Moon Knight remains wonderfully unpredictable every step of the way.

Sure, a couple of subplots--one involving Will and Katie’s teenage son getting involved in a black-market operation, and another hinting at a romance for Katie’s sister (The Mentalist‘s Amanda Righetti)--feel a little extraneous at the moment, but enigmatic glimpses of “Factory” indoctrination promise that Colony won’t run out of ideas anytime soon.

Lena Dunham’s Netflix rom-com Too Much has a certain charm and a great lead performance, but its central romance is too shaky to sustain it.

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.

Little Fires Everywhere, I realized, must be what watching Big Little Lies is like for people who don’t like Big Little Lies. In my eyes, though, that show managed to find a way to elevate this kind of soapy, pulpy material into something great. Little Fires Everywhere, sadly, does not.

Hulu’s wildly ambitious Paradise might bite off more than it can chew, but it’s an entertaining thriller with serious emotional heft.

Unfortunately, The Detour too often confuses the obvious for the outrageous, and mistakes hacky-ness for hilarity.

After three-and-a-half hours of action, The Get Down‘s tone still seems to be a work in progress--not that there’s anything inherently wrong with a “hey, there’s even a kitchen sink!” melding of genres. The good news is that Ezekiel’s poetry and Mylene’s pipes are so undeniable, you’ll relate to the former’s optimistic English teacher (Treme’s luminous Yolonda Ross).

Though it doesn’t take as many bold chances as I’d hoped it would, Love, Victor does still possess an undeniable charm.

[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.

Despite a deliberate pace and narrow scope, HBO’s House of the Dragon proves itself a worthy successor to Game of Thrones.

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.

Despite some nice touches and performances, Kidding gets stuck somewhere between comedy and drama, and isn’t entirely successful at either.

It bites off more than it can chew by taking on too many characters. We follow more than a dozen characters through a flurry of flashbacks and strange psychological detours, explaining how this parade of damaged men came to be so damaged. (It’s ten episodes, but it could’ve easily be six, or even four.) Its dynamic style and the intriguing personalities involved help it rise above all of that, though.

While it’s not always easy to watch--and can go for long stretches without a real laugh--Baskets elevates itself by showing it’s interested in more than just clowning around.

The Gilded Age is a feast for the eyes, and its aesthetic pleasures are undeniable — but those are the only pleasures to be found here.

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.

The Young Pope feels more like an eccentric foreign film than a TV series. Except it is a TV series--and little quirks that might seem charming in a 90-minute movie can begin to grate across several episodes.

Rockwell and Williams are shoo-ins for Emmy nominations this summer, it’s true, but the material they’re given here never quite rises to meet their level.

Monarch’s story does get a little dense at times with lots of scientific lingo being thrown around, leaving us lost in the weeds. Plus, I have to admit my eyes glazed over with all the talk about the shadowy corporation called Monarch that secretly monitors the beasts. But Russell’s natural charm and sly sense of humor go a long way towards cutting through all that and making the whole thing work.

DC’s Stargirl gets off to a rousing, high-flying start, then loses some momentum when subsequent episodes open with deep-diving, Titans-style, -centric flashbacks. But by Episode 4, the stage is set for what is both DC Universe’s and The CW’s lightest, brightest, family-friendliest live-action superhero show yet.

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.

It’s a real high-wire act, blending teen soap, a murder mystery, biting humor and a beloved franchise. But Aguirre-Sacasa and uber-producer Greg Berlanti (who, with NBC’s Blindspot and The CW’s superhero lineup, seemingly has the magic touch these days) manage it all in surprisingly nimble fashion.

Euphoria is admittedly better at establishing a distinctive mood and style than at telling a story, at least early on. ... But Euphoria‘s exhilarating style and achingly incisive observations more than make up for any storytelling flaws it might have.

It was a mostly safe, by-the-numbers affair that was woefully short on buzzy watercooler moments.

Apple TV+’s Sugar is a stylish throwback to classic film noir, with a compelling turn from star Colin Farrell.

Jen’s She-Hulk origin story, which unspools in the first episode, gets a bit repetitive — another case of an unwitting someone not wanting the gift of superpowers — but Maslany and Ruffalo enjoy a wonderful sibling-like banter that transcends the VFX they’re often hidden under. Once Jen accepts her duality, things get much more zippy and She-Hulk transforms into “Lawyer Show!”

he show allows these women to be substantially flawed and messy, and it resists the urge to get too mopey and maudlin. Plus, their banter is fun and snappy, in the vein of Coupe’s Happy Endings. ... The three leads have excellent chemistry right off the bat, too.