crime novelist Michael Connelly's] no-nonsense approach on this four-parter makes for a compelling view of an investigation and a crime that still lives in the shadows of the Hollywood sign.

Season 4 maintains the high quality of previous seasons.

Breezy, sunny series (each episode is just under 30 minutes). .... You have the right fixings for a comedy that we can only hope will graduate to a sophomore season.

“Fight Night” is funny and violent and not only touches on the blatant racism of that time but has an assured grasp of ’70s styles (the feathered locks of Terence Howard — who plays a member of the mob — are a sight to behold). But it really punches above its weight when Cheadle, Hart, Jackson and Henson are onscreen.

“The Perfect Couple” does walk down a crime-solving aisle many mysteries have traveled before, but this one does it with so much class and sass you just won’t care.

There are many other developments in the lives of secondary characters’ in a transcendent series that so precisely evokes two different eras and illustrates the painful decisions and sacrifices that loved ones make that can haunt them through life. It remains one of the most meticulously crafted series running.

Nothing here could exactly be called a critical revelation (perhaps Frey’s interview comes close). So after viewing this very watchable, thankfully un-sensational series composed of video clips and interviews with investigators and reporters and so on, you’ll likely be left with one impression:that justice was indeed served.

The “Swingers” star [Vince Vaughn] is a perfect match to play former Miami detective Andrew Yancy. .... “Bad Monkey” is indeed bananas, in the best ways possible.

“Mr. Throwback” isn’t always smooth, and gets off to a bit of an awkward start in the first episode, but turns into an irreverent meta comedy that scores more three-pointers than bricks.

Fine tells the story well, except when he dumps in video of Pearlman and doctors it up so it appears the late businessman’s reading (a voice actor is used) excerpts from a book he co-authored.

That’s a lot of characters to keep track of, and while things bounce around like a “Ben-Hur” chariot, the series keeps you mightily entertained — even in its most ridiculous moments.

There are obvious parallels to today’s bizarro political landscape and its annoying, blustery players, and the topicality of that adds spice to “Sausage Party: Foodtopia.” But more than anything, it’s the series’ oh-they-didn’t-just-go-there naughtiness, terrific vocal cast and ridiculous situations that make you laugh uncontrollably.

You never quite know where “Sunny” is heading and that’s a good thing. The series leaves the door wide open for a Season 2 and I’d gladly walk through it.

With a killer soundtrack and an unpredictable storyline, Rapman’s series is one of the best streaming surprises of the summer.

Is it better than “Bridgerton”? Oh no, dearest readers. But it’s still a lot of kooky fun.

The story line could use some tightening, but what works well, and best, about Apple TV+’s easygoing six-part series are its three generation of actors: Eva Longoria (also an executive producer), Carmen Maura and Victoria Bazua.

True to the show’s high standards, each episode contains some of the sharpest writing and the best acting (Edebiri’s panic attack almost gave me one) in a regular series.

You’ll get sucked in from the start, and will continually waffle over Rusty’s innocence and the list of potential suspects. “Presumed Innocent” makes a strong case that Kelley needs to stick to making legal thrillers. It’s what he excels at.

If Netflix’s “Tiger King” made your jaw drop, get ready for it to fall to the ground while watching Lance Oppenheim’s wild three-part HBO series. It addictively covers the house-of-cards succession plans being hashed out for the Texas Renaissance Festival. Oppenheim melds documentary vérité for a fascinating depiction of 86-year-old King George’s (George Coulam) pursuit to pick a “suitable” successor.

Explosive series, which successfully juggles numerous storylines and fills in the juicy and meaty details while constantly entertaining us.

Award-winning series creator Abi Morgan (“The Split”) and director Lucy Forbes (“This Is Going to Hurt”) bring their knack for authentic, ambidextrous storytelling to the table. The period details couldn’t be better, and the final episode weaves the many elements together with effortless poignancy.

Each short (20 minutes or so) episode contains better character development and proves to be more sure-footed than the live-action 2022 theatrical blockbuster “Jurassic World: Dominion.”

Each of the seven episodes speed by, but the final one let me hoping that Prime renews this one pronto to tie up its many threads.

Toss in an invitation to engage in a threesome, and this racier season, which, of course, is resplendent with gorgeous costumes, period details and classical-contemporary music, is just as much of a great escape from wretched reality as, says, a corker of a romance novel.

That Oscar winner [Martin McDonagh] juggles humor and tragedy expertly, while this Higher Grounds Production (the Obamas production company) drops the ball occasionally on both. You won’t care since it’s the three central characters and the actors who portray them that pick them up and put them back up in the air and keep us engaged.

It also deals, at times seriously, with issues about overcoming trauma. All of this makes one hope that this “Liars” club sticks around [at] least for its junior year. We might even follow them to grad school.

The concept might seem silly, but the story by author Blake Crouch — who serves as showrunner and executive producer here and who also wrote many of the episodes — works, and challenges us to ponder what lengths we would go to if we were in not only Jason’s shoes but his wife Daniela’s as well (Connolly gives the role more dramatic shading than usual).

Director Justin Chadwick keeps it all running at a fast clip while the Hughes/Boyle odd-couple pairing clicks. And the historical elements punch up a convoluted mystery that has surprising ties to actual events.

“The Sympathizer” walks a tightrope but is fearless about tackling uncomfortable subject matter. It’s smart and mesmerizing.

“Fallout” never lags for one second and dangles from one cliffhanger to the next. The cast makes it all engaging — Goggins, in particular, rips into the show’s juiciest part and does wonders with it. This’ll be a major hit, and it deserves to be.

Never staid and often kinky, “Mary & George” stumbles halfway through but remains chew-up-the-scenery entertainment, a spicy affair that gets more outlandish and wicked with each episode. It helps that Moore and Galitzine are so good at forming this chess-like alliance and that a trio of top-notch directors — Oliver Hermanus, Alex Winckler and Florian Cossen — never let the high drama topple over into outright camp.

While some might be put off by “Ripley’s” measured tempo and its detached icicle of a protagonist, noir fans won’t be and will admire how effectively it revives an often overworked genre. Simply put, “Ripley” nails it.

Season 2 finds love and lust commingling for Molly (the episode with her exhaling at a blissed-out retreat with Benjamin Bratt is the season’s high point) as well as for her crew.

It’s an exceptional documentary, even if the second half can’t quite keep up with the first.

Unlike some series, the extended length of this one benefits the decades-spanning story arc, with each episode cycling us through Russian history and showing how the changing political winds whisked away some in power leaving the powerless to find strength, love and greater meaning.

“Renegade Nell” gallops ahead of other Disney+ offerings by telling a new story tremendously well, and giving us a young woman who defies the ruling class to gain not only justice but freedom.

Not having a strong central character sets the series adrift with nothing for the audience to cling to. “Palm Royale” never comes together, and that’s a shame, given the tone-rich performances by Burnett and Martin.

“Apples Never Fall” is definitely watchable, but its plot jumps off the deep end and there are so many implausible moments you’ll feel like you were duped of your time.

“The Regime” hammers on and on at the same note until it becomes more of a chore to watch instead of the clever takedown of vile and vain leaders it wants to be.

It’s cheeky, irresistible and undemanding from start to finish. Hopefully, there will be a Season 2.

“Shōgun” is a stirring and meaty historical series that matches its spectacle and scale with its emotion and intelligence as it ponders deep philosophical discussions about life, sacrifice, valor and death. It’s epic, in the very best way.

Both Binoche and Mendelsohn handle their larger-than-life characters with grace, never slipping into caricature mode. Mendelsohn, in particular, gives a tender, calibrated performance, one that’s particularly strong in early scenes involving his attempt to find his sister Catherine (Maisie Williams) during the occupation.

Is this great TV? Oh, no. But it is undemanding, enjoyable, and has potential for further development. It’s easy on the brain and, oh yes, the eyes. Which kind of makes it perfect post Super Bowl viewing.

By giving more weight to the personal side of the men’s lives and what Coretta and Betty contributed to the movement makes “MLK/X” one of the more well-rounded personal portraits of each.

Series TV doesn’t get much better than this.

Unlike other series, “Sexy Beast” never feels like it’s overstaying its welcome, even at eight episodes, as it feeds in backstory and psychological details that we all but gulp down in voyeuristic fascination. It’s one of the biggest surprises of this new year.

“Griselda” doesn’t necessarily elevate the bar for drug-running dramas — except for Vergara’s performance, Knut Loewe’s exceptional production design and the dead-on costume designs and hairstyles. But its mission is accomplished with such ferocity and clarity of purpose. Dig out that old pair of angels flight pants and just enjoy.

While “Masters of the Air” will get compared to HBO’s “Band of Brothers” and “The Pacific,” it stands on its own, even if it doesn’t as often reach the same dramatic heights. Regardless, it’s a polished and well-crafted epic that earns its wings as well as your respect, and undoubtedly will leave you with a big lump in your throat.

Each outlandish episode is filled with wicked wit and even busts out with a bit of song and dance. A revolving team of guest voices descend to these fiery pits of what will likely turn into a cult sensation.

An ace meld of mythological elements and outlandish action sequences. It’s a mashup of “Stargate” and a superhero series as “hunters” stalk and take down evil entities itching to get out of their alternate dimension.

More than a meticulous procedural as it exposes a legacy of layered coverups while exploring the emotional frailties of these two unlike but smart characters. Both Jumbo and Capaldi give extraordinary performances in a series that digs deep into the complicated home lives of both. “Criminal Record” deserves to become a hit and here’s hoping for a second season.

“The Brothers Sun” does ramble on, but when Yeoh and Chien bust out those fancy moves and gather around the family table with Song Li, its pure action/drama magic.

“Monsieur Spade” is rich in period details and is really the equivalent of a jigsaw puzzle, one with numerous pieces that might seem all but impossible to connect before Spade sweeps in and fits them into place with just the right amount of aplomb and snark. Get ready to give those brain cells a workout and witness Alfre Woodard steal the show in its final episode.

What distinguishes this is how it opens a window into American Indian culture and heritage while telling a brisk, exciting mystery that steers Disney+ to a new horizon of not only more complicated and edgier storytelling but one told from an often overlooked perspective.

A return to form for “True Detective” in a season that’s as bold and original as the first one with Woody Harrelson and Matthew McConaughey.

Two theatrical films (both received poor reviews and not the blessing of Riordan) preceded this impressive eight-episode spectacle, which wields a Riordan-approved (he executive produced) Midas touch that’ll appeal to kids and Bullfinch-loving adults.

It’s their interplay and the two actors’ natural charisma that draw us in. The writing is as nimble and spirited as the leads — not a shock since the screenplay is by playwright David Ireland (“Cyprus Avenue”), who ditches the schmaltz in favor of tart, edgy interplay.

This season takes risks galore and comes up a winner every time.

You’ll gobble down all six episodes and crave even more.

Aan absorbing, eerie brain twister that delivers a shocking denouement. (I’m sworn to secrecy). For mystery lovers, it doesn’t get much better than this.

That’s a lot of names and narratives to keep track of, but the story lines intertwine nicely, even if you might need a list of the characters to reference. No matter. If you’re a kaijū fan and prefer jigsaw-puzzle-like storytelling, not to mention great action sequences, this one — or at least the eight episodes released for review — crushes it.

This turns out to be even better than Season 1, with stronger animation, storytelling risks, dollops of humor and another dynamite soundtrack.

As a storyteller, Doerr is a master at weaving all these threads and elements together while giving us more nuanced characters, but in this well-intentioned production the stitching and seams that we can see all too often.

The three lead Latino characters, and the actors who play them, in Netflix’s breezy, Miami-set comedy/drama are so likable and charismatic you can’t help but kind of fall in love with them. I defy you not to.

Magnificent. .... “Fellow Travelers” cycles through many time periods and historical LGBTQ markers — all vividly brought to life. But first and foremost, this is a love story, one that breaks your heart.

My only beef about this intricately plotted season is that its eighth episode lacks a true ending, making us gnash our teeth for another season.

“Lessons in Chemistry” could have been tighter (trimmed to six episodes), and a subplot about Black neighbor Harriet (Aja Naomi King) fighting racial injustice could be more developed. Still, “Chemistry” comes up with a winning formula in the end.

The creepy production values are top-notch and the scares are not only frightening but disturbing. .... One of the best series Netflix has ever produced.

Everything about “Bargain” is skillfully unhinged, with developments unfolding like new video game levels. Director/writer Jeon Woo-Sung’s expansion on a short film delivers on numerous counts, packing in more nonstop action and plot surprises than anything I’ve seen this year.

This eight-episode spinoff of Amazon Prime’s R-rated superhero series “The Boys” is better than it has any right to be. That’s because it cribs from the best elements of “The Boys” — outrageous behavior, shocking violence and, of course, an irreverent attitude.

“Shining Girls” is undeniably kooky, but the characters, situations and the city itself are so vividly brought to life that you’ll be dying to figure out what happens next. Just watch it with the lights on.

We can say that director Albert Hughes (the first and last episodes) and Charlotte Brandstorm (the second one) keep the action and storyline lean and mean, and the body count high, allowing us to soak up every second of these 90ish-minute episodes. Wick devotees will walk away satisfied.

Coleman and Jackson-Cohen give compelling performances, but they can’t overcome the listless plotting of “Wilderness,” which curiously steamrolls right through its final pivotal 10 minutes.

It’s fun. It’s smart. And it has something potent to say.

It’s Aniston and Witherspoon who really anchor the series. Both actors are on top of their game and not for one second lose sight of who their characters are and how they should react in dicey, unexplored situations.

Centering it is Stanfield, who gives maybe one of the most nuanced and gut-wrenching performances you’ll ever see in a horror series or film. Few actors can make you feel the pain and anguish inside of a character with the ferocity that he can. He is the one driving this series over the finish line.