An example of multifaceted worldbuilding that stresses the importance of complex character arcs and terrific writing. It’s layered with intrigue and full of intricate rebellious acts and is relevant to today’s turmoil and troubling times.

All told, this is a heartbreaking look at a devastating tragedy that leaves a community and a family grappling with the heartbreak and wondering if they played a part in what happened. It’s powerful and finds Graham being a force in front of and behind the camera.

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

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.

It is Hawley’s astute attention to detail and desire to construct an intricate story that distinguish and make “Alien: Earth” a big step up in quality for the “Alien” series overall. It’s certainly one of the best series I’ve seen this year, and better than the majority of studio blockbusters this summer in theaters.

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

Season 4 maintains the high quality of previous seasons.

Another bold brushstroke of originality that is also set in Oakland and shakes it head at out-of-control greed.

“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.

Riz Ahmed’s maverick Prime series oscillates from boldness to hilarity — sometimes in the same instance — throughout all six of its under-25-minute episodes. It’s that potent balance that makes it one of the smartest and best streaming shows you’ll watch this year.

Season 3 maintains the same high standards from before and presents a twisty mystery and goes to darker moral places. It’s creepier too.

With impressive special effects and some sharp storytelling instincts, “Last of Us” ups the playing field for not only streaming services but movie blockbusters.

Rian Johnson’s appreciation for serialized stories where the villains get their comeuppance in the end is well-served in this irresistible Peacock series that’s as funny as it is sharp.

“Forever” keeps in step with Blume’s style by not seeming like it comes from an adult perspective. That comes through in the conversations (topics include a hit manga series and popular music). The leads also are painfully real.

While it might seem awfully bleak, there’s humor too, including a four-legged troublemaker locked up at the jail. It’s a series that’s hard to resist.

Miller is an expert interviewer and has given cinephiles a real gift as a candid Scorsese talks about his battles with drugs and his connection to faith.

Sometimes it goes a little overboard with its aesthetics. So be it. Director Marc Munden’s hour-long episodes do become more disturbing (just like the book) and he draws impressive performances from a young cast.

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.

All of these encounters are funny, raw and real, in line with the series itself. But what makes “Dying for Sex” more than just a collections of scenes involving sex is the foundational friendship between Molly and Nikki. It’s compassionate and believable.

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

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.

Remarkable for its even-handed but “let’s-ask-the-tough questions” approach, “Wanted” unfolds like an unbelievable, pulpy financial thriller filled with decadent lifestyles, global corporate in-fighting, daring escape plans, shady financial moves and intriguing characters. .... Brilliant docuseries.

The primary reasons to tune into the sophomore season of Apple TV+’s thoroughly enjoyable but risk-adverse series about the exploits of the likable but L.A. neurotic besties Syliva (Rose Byrne) and Will (Seth Rogen) are: 1. Byrne. 2. Rogen. 3. Luke MacFarlane.

Rest assured, your expectations will get met in Season 2. So just let it unfold naturally and savor how it stands out from the pack of dystopian fiction by so depicting how actions have moral consequences and have the power to change us forever.

But it is the luminescent performance from Reinhart as the binding agent that calms Hal’s boyish ways that sticks with you the most.

The half-hour musical comedy has been favorably compared to “Schitt’s Creek” and “Glee.” Those are apt comparisons for this warm-hearted confection.

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.

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.

“The Studio” breezes along through 20-minute-plus episodes but isn’t an empty-headed lark and does make some zinging points about an industry in dire crisis.

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

“Death By Lightning” rousingly entertains and enlightens in equal measures while giving a talented cast some colorful real-life figures to portray while handing them extra-tart dialogue to chew on. It’s one of Netflix’s better series this year.

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

Creator/writer Catherine Moulton takes her time in unfurling the action, which opens the door for Ayling-Ellis and Moore to add depth and dimension to their beautifully written parts. It’s their electric performances that elevate this from being your average crime thriller. And the last two episodes are outright nail-biters.

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.

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.

“Heartstopper” is a gem, and remains perhaps the most uplifting, refreshingly optimistic and utterly charming series currently running on TV or streaming platforms.

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.

“A Thousand Blows” builds to a climax as secrets get revealed and motivations become circumspect. It’ll leave you dangling and begging to jump into its ring once more.

One of Apple TV’s best series of the year.

If you manage to survive the first episode without losing your lunch, you’re in store for a disturbing, supremely well-made horror show that’s written, acted and directed with Ari Aster-like skill.

"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.

Some of the bits don’t fly, such as a character being afflicted with “bird blindness,” a joke that makes a big thud. But getting to hang out with these bad boys and girls as well as one of our favorite sidekicks, the American eagle, Eagly — who faces his own threat — makes you forget about the dents here and there.

“Ludwing” never loses its pip nor its charm and a large reason why it works rests on Mitchell’s tensed-up shoulders and the show’s creators. He’s no cookie-cutter ace detective; rather he is a welcome addition to the pantheon of fictional detectives.

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.

As you probably guessed, “Sunny Nights” switches from chuckles to beatings (a waterboarding scene goes on much too long) and even bloody deaths. The disparate parts create a gumbo filled with so many ingredients that it keeps us surprised and discombobulated.

I gobbled down six of the eight episodes available for review, and will say – without even the slightest reservations – that “Lotus” regulars should check in for this third season. You won’t be disappointed. Just be prepared to get your jaw dropped and your raised eyebrows torched right off.

“Beef Season 2” will invariably be compared to Season 1, and while it’s not quite there it’s in the same neighborhood.

The writing remains sharp as a stiletto, and the cozy mystery is puzzling enough to keep us guessing. Streep and Rudd make it even more entertaining. They’re having a grand time, and so will you.

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.

Like “Mare,” it’s a polished act — from the directing and writing to the career-high performances from a perfectly selected cast.

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.

Macmanus expertly weaves in how Gacy was brought to justice and highlights both the dogged determination of those involved with the law — detective Rafael Tover (Gabriel Luna) and prosecutor Bill Kunkle (Chris Sullivan) — as well as how the system failed to stop Gacy before. It adds depth and context, but it is the overwhelming sadness over how Gacy robbed these boys and young men of their futures that hits the hardest.

Without giving too much away, this “Bridgerton” chapter mines richer, riskier material, a direction that series creator Shonda Rimes navigates with skill, particularly her writing on the final episode.

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.

An improved second season patches up a few rough edges in Netflix’s enjoyable spy romp, and does so by repositioning its jocular, off-the-cuff spirit in mostly a new setting, South Korea.

The first episode alone is a grabber, defying our every expectation. Can’t say how. Throughout, the storytelling and world-building maintain the highest standards. And that final episode promises there’s even more yet to come. If you love “Dune,” this is a gimme.

Showrunner Adi Shankar (“Captain Laserhawk: A Blood Dragon Remix”) takes time and care with the multi-layered world building while pumping it all up with adrenaline, heavy-metal-esque action sequences. They razzle dazzle.

The ones who makes this all work are the two leads. Kingsley is a natural-born showman and channels legendary thespian vibes with every line he delivers, while Abdul-Matten II makes you feel the neuroses rooted in the psyche of his trying-too-hard character, who feels like an imposter.

She asks all the wrong questions and her insipid comments and blunders net 90 percent more chuckles than groans in director Al Campbell’s fun and funny mockumentary.

As terrific they [Rose Byrne and Seth Rogen] are, the script and the direction match their talents and challenge them. Just be prepared to binge all three episodes and be eagerly await more to come.

Each episode runs less than 25 minutes and is instantly bingeable. It’s a well-made entry, better than some of the live-action films.

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.

“Carême” is the hottest thing to hit streaming services in a long time, and it’s sinfully fun even as it gets more and more preposterous. Seconds, please!

This edgy and sensual period piece slowly reveals what led to that pile of bloodied corpses.

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.

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.

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.

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.

Henry and Moura play off each other well with Henry’s multi-layered performance — he stays true to the survivor spirit inherent in his character throughout — worthy of awards consideration. He and Moura nail the details in a production that nails gritty visual details about what the hard edges of Philly and a few of its tattered by the opioid crisis ‘burbs look and feel like.

“Boots” improves as it goes along and the plot veers into the odyssey of closeted servicemen who have to hide their love and live in fear of being revealed.

“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.

All of it’s handled well and Hahn is terrific, resulting in “Things” being one of Reese Witherspoon’s best Hello Sunshine productions yet.

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.

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.

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.

The snappy screenplay, acute observations on what it is like to be an Asian American teen in a mostly white school and martial arts action — Berkeley’s Daniel Wu has a great time as the Monkey King — contribute in making this a fast-paced, addictive show.

What makes season 2 stand out is that showrunner Dario Scardapane’s hard-boiled superhero thriller refuses to pluck at the same dramatics notes strummed in season 1. Instead it arrives, to a story destination that challenges and upends expectations while showing how revenge can have its limits.

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.

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.

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.

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.

“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.

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

Benny is overcompensating so much that he’s denying who he truly is, and he’s not alone. And that’s the beauty of a series that reminds you of one of Oscar Wilde’s best sayings: “Be yourself; everyone else is already taken.”

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.

It makes for a breezy and tart eight-episode romp even though it encounters a few pacing bumps along the road for both Morgan and executive producer J.J. Abrams.

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

True to Knight’s style, it boasts tremendous production values, and is energetic, racy and above all else irresistible.

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.

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

It by no means sugarcoats how bloody that war got, and though it isn’t as narratively daring as “Shogun,” it is on the same playing field as that Emmy winner when it comes to the pure spectacle of it all and the level of exacting attention it pays to cultural detail.

An extra-cozy mystery series that once again begs for another season.

Director/executive producer Todd Harris emphasizes the action and does it with style to spare for each of these exciting, briskly told tales united by the actions of a secret Wakanda group called the Hatut Zaraze.

There’s a lot of family background and drama to set up, which explains the need for the first episode to clock in at nearly 80 minutes. But the episode never lags, as it creates indelible characters, peppers in a few spicy moments and revels in the period details of the time, all richly brought to life.

The violent series once again is breathlessly plotted, and the production details all but make you smell the stench of the mangy streets.

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

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

This is a cerebral thriller of the highest order, and that’s reflected in the writing, acting — Danes, Rhys and Snow are all deserving of accolades — and the direction.