Anderson and Headey give it their full commitment but their characters are painfully one note.

It’s one of the most effective and affecting series I’ve experienced in some time, and is a creative triumph for all involved.

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).

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

This six-episode series, while being essentially indistinguishable from so many others of its ilk, goes above its own pay grade when Jamie (Duchovny) starts smelling a rat likely living in his posh London digs now. That’s when the series kicks into high gear and the hunt turns deadly, if predictable.

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.

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.

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.”

“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.

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

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.

“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.

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.

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.

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

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

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

Even though it is overstuffed, it consistently and intelligently weighs in on hot-button issues and avoids traditional black-and-white commenting or resolutions. .... Overall the show bristles with sharp writing and acting; Aniston anchors the entire production and gives a career-high performance this season.

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

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

The result is a compelling if not overly deep expose on a series that has run its course, thankfully for the health and well being of all.

“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.

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.

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.

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.

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.

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.