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.