Peacock’s The Day of the Jackal is a top-notch thriller, with dazzling action sequences and smart storytelling.

WandaVision is primarily designed with MCU fans in mind, though casual viewers can more or less jump right in with no prior knowledge. (Everyone on this show is confused, too, so that helps.) But don’t let the show’s outside-the-box approach worry you: Yes, WandaVision is unlike anything Marvel has done before — but it turns out that’s a very good thing.

If anything, Season 2 only gets richer as it digs deeper into these ladies’ lives. ... Savor this while it lasts, folks: This is as good as TV gets.

Severance soars to new heights with its long-anticipated Season 2, exceeding our expectations by digging deeper and hitting harder than before.

Fargo is back with a throwback season packed with excellent performances and jaw-dropping action scenes.

Despite the darkness, "Will Trent" remains one of television's funniest hours, anchored in the premiere by welcome bursts of levity involving desk-bound Ormewood and Det. Franklin, with newly promoted series regular Kevin Daniels once again proving what an asset he is to the ensemble.

Grease‘s live audience and inconsequential snafus served to underscore its meticulous production and allowed us to get swept up in a joyous and uniformly powerful set of performances.

Legion has created a compelling world that firmly stands on its own.

This show is truly a gift, and if Season 2 is any indication, it can keep on reinventing itself for years and years to come.

The Zoe Saldaña-led spy thriller’s sophomore run is fantastic, and stands as one of the year’s best TV shows.

In short, unless you’re for some reason dying for a reinvention of the wheel, you’re gonna love this. It’s suspenseful, exciting, funny and scary as hell.

Showrunners Carly Mensch and Liz Flahive again manage to zigzag between the lowbrow silliness of the show-within-the-show and the higher-brow hijinks behind the scenes without giving the impression that the series has a split personality. ... Perhaps best of all, since Season 2 is so emotionally brutal, when we get a break that’s not of the heart variety, it doesn’t feel like a present, it feels earned.

Brammall and Dyer both rise to the occasion as actors, lending Gordon and Ashley’s relationship a poignant complexity. A show like Colin From Accounts really is something to be treasured. It’s one of those small, lovely gems that almost feels too good to be true in today’s TV landscape.

If The Bear’s previous season was a letdown, Season 4 is a triumphant return to form, with raw emotion and beautiful performances.

If anything, the self-improvement show manages to boil itself down to its purest form in Season 2 leaving us with more of what we loved from Queer Eye‘s debut outing: real, honest moments of genuine connection between people from starkly different walks of life who might otherwise never cross paths.

X-Men ’97 goes all-in on the requisite campiness, high-stakes action, and potent parallels that made the original, as well as the comics that inspired it, so much fun.

This is the Star Wars series you’re looking for. Don’t sleep on it.

Once the RESET button is hit, it’s just Eric McCormack (Will), Debra Messing (Grace), Megan Mullally (Karen) and Sean Hayes (Jack), pros at the top of their game, absolutely killing it.

Amazon’s Lord of the Rings series The Rings of Power is worth the wait: a grandly ambitious epic with stunning visuals.

FX’s sharp, savage English Teacher takes a refreshingly unsentimental look at public schools — and is one of the year’s funniest new shows.

Shadows' early episodes are chock full of quotable one-liners and majestically silly moments. ... I ended up watching the series premiere three times… and still found myself laughing the third time through.

The goings-on in Hawkins snowball during the second half of the season to deliver a rather breathless series of nailbiters.

An intense drug deal plays out with character-based nuance, more about the personalities in the room than the chance that guns will start blazing, while an episode set largely in the holding room of a jail finds drama in the assorted, transfixing plights of one-off characters.

HBO’s reboot somehow feels vitally current, with richly drawn characters, gorgeous visuals, a genuinely compelling central mystery and another terrific lead performance from star Matthew Rhys.

It is fun--an addictive and surprisingly witty thriller powered by two remarkable female performances.

[A] very successful revival of one of TV’s all-time great series. A sequel that actually exceeds our expectations? Now that’s something to be thankful for.

No, The Pitt is not an ER reboot, but it may just be TV’s best, most authentic medical drama since the one that made Noah Wyle a star.

Simply put, City of Angels isn’t merely good, it’s divine.

Justified: City Primeval may at times leave you longing for the dingy folksiness and familiar faces of Harlan County. But it’s a welcome, tightly wound, eight-episode reunion with Raylan Givens nonetheless.

Moon Knight remains wonderfully unpredictable every step of the way.

The acting is tremendous across the board, as is the directing. Quiet and meditative throughout, China Girl is gorgeously photographed.

The plucky, can-do spirit that made last season so special still endure.

The result is an inspired mix of Beetlejuice and The Money Pit, with a spooky, goofy energy that isn’t remotely like anything else on broadcast TV...The chorus of ghosts is a comedic masterstroke.

Divorce is raw and uncomfortable at times... but it’s also one of the best new comedies of the year.

As a whole, the new season of "BEEF" is a stunning achievement: fiendishly funny and deeply thought-provoking. Sign me up for 10 more seasons, please.

I ended up liking it so much, I felt compelled to spread the gospel. All you Broad City and BoJack fans out there? Fly, don’t walk.

The Breakfast Club meets X-Men with a splash of Stranger Things thrown in, Marvel’s Runaways is the richest, best-realized Marvel drama of the new TV season.

Arrow is back with--thankfully--what promises to be one of its more grounded, grittier seasons ever. ... Perhaps the best news is that the fifth and final round of flashbacks are, one could argue, as compelling as the current-day narrative.

The Flash‘s return is a tremendous amount of timeline-tweaking fun, though the premiere closes with a gut-punch of a twist.

Bursting with old-fashioned charm, Maisel is shot in the style of Woody Allen’s nostalgic comedies, with a jazzy soundtrack of old standards and an eye for the beautiful chaos that is life in the Big Apple. There’s sly, quotable humor throughout, of course, but also a strong feminist streak.

Apple TV+’s Dope Thief puts a refreshing twist on the crime drama genre with top-notch performances and a wicked sense of humor.

FX’s Gen Z sitcom Adults is a welcome shot in the arm to TV comedy, with a cast of talented newcomers and a bold style that delivers huge laughs.

Mainly what you’ll be doing when you’ve finished your binge is trying to catch your breath (the finale is epic with a capital E, P, I and C), drying your eyes (it’ll also give you feels that you never even knew were feels) and wondering whether you’ll remain on the edge of your seat all the way until Season 4.

Picard‘s final season brings back Next Generation favorites and introduces new wrinkles in what is easily the best season yet.

Mare sets the scene so vividly that the murder mystery almost isn’t even necessary. These characters, and this town, are enough to command our attention. ... This slow burn may take a little time to heat up, but just give it a chance. It’s well worth it.

[A] little bit of bloat hardly slows down a slick production that, while transporting us back in time, stakes Hulu’s claim as a serious streaming player of the future.

The final product is something that stands as well on its own as it does as a continuation of Ron Howard’s classic film.

Sorry for Your Loss is like a beautifully written sad song: You’re not always in the right mood to listen to it... but when you are, it can reach you in places that nothing else can.

BET+’s Diarra from Detroit is an edgy and interesting mystery dramedy that is engrossing to watch but could benefit from fewer stereotypes.

There are a few arcs on The Family that could use a little work. ... Still, those little missteps hardly detract from the thrills and chills of The Family.

The solid cast, compelling overall storyline and deft twists (Rosalee’s mother is full of surprises) add up to an engrossing, enlightening drama.

Mare of Easttown’s creator has crafted another riveting HBO crime drama in Task, packed with emotional complexity and powerhouse performances.

With its engaging cast and steady stream of titillating twists, CBS’ Beyond the Gates is more than just a historic moment in daytime. It’s also a drink-tossing, face-slapping, golf club-swinging good time.

Anyone who felt that Young Sheldon ended too soon will be pleased to see that story continue (and be told so well) in Georgie & Mandy’s First Marriage.

Ultimately, while Season 5’s opening episodes benefit greatly from Dunham’s decision to unite the ladies, Girls‘ greatest joy remains its Ginsu-like sharpness for skewering its twentysomethings’ misguided sense of self-importance and self-entitlement. Well, that and its guffaw-inducing dialogue.

It feel like no time has passed since our last visit to Neptune, Calif. ... At no point in the eight episodes did it feel like series creator Rob Thomas had run out of story.

Though it sometimes clings a little too tightly to sensibilities of seasons past, "Stranger Things" Season 5A is a rewarding, tightly paced showing that's worth the extra-long wait.

It requires a strong stomach, for one thing. (I can’t imagine binge-watching more than one episode at a time.) But for those who are up for it, it’s a highly compelling and artfully crafted step forward for the zombie genre — and for television in general.

Moss’ barely-restrained fury over her new lot in life is gorgeous to behold--the other characters are equally compelling. And when we see moments that Offred simply cannot (one book diversion pertaining to Bledel’s handmaid character, Ofglen, comes to mind), that story amplification pays off.

Stylishly shot and cleverly conceived, this Mr. & Mrs. Smith ultimately works so well because the two leads work together so well. In a show like this, it’s essential that Glover and Erskine have chemistry — and thankfully, they have lots of it. .... we’d be happy to watch John and Jane play spy games for years to come.

Claws is densely packed with fascinating characters and vibrant dialogue--and the cast grabs that dialogue and sprints off with it.

Girls5eva‘s pleasures, though, far outweigh its stumbles. And best of all, it’s a fun, easy binge, with all eight episodes dropping at once. It’s a relief to have something light and fun to watch, frankly. So much TV these days, even the good stuff, is hard to watch — but this is a joy.

What you need to know going in is that the show is funny, sexy, offbeat-as-hell and, with Sam Catlin (Breaking Bad) as showrunner, divinely dark.

Apple TV+’s Presumed Innocent is a sleek and riveting legal thriller, thanks to great performances and writer David E. Kelley’s courtroom expertise.

With emotionally resonant dialogue and top-notch performances, This Is Us should fill that Braverman-sized hole in your heart.

Ahsoka avoids the excessive cameos and contrived dot-connecting of other, lesser Star Wars shows, focusing instead on what makes this franchise so much fun — its characters.

The adults are as hilariously clueless as you’d dare hope, the kids fling zingers like they’ve been mainlining All About Eve, and the series’ unexpected heart actually answers the question, “What’s your damage?” In short, Heathers slays.

There were times I wanted The Rehearsal to be more conventionally structured or even more conventionally funny; it gets weirdly poignant at times — or poignantly weird, I’m not sure which — as it walks a fine line between inspired and demented. (One participant’s comparison of Fielder to Willy Wonka isn’t all that far off.) But I can honestly say I’ve seen nothing like it on television before.

Those seeking a fast-paced Western akin to Taylor Sheridan's previous offerings might prefer to fly over "The Madison," but those willing to wade through the show's slow-moving waters will come out the other side with few regrets — and an even deeper appreciation for Michelle Pfeiffer.

There’s nothing incredibly groundbreaking and innovative about any of this… but there doesn’t really need to be. It’s a cute, lighthearted throwback that goes down easy in an era of tough-to-watch dramas, and like The Mindy Project, it doubles as an affectionate tribute to classic rom-coms. The cast’s quick chemistry is remarkable, too.

Season 3 lacks a certain narrative drive that the previous two seasons had, as if it’s enough to just hang out and observe these characters without any major new developments. And it mostly is--but still, there’s something missing.

Left with mostly just his voice to act with, Pascal gives Mando some hints of snarkiness, if not humor; by and large, he comes off as a business-first ballbuster. (And truth be told, no one wants a quippy Mandalorian.) Weathers and Herzog fit comfortably into this world, in their brief intros, and it’d be great to see more of Nolte’s Kuiil.

This is a revival with real purpose — and, for the most part, the one fans have been hoping for ever since Lazlo Bane's "Superman" last kicked off an episode of "Scrubs." Yes, the original theme song is back. But more importantly, so is the heart.

NBC’s breezy new comedy The Good Place manages to tackle thorny issues like morality and religion while still delivering the most laughs of any new series this fall. In short, it’s a godsend.

How much you enjoy Roseanne‘s return will probably depend a great deal on how well you’re able to overlook that Trump Plaza-sized continuity gaffe. I largely managed to do that, which speaks volumes about the strength of these new episodes (only two of which I’ve seen). The cast brought its “A” game.

GLOW is the behind-the-scenes look that’ll suck you in faster than a Friday cliffhanger.

"A Knight of the Seven Kingdoms" offers a refreshing antidote to "Game of Thrones" fatigue, with crude humor and humble humanity.

Alien: Earth still feels at times like an eight-hour movie, slowly building to a chaotic climax, and it’s hard to see at this point how the story could continue for multiple seasons. Hawley has earned our trust by now, though… and once again, with a seemingly unadaptable franchise, he has delivered.

The cast is solid, the FX are top-shelf and the survival-related drama comes at a steady pace, with some episodes (the pilot included) delivering no less than white-knuckle sequences.

The Mighty Ducks: Game Changers is a feel-good show that dutifully honors the past, doesn’t reinvent the wheel, and delivers the comforting optimism we’re all craving right now.

A visual treat with genuine heart, "Marshals" is enough of a crime procedural to appeal to viewers who enjoy a complete story told in 60 minutes, while also remaining prestigious enough to satisfy "Yellowstone" fans who might not typically watch a show like, say, "S.W.A.T." or "NCIS."

The Politician provides plenty of laughs and on-target jabs at our current political moment — but it’s the battered yet still-beating heart found in Platt’s performance that ultimately has us pulling the lever for this one.

Superman & Lois works. And oftentimes it is quite wonderful.

Hulu’s King of the Hill revival brings back the comfortingly low-key vibe of the original, along with a few smart updates.

Rich with intriguing characters and armed with a breezy comedic tone, the campus comedy from first-time showrunner Amanda Peet is a smart, low-key charmer that sneaks up on you.

After a somewhat lackluster Season 2, it’s a treat to see Maisel shake off its own cobwebs and show us something new.

Die-hard "30 Rock" fanatics — like me — will find a lot to love about the show right away.

It’s often laugh-out-loud funny, and the cast has instant comedic chemistry. It also mines a lot of laughs by reveling in gaudy ’80s nostalgia: floppy disks and shoulder pads, the aforementioned stretch Lamborghini (aka a “Lambo limo”) and a robot butler who dutifully fetches cocaine. But there are hints of melancholy around the edges, too, and a plot twist at the end of the pilot that actually adds a level of intrigue to what follows.

SNL alum Taran Killam is a riot as Will, a hopelessly dorky single dad who gets taken in by a battle-tested clique of single parents who want to shake him out of his world’s-best-dad funk. The kids are cute, the one-liners have plenty of zing and the cast feels like a well-oiled ensemble already.

Netflix’s caustically funny romantic comedy Nobody Wants This is a charming showcase for Kristen Bell and Adam Brody.

There’s a lot to like about it — it’s gorgeously shot and quietly compelling, with a potent lead performance from Sarah Gadon — but at times, it gets sluggish and overly gloomy. Stick with it, though, because the sixth and final episode is truly remarkable, weaving all of its disparate narrative strands together for a thoroughly satisfying finish.

Poker Face is a loving throwback to ’70s detective shows that works, thanks to a winning lead performance from Natasha Lyonne.

Woke has its goofy side, to be sure, but it’s thoughtful as well, handling thorny subject matter with a light, comical touch. It doesn’t minimize the very real issues Keef faces, but it vividly illustrates them with highly specific observations.

The key to The Deuce‘s success is the writing. Some familiar tropes and clichés are scattered throughout, but Simon and his Wire co-writer George Pelecanos find a way to look deeper and uncover the vital truth underneath.

Big Little Lies is at its best when it plunges us into the trenches of the Monterey moms’ social warfare, fought on the battlefields of elementary-school functions and kids’ birthday parties... where words can cut almost as deeply as knives do.

All told, Discovery still has some storytelling kinks to work out with the Klingons, and all the breathless action in the first two episodes didn’t leave a ton of room for character development beyond Burnham. But the seeds for a compelling series are definitely there--and, best of all, it feels like Star Trek.

Steinfeld is excellent as Emily, armed with a delightful, Wednesday Addams-like morbid streak. (When her sister compliments the “lovely funeral” they just attended, Emily sniffs: “Mine will be better.”) Of all of Apple’s new shows, this one actually made me want to watch a second episode, and has the kind of breakout potential that a new streaming service desperately needs.

Season 3 of The White Lotus covers familiar territory, but it still delivers top-notch performances and some wild twists.