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

“Apple Cider Vinegar” doubles as both a searing and entertaining — albeit shocking — character study of an out-of-control narcissist (portrayed with sociopathic guile by a stellar Kaitlyn Dever) and as an example of the profusion of so-called wellness experts flooding social media channels.

There’s much more in play here than simple entertainment as “Murderbot” explores the value of free will and our inherent need to roam and explore so we can enrich our soul.

“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.

“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.

“Girlfriend” is hardly high art, but it is an outright gas.

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.

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

Series TV doesn’t get much better than this.

Undeniably a great detective series and is just as sharp and engrossing as “Slow Horses.

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.

Yes, it threatens to go overboard, and sometimes does, but keeping it afloat are its two terrific leads. They anchor this warts-and-all romance.

“Daredevil: Born Again” is easily one of the best series the Disney+ has offered and is also one of the best shows of 2025. It journeys into dark spaces with its contemporary power struggle and grazes, but doesn’t surrender to, the morally blurry lines set forth in “The Joker” and “The Batman.

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.

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.

Season 2 rebounds and embraces its kitschy self and is all the better for it. Burnett finally gets her chance to shine (and speak — first season she was mum).

The series’ main plot conceit is indeed a mirage, a fake-out trick that crumbles upon closer inspection and isn’t developed enough. It’s hard to get behind this show and equally difficult to get beyond it.

Director Jessica Palud loosens up the buttons on this whole affair and never lets things lag in creator Jean-Baptiste Delafon’s bad people behaving badly period piece with a take-command performance from Vartolomei.

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.

It didn’t need to be 10 episodes. A tighter framework would have turned up the heat and made it less of a slow burner. But Chau and Basso make it worthwhile.

The formula of one death per episode does get belabored eventually, but Martin and Carpenter perk it up with flashbacks that dig into the twisted backgrounds of each motel guest.

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.

Every character in “Shrinking” is worth getting to know. The biggest surprise is how great Ford is at just letting loose in a comedy. (Trust me, he’s hilarious). “Shrinking” deserves to become a huge hit.

“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.

“Win or Lose” notches another Pixar win and proves yet again how the studio remains an animated champ.

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.

It’s a well-made series that exposes corruption, trafficking and injustices perpetrated on families.

This is an extra-busy series that hopscotches too often. Carrel and company are all stellar and worth crowing about but plucking out a few side stories might well make this a smoother, more tonally consistent show.

As Desiree, Cox radiates charisma, a quality that pairs perfectly with her dad Wallace.

“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.

“Half Man,” as you probably can guess, is a bit of an endurance test. But it has a storytelling mightiness and an acting fury you can’t deny or ignore. It wrings you out, and leaves you in awe of all involved.

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.

Nesbø realizes the importance of showing all the shading of a character he obviously feels strongly for, and that comes through in the poignant scenes between Harry and his lover’s (Pia Tjelta) son Oleg (Maxime Baune Bochud) who feels a strong connection to Harry. It is those decisions that elevate this series above traditional mystery fare and makes us hope that this team will reunite to adapt more of Nesbø’s addictive novels.

“The Residence” never achieves the same frothy fun that Rian Johnson’s “Knives Out” series so effortlessly does except for its last Christie-perfect episode, but it’s still quite a bit of fun.

Showrunner Joe Barton’s production isn’t in the same leagues, but it’s good enough thanks to the dedication of its two leads — Paul (“Wandavision”) Bettany as the conniving and cruelly envious Salieri and Will (“The White Lotus” season 2) Sharpe as the bad boy 18th century groundbreaking composer with daddy issues.

While this streaming version could have been told in less than eight hour-length episodes, showrunner Nikki Toscano’s compelling take gets everything else right.

It’s a spellbinding horror story about our fascination with celebrities and the loneliness and isolation many feel when they are stuck on the outside of a star’s inner circle. ... Expect Fishback to be collecting awards for her take-no-prisoners performance.

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

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.

Mythology, feminism and three terrific female performances intertwine to defy predictability and expectations.

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.

“Murder Before Evensong” has just enough edge — including a zinger of a finale — to keep us hooked.

Created by George Kay (“Lupin”), the tightly wound seven-episode series doesn’t waste a moment. It’s a shot of pure adrenaline.

Knockout. ... A shocking opening sequence establishes an unsettling tone that grabs you from the start, pushing you to gobble up future episodes as if they were leftover salt-and-vinegar potato chips. Christoph Waltz is the show’s ace up its sleeve. He gives his all to create one of the most distinctive villains to grace any series.

Like its predecessor, “Hijack” is a fun escapist thrill-ride, though it does go off the rails and sticks too closely to the same playbook as Season 1 — trading air passengers for Berlin train commuters.

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.

“Vladimir” works because it is indeed funny and sexy but also because it has fully developed, complicated characters — the too-smart-for-their-own-good sort that are having a hell of a time sorting out their lives.

The first four episodes sew with the same pattern, and while that’s comforting, the seams are starting to fray.

Yes, it strains credibility. So what? Most creations from talented author Harlan Coben (Netflix’s “The Stranger,” “Safe” and “The Woods”) do. We’re hooked from the first episode. With its tongue-in-cheek humor and wild twists, this will become your next guilty pleasure.

“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.

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.

She [showrunner/executive producer Haley Z. Boston] makes the anxiety-ridden upcoming nuptials of the doubting Rachel (Camila Morrone) and the devoted Nicky (Adam DiMarco) one of the most malevolent and surreal events of the streaming season.

This is a grand adventure and cracking good mystery awash with gaslighting, brawls, murders, red herrings and a secret society. Better yet, it provides a better understanding of how the past and Sherlock’s dysfunctional parents (played by Natasha McElhone and Joseph Fiennes — Hero’s actual uncle) and his ardently disappointed brother Mycroft (Max Irons) ushered in Sherlock’s anxiety and neuroses.

The writing, casting and acting add up to a show that is so good you’ll be inclined to give it multiple viewings. There’s no word yet on Netflix ordering a follow-up season; let’s hope that happens.

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.

“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.

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.

“Running Point” is far from perfect but it still has Hudson and she’s sinking three pointers every time.

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.

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).

It’s a better and more cohesive series than Murphy’s “Grotesquerie” and slams home a harsh point — that we are all to blame when it comes to worshipping beauty.

The eventual big reveal leaves you with more questions than answers. No matter, this is a tightly wound, decent financial thriller worth a binge. It’s made all the more suspenseful for its lead characters’ honest and realistic antics.

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.

Sometimes veers toward the overstated and melodramatic. .... “Love Story” is best at showing how damaging and merciless the scrutiny can get for the rich and famous and those thrown into it all without a life vest.

Marvel buffs will be able to collect their fair share of Easter eggs, but this one can be enjoyed by a PG-13-suitable crowd that prefers action (this one is pretty violent, though) with a relatable plot that doesn’t require you to watch all in the MCU canon to understand what is going on. In supporting roles, Kingsley Ben-Adir stands out in this promising leap forward for Phase 5 of the MCU.

Tropper’s series does meander, but even if it’s not run as tightly as a ship as it could be, its original premise and its ability to make many of these characters interesting as they show flickers of humanity and then do something appalling keep you watching. The primary reason remains Hamm.

While I appreciated many elements — particularly the look and surreal vibe — “Cowboy” moseys a little too slow for my tastes. That said, Winding Refn is a true original.

These rich folk are hiding scandalous secrets – some that don’t make much sense upon closer inspection. That illogic is part of the guilty fun of “All Her Fault,” which provides a decent enough diversion along the lines of Netflix’s equally star-studded bit of domestic thriller ridiculousness “The Perfect Couple.”

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.

It’s a lot to stuff into one series and sometimes “The Audacity” does suffer from trying to do too much. But what it does accomplish is to deliver a solid right hook to the tech world and that hit proves to be acerbic, relevant and unbelievably on target, as are the performances from Magnussen and Goldberg.

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.

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.

“Daisy Jones” features exceptional performances throughout, but there are a few standouts — a never-been-better Claflin, a mercurial Keough and an entrancing Morrone. It all makes for one Amazon Prime’s best series yet. But heed these words of advice: Episode 10 will wreck you when it drops that mic.

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.

Any mother with a newborn will feel like they’ve stepped into their worst nightmare when watching this well-done Paramount+ six part series based on Sarah Vaughan’s novel.

The premise promises more than what ultimately gets delivered in this disjointed, semi-compelling six-part series.

At seven episodes, the HBO Max series overstays its own welcome but its two aces in the hole are Elizabeth Olsen as the to-the-point Montgomery, who has it all but desires to spice up her life, and Tom Pelphrey as flashy attorney/church member Don Crowder.

“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.

Eight episodes is too much for a thin premise like this, and “Four Seasons” sometimes feels as if its overstayed its welcome. Fey’s potshots at Forte become so repetitive, for instance, that you want this couple to just go away already. Still, the veteran cast and Erika Henningsen, as a radiant late arrival to the tightly knit group, often sparkle and an Alda cameo certainly warms the heart.

“The Clearing” eerily succeeds in making us feel how hard it is to break the bonds from a cult-like figure and entity. The evocative cinematography and nervy performances (Guy Pearce reflects the analytical face of evil) keep you on edge and uncertain where this one’s heading throughout.

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.

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.

A promising start of what could well find John Creasy (Abdul-Mateen) reprising his role as the PTSDing loner.

It’s ghoulish fun to see it all play out, but “Welcome to Derry’s” ambition sometimes outstrips its execution. The special effects can look corny and the story overloads us with too many characters. But each are given King-sized personalities.

“Smoke” is well-made and tremendously acted, and while the plot does go up in — ahem — smoke late in the game, the actors always keep us invested.

“Butterfly” interjects a wee bit of dark humor that works and features some risky moves in its final episode. If it embraces that dark side more, it would give the series more edge and would give it more kick. As is, it’s a middling watch with a good performance from Kim.

Billy Crudup does a lot of heavy lifting in this, but it’s a wasted effort; I didn’t buy into much of “Hello Tomorrow!” except I was sold on its knockout production details.

Series creator Rachel Bennette keeps it pithy, but it really comes to life whenever Rhys appears on the scene; his character is far more interesting than any other and reminds us of what a tragedy it was that “Perry Mason” received the ax from HBO.

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.

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.

Their back-and-forth gives the series the pluck it lacks elsewhere. Should there should be a second season of “Seven Dials, it would be best to dial up more of that Bundle-Battle repartee and formulate a better, more convincing mystery that’s not overly reliant on coincidences and preposterous.

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.

“Hotel Costeira” balances the beauty of the Amalfi Coast with often humorous but compelling plots and subplots — a dreamy mix indeed.

The cast is good but it’s the shock-a-minute story that makes this hard to shake off.

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.

“Ironheart” points MCU in an intriguing direction and gives us characters we’d like to see more of in the future.

“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.

It’s awfully tempting to sum up this addictive, funny and scary Irish six-episode series as “Scream” set on a cruise liner. But that sells it short. ... The plot and the execution make you want to sail right through all episodes.