There is nothing in music that 1971 has not touched. Essential viewing.

The series has also been acquainted with theologically bent ideas, but the trajectory points to the series' characters becoming manifestations of Biblical themes, concepts, and binaries. That they're able to get away with such hard to sell content and pull it off with such aplomb is proof yet that Hannibal, so often a cut above the rest, gets away with delicious murder.

The beauty is in the discovery of how much terrain there can be for setting up the chess pieces for the world of Breaking Bad. Co-creators Gilligan and Peter Gould make sure to walk you through it at a slow pace, so you can admire the cacti.

Writer Terence Winter (The Sopranos) delivers the most exciting new series in recent history with Boardwalk Empire, a sweeping Prohibition gangster saga that redefines the boundaries of television storytelling.

Thanks to his chemistry with his castmates, and his leaning into a boyish charm that came off as stilted inexperience in prior seasons—along with even better than ever turns from Matten and McClarnon, make season four of Dark Winds a new high watermark for this ever burgeoning crime saga.

The remaining first half of this ten episode season (I only binged the five so far) are equally strong as the premiere, falling short of only the series’ absolute apex, which is of course Season Two’s famous “Forks” episode.

If the quality of the first episode of season five is at all indicative of what we’ll be seeing the rest of this season, it’s probably a good thing the show’s creators took the time to get it right. The opening salvo of the new season is spectacular: insane joke density, an ever-present silliness brushing up against bad taste, awkward social situations laid bare, and hilariously tearing classic sci-fi and genre conventions a new one.

The Lowdown hits more highs in a moment of screen time than most series do in their comparatively feeble entire run times. Harjo pays homage but also builds on crime tomes from prior generations.

Lovingly filmed, richly written.

With several seasons under their belt, they effortlessly inhabit the hundreds of characters that populate their vision of Portland. That vision is simultaneously expanding and tightening.

This astoundingly moving yet hilarious–at times in the same scene–series depicts the how and why of an American political tragedy.

Waithe’s performance is not as conventionally accomplished as Naomi Ackie, who co-stars as her wife and lights up the screen with each aptly chosen facial expression and line reading. ... Ansari is also masterful (pardon the pun) at capturing Waithe’s groundbreaking portrayal of queer romance and heartache by returning as director, and bringing auteuristic flourishes.

With a star-studded cast (notably featuring Ed Harris, Evan Rachel Wood, Anthony Hopkins, James Marsden, and Jeffrey Wright), lush production design, epically sprawling story, and astonishingly huge budget, HBO is banking on the J.J. Abrams-produced Westworld to become a tentpole series. In a rare case, the network's investment pays off.

Old school sleuthing and shootouts to character development and ambitious visuals (especially in upcoming episodes), Season Three of Dark Winds thrillingly defies expectations.

David Wain and Michael Showalter's quirky brand of comedy is still the heart of the series, and works because it is so youthfully rudimentary, playing up romantic comedy tropes with bratty sneers and whimsy. First Day at Camp is essential summer TV viewing nobody asked for, but nobody's complaining either.

From its dynamic female characters, to its willingness to turn dashing leading men like McGregor into far more fascinating warts and all character actors, to its exquisite (and frequently hilarious) montages about everyday Americana, Fargo's third season is thus far as strong as any of the sterling preceding tales in this snowed in noir universe.

The Bear continues to make viewers laugh, dab tears and watch ravenously as the most lived-in characters on TV ply their trades and shake off setbacks. Whether they’re chatty or contemplative, you won’t be able to take your eyes off this unmatched cast and the gorgeous dishes they prepare.

The successes on season two of Hacks are hard won by the series’ characters who maneuver around a minefield of losses. The message of perseverance and determination, however, is sent with aplomb and without a shred of “hack”-y-ness.

Legacy starts strong and only gets stronger. It’s a multi-generational family dynasty real-life drama far more riveting than any dramatized version.

It's not going too far to say Eastbound and Down holds a magnifying glass up to sports and hero workship, it's just that the magnifying glass is outrageously outsized, Charlie Chaplin, silent-movie prop huge. Sadly, as far as McBride takes Powers, the satire may never go far enough, as LeBron James and Roger Clemens and Tiger Woods and a host of others have shown.

Nothing about this reboot is a disappointment. If you were a Will & Grace fan the first time, you're going to love it all over again. This is how comedy is done.

The second season continues We Are Lady Parts’ deft and nuanced storytelling but doesn’t rehash past issues.

There is an interesting dynamic of a cast so compact in a setting so large. They literally have the entire world at their disposal.

Hirst transports us to a fascinating and brutal world, combining fact with fast-paced fiction into a show, the likes of which come around all too infrequently. As Ragnar does, so too does Season Three of Vikings expand its worldview beyond the inlet at Kattegat and into Medieval Europe, promising battles, glory, and adventures not to be missed.

Ronson is the glue that holds it all together, threading through his childhood, early interest in music, professional experiences (his recollections of his time with Amy Winehouse are to be savored) and personal geekdom.

From female orgasms to women finding a career that speaks to their skills and passions to male objectification, differing viewpoints on women’s rights, misogyny, power dynamics, Minx tackles it all with a nuanced touch.

If their latest appearance on Late Night with Seth Meyers as the Talking Heads parody band "Test Pattern" is any indication, Season Two isn't purely a high concept exercise in direct imitation, there will also be plenty of LOLs.

Moss is stellar in the role, perfectly able to convey simultaneous resistance and forced acceptance of the bleak social structure. It's in the show's writing, though, that the true genius lies. There's not a single dull moment the whole series. Even when it starts to feel a little too close to home, it's impossible to look away.

It's punchy, violent, and darkly funny.

Sense8's ensemble is contemporaneous, creating an exciting real time tension as the characters take advantage of their seven partners' unique specialties and experiences to unravel mysteries in their own respective scenarios.

There are a lot of roadblocks before Sheila gets everything she is working for and none of them are rehashes of those she navigated in Season 1. This is a brand-new hell for Sheila, with enough redemptions along the way to keep you rooting for her.

In the end, it's Law's incredible performance--certainly one of his best--that makes Lenny compelling, mysterious, and complex. We can't help but fall under his charismatic spell and stick with him through trying moments.

Every bit as gripping as this year's earlier docu-series hit, Making a Murderer is the anti-The Jinx.

Maron is at its greatest when the comedian plays into the abrasiveness that lands him in trouble with others.

Season three makes no significant step forward, but improves by spreading its charm out to the supporting cast.

A keen ear is necessary to catch all her slick comments, so many of which are razor-like in their humor. The funny factor spikes in every scene with her parole officer Janice (Jo Martin), who rivals Haggard with her natural comedic delivery and priceless lines.

Ostensibly, Homecoming might appear uneventful and slow but it's deliberately and skillfully languid, ratcheting up tension with purpose and ease.

The mystery of the villain this season is intriguing, and culminates in a hugely satisfying twist in later episodes. That being said, some viewers will become impatient with that dynamic and miss the presence of a big baddie like Weaving’s, plotting schemes and chewing up scenery. .... But best of all is the surprisingly effective melancholy giving bite to the dark humored banter between the main Slough House cast.

At half-hour each, Cobra Kai is an easy binge that will only make you want more.

Barry’s runtime always whizzes by like a hitman’s bullet, the laughs constantly killing and the tone hitting an elusive bullseye. Aside from these richly layered plot developments, the characterization and performances of Barry, Gene, Hank, and, above all Sally, help this hilarious and occasionally heart wrenching dramedy once again — just like its title character — hit the mark.

Before long, these employees satisfyingly rise up to break free of those arbitrary cubbies, after seeing not merely the system’s exploitation but undeniable evil. By then, viewers will have long been hooked by not only that vital social commentary and the series spiky humor, but also Severance’s office shredder sharp direction and — above all — its white-collar hero cast.

The second episode also has a number of evocatively shot scenes. But the character development on this episode (which runs ten minutes shorter than the premiere) is equally effective. This is especially true of Ryan’s Melanie.

Wainwright strikes a delicate balance between intimate character study and increasingly complex crime drama. Plot layers give Happy Valley more scope and suspense, while remaining digestible.

Sharp and accurate, at the same time, humorous, it is this latter characteristic that allows for the messages of the series to come through loud and clear. We’re listening and cannot wait to hear what the rest of this season has to say.

A welcome return for one of TV’s most deftly penned and performed series.

Riley keeps us guessing right up until the end, not to mention pulling off a satisfying conclusion from the web of plot and thematic threads he has weaved, is a testament to his skill. That he does so while also making a profound social statement is more impressive still.

Powerfully distinctive dialogue, meaningful themes, and engrossing — but never showy — visuals make Silo’s first episode one of the most gripping premieres of the TV streaming era.

Joining McShane and Whittle, such stars as Cloris Leachman, Peter Stormare, Emily Browning, Pablo Schreiber, and others contribute their immeasurable talents. They play their roles expertly, carrying the show's allure and mystery while humanizing their otherworldly characters.

Given the unpredictable character development and impassioned performances throughout these four episodes, the second season of Reservation Dogs is looking as promising as the first season, whose innovation and nuanced indigenous depictions won a coveted Peabody award, critical acclaim, and endless quotables from Knifeman.

Though Season 3's content remains iron-clad, the proliferation forces things closer to the territory of having "forgotten" episodes, watering down the power of Brooker and his team's vision. More is seductive, but beware dilution.

It's dark and, yes, gritty, but the tone fits the character, and it's obvious the series' creators have a real familiarity and affection for their source material.

The sensitive and relatable approach to its subject matter treats the seriousness of alcoholism and the difficulties of recovery with respect and dignity, the laughs a tonic rather than gratuitous. Recommended for all generations at the end of the alphabet.

By throwing caution to the frostbiting wind, rather than trudging over former glories, Hawley and co. give TV’s great snow swept saga quirkier characters that cover greater thematic ground. Is it a departure? And is that what makes it great? On both counts: oh yeaaah, you betcha.

Sharply written and delivered with an acute self-awareness.

The acting and writing somehow rival that loftily ambitious aesthetic, at least for two particular characters in the closing episodes. Though Ripley drags at times early in its run (or at least until you’re accustomed to its distinctive rhythm), its back end never ceases to entertain as a grieving Marge interjects at the lavish Venice mansion Ripley has weaseled into his possession.

It escalates and complicates some of the best and most controversial elements of its parent show that it should have no trouble standing on its own.

With a sharply-written script, nuanced direction, and deft acting, particularly on the part of Doherty, Chloe is a study in modern social dynamics and their psychological impacts as much as it is a ravishing mystery that needs to be seen through to the end.

Both Nacho’s and Saul’s arcs plots have equal emphasis in the two episodes that were provided to critics. Even though Nacho’s is more action packed, both have enough of the series’ famous off kilter twists to satisfy its hardcore fanbase.

Even the inclusion factor of This Way Up is natural and believable, and its management of mental health issues is respectful and personal. Six episodes feel like a lifetime with these wonderful people. At the same time, it’s not nearly enough.

More irresistible than the most-watched “unscripted” series revolving around the wealthy and as riveting as an ‘80s mini-series, FEUD’s one-a-week episode drops (although it kicked off with two) cannot come fast enough.

When these murders took place in real life, they shook the world with horror and disbelief. Those feelings are reignited with the deliciously morbid quality of The Menendez Murders, literally like a slow motion retroactive murder you can't take your eyes off.

You don’t have to be a skater, know anything about skating, or be a Zoomer to enjoy Betty. Virtually flow with the boards on Betty, absorb the scenery and let the sound of the wheels on concrete sooth you.

Nothing feels staged in the film’s accounts. The subjects are honest, even when it doesn’t reflect well on them.

A series pilot has to walk a rather tricky line of setting up a series premise, giving a hint of things to come, and, you know, being entertaining. As far as pilots go, NBC's The Good Place (from Parks and Creation co-creator Michael Schur) hits it out of the park with all of the above-not to mention some honest to goodness earned laughter.

Thankfully, Starz picked up the show and let the brilliantly socially conscious writers, period detail-oriented set and wardrobe designers, and this rollicking cast build on the first season’s promise. As Doug might put it, this was the right move, because Minx now has even more to say about the intersections, and clashes, between feminism and LGBTQ+ rights, the ability of toxically masculine shot callers to redeem themselves, and the competing demands that weigh mothers down.

So far, Season Three of Hacks is free of the formulas that make lesser shows so much more hack-y.

Those two alone [Raymond "Red" Reddington (James Spader) and Liz Keen (Megan Boone)] are worth watching Blacklist, but the drama's storytelling is powerful enough to make you commit to it from the very first episode.

Beyond blissful laughs, Parks and Recreation offers a healthy image of political cooperation at a time when we could really use it.

We Need to Talk About Cosby is difficult to watch, but it is absolutely necessary.

It weaves the stories of its eight principal characters in a way that never feels redundant or overcomplicated.

The real heart here is the Jennings family. It's what make The Americans a better show than most, and what keeps it a show to watch heading into its second season.

Not only are the fake documentaries of Documentary Now! hilarious, but doc fans are sure to embrace (while laughing) these studiously crafted pieces from creators Fred Armisen, Bill Hader, and Seth Myers for their loving attention to detail.

The Flash continues the CW's streak with the perfect mix of humor and gravity intrinsic to The Flash comics. [Sep/Oct 2014, p.83]

An Adventure in Space and Time is a surprisingly moving docudrama that recounts the creation of the iconic British television series Doctor Who.

The switch from battered girlfriend to ball busting crime boss is so sudden, it’s hard to reconcile the instantly experienced crook Joan becomes with the desperate mother she is. Turner handles this inconsistency brilliantly, maintaining viewers’ attention with her razor-sharp turn as Joan. Additionally, the ‘80s setting makes up for the storytelling deficiencies in many ways.

Roiland and Harmon have put together a finely balanced show, with infinite possibilities that leave the door open for an exciting future.

A smart and enthralling D.C. drama that resurrects its predecessor's outlook, but still takes on a life of its own.

If you’ve seen the YouTube Originals The Boy Band Con: The Lou Pearlman Story produced by *NSYNC’s Lance Bass and are noticing some overlaps between that 100-minute documentary from 2019 and this docuseries. .... There is more understanding of Pearlman as a person, and his essentially sad existence in Dirty Pop, which also has a good handle on the pacing of the narrative.

Barry Levinson's The Wizard of Lies is a fascinating, and in many ways horrifying glimpse into one of the most notorious thieves in American history.

The themes of women’s rights and sociological progress are strong throughout this season. Contraception, that was so controversial in earlier seasons is becoming commonplace. ... Call the Midwife stays in step with its times. Only seven episodes this season is simply not enough.

Ultimately, Kiri is an admirably executed story of confusion, emotion, and consequence, though not without a handful of fumbles.

There's no reinventing the wheel going on here, but as they say, why reinvent something that already works so well.

Man Seeking Woman is a rare and unique comedy, but raises the bar so high with its initial episodes that it will have to work extra hard to keep up this pace.

Rust, Apatow, and the other writers make an understandable attempt at supporting character development this season, which takes some of the weight off of the main couple, but it's the surprising chemistry between Gus and Mickey in both love and war where Love thrives.

This season of the uneven but unique and compelling Far East crime saga starts off stronger than the series’ first season.

Head of promotions/payola master Zak Yankovich (Ray Romano), giftedly shady head of sales Skip Fontaine (J.C. MacKenzie), and ill-fated artist Lester Grimes (Ato Essandoh) are among the engaging characters who could ensure that Vinyl lives as much more than a destination for leisure suits, coke noses, and Foghat.

The throughline for all these characters remains truthful, but the show’s pacing this season is uneven. Granted, Better Things has never adhered strictly to linear narratives or the traditional arc of a 30-minute episodic. There’s more of an emphasis on moments and feelings over plot.

On balance, Heroes Reborn shows great promise. The challenge will be how the writers and producers pull all the disparate threads into a cohesive storyline.

Freak Show starts off strong, offering more than just a taste of the spooky, bloody, quirky season to come.

Ten minutes into Ash vs. Evil Dead it's clear that the show is pulling none of the maximum blood-and-scare punches of the movies, and their humor is thankfully intact.

Part of what makes Supergirl work is the tone. Those who found Man of Steel too dark won't find much traction leveling similar complaints here, as Supergirl is full of light and hope, but not so much so that it doesn't have weight and drama.

It's engaging, it's addicting, and it makes for damn lively Sunday night viewing.

The layered darkness that inhabits Flynn's work is the primary hurdle here, and fans looking for a captivating mystery with Gone Girl's twists and turns will be disappointed. Fortunately, for those willing to soak in the experience, director Jean-Marc Vallée (Big Little Lies, Dallas Buyers Club) allows for the slow burn required to inhabit Flynn's deeply personal corners.

The set design is impeccable and the cast is exceptional. ... True representation is tricky and demands much self-interrogation on the part of screenwriters and viewers. Either way, as a thought experiment Great Expectations is certainly worth the pursuit.

Even genre-bending as much as it does would normally be a challenge, but It’s A Sin pulls it off through its smart script and its brilliant performances.

Gordon and the graft permeating the GCPD can be compelling enough to sustain a Gotham story in which Batman doesn't yet exist. However, without the foil of Batman, the villains run the risk of appearing cartoonish.

With Jason Katims (Friday Night Lights, Parenthood) as creator and producer, About a Boy could very well be the next universally appealing family show.

While Hawaii Five-0 Mark II has none of its predecessor's cringe factor, the classic theme music retains its blood-rushing quality with a sharp, updated recording. And when McGarrett first utters the infamous line, "Book 'em Danno," we dare you not to let a little grin escape.