Starz’s Party Down revival isn’t quite as fun as the original run, but it still has a great cast and plenty of satirical bite.

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

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

With tired punchlines and a new cast that lacks the easy charm of the originals, Netflix’s That ’90s Show is a total buzzkill.

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.

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

Netflix’s Wednesday has a ghoulish tone and a superb lead performance, but the story is strictly cookie-cutter YA mystery.

Season 2 of The White Lotus hits on a lot of the same themes as last season, but it still offers a terrific cast and insightful social satire.

The Peripheral is a cut above everyday sci-fi with cool futuristic effects, but it starts meandering after a stellar pilot.

AMC’s beautiful new take on Interview With the Vampire is certainly bold and seductive, but it too often tips over into camp.

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

NBC’s Quantum Leap reboot has a charming star and slick action scenes, but gets bogged down by corny dialogue and dead-end mysteries.

It never goes as hard or gets as dark as, say, BoJack did… but that’s not necessarily a bad thing, either. The lighter touch makes it an easier watch, and it does deliver more laughs per minute than most anything out there these days. A TV comedy that’s actually funny — what will they think of next?

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

No matter how you watch it, The Patient is high-level drama told with admirable efficiency — all killer, no filler.

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

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!”

I do appreciate the effort to highlight some of the stories the film didn’t tell. But the fun is conspicuously missing, and the muddled and labored end result is a far cry from the movie that inspired it.

The new Password is… not bad? And even a lot of fun at times. No, I’m still not a fan of the set, which has none of the coziness from the (deep cut alert!) Allen Ludden-hosted era, but instead seems dictated by the law that every primetime game show since 1999 has to evoke Who Wants to Be a Millionaire. ... But the gameplay is faithful to that which we all know (save for a flourish or two), and the proceedings are overseen by a pretty perfect host.

It’s closer in tone to the later seasons of Sex and the City, when it ventured into dramedy territory, but that was earned by years of great writing and careful character building. Uncoupled could get there — and it’s a solid vehicle for Harris’ talents regardless — but it’s not quite there yet.

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.

The Terminal List‘s plot defies logic, if you stop to think about it for even a minute, but it confidently shoves its way past any such concerns. It’s utterly humorless, too, punctuated by crude bursts of graphic violence. ... The cast is talented, to be sure, but they’re just going through the motions here.

It’s tough, because there’s so much about this show that I like, but I can’t shake the feeling that I wanted to see something more ambitious and boundary-breaking (and funny!) from a creative team of this caliber. Though there’s still time for Loot to find its footing and take a harder look at its main character, so far it goes down as a missed opportunity.

The Old Man seems to be shooting for something tense and riveting like Homeland or The Americans, but it doesn’t deliver the depth or nuance needed to bring us along for the ride.

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.

Hulu’s intriguing but frustrating book adaptation Conversations With Friends can’t quite match the heights of Normal People.

[Star Trek: Strange New Worlds] gets back to basics, closely hewing to classic Trek with an old-school vibe and an episodic alien-of-the-week format. (It even brings back the traditional uniforms and opening narration from the original series.) It’s a throwback, to be sure… and a welcome one.

Gaslit is a wickedly entertaining and irreverent look at an infamous slice of American history that none of these characters are particularly proud to be a part of.