Much of Imperfect Women’s runtime is squandered, wringing these forty-something friends through one plot contrivance to the next.

The actors frequently sound hokey, and much of the dialogue drags as if it were ripped from a textbook, instead of coming from lived in characters.

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 Netflix docuseries doesn’t probe as deeply as the podcast, but it does assemble key figures.

Most fans of edgy cartoons, and comedy in general, will love Strip Law’s shameless pursuit of debased jokes, along with its casino-like overstimulation.

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

Down Cemetery Road’s first season starts off as a pulse-pounding journey that sadly hits a dead end.

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.

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.

Unquestionably, the marquee names like Rhoads and Dimebag will draw the most attention. But every installment of Into the Void is worth watching. Just don’t binge it. The content is relentlessly heavy (pun only half intended) and is best consumed with a lighthearted sitcom chaser.

Too Much feel[s] rife with potential, even though it has yet to cohere into a great sitcom in line with the heights that these individual talents have already achieved elsewhere.

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.

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

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

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.

There is a certain amount of suspension of disbelief required for Nobody Wants This. .... The highly bingeable series has excellent comedy writing and a strong cast who move the episodes along at a quick clip. But even with all its on-point humor, Nobody Wants This has an undercurrent of seriousness, which puts it a few notches above the average sitcom.

A Very Royal Scandal does a good job of showing all perspectives and putting this specific situation into a greater context that questions right and wrong. Ultimately, it leaves the drawing of conclusions to the viewer.

The first two episodes of this season end on cliffhangers that maintain commendable suspense, despite some expository scenes that tumble into proverbial valleys compared to action packed and sharply acted road buddy sequences that are The Old Man’s peaks. Nevertheless, the exquisitely shot Middle East landscapes, Shawkat’s steely portrayal of a character in perilous danger, Bridges’ pitilessly pugnacious fight scenes, and his sparky chemistry with Lithgow make The Old Man a must watch, and prove some elder operatives need not be scurried out to pasture.

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.

Overall, not a minute is wasted with key information packed into every frame, each minuscule element filling in another piece of these multilayered and intersecting stories, guided by a cast that grasps and leans into the complexity of its setting. Were it not for Portman dragging the series down, it would be a must-watch. As it stands, skip the sixth episode altogether and the rest fits together a lot better.

Do non-music people care why they don’t have to pay to listen to music? The grammatically incorrectly titled How Music Got Free tells the story of [how] this came to be, which, arguably, most music people already know the story.

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

Brown does a decent job with what she’s given. But when her character’s name is the title, it’s around Queenie that everything revolves and with a weak central figure, that’s too much time is spent on her.

The entire thing could have been told in a tight and easy to grasp two hours and could have used a lot more grit and grime to ground Camden in authenticity. Still, there is plenty to learn from Camden, albeit in a CliffsNotes version.

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.

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

There is an angry sexual energy between Rebecca and Cam whose source will no doubt be revealed in subsequent episodes, but which, nonetheless is irrelevant, and extraneous, to the main storyline. This is not the only unrelated, fabricated side storyline on Under the Bridge, which would benefit from some streamlining. The central story is riveting enough without these random and inconsequential side ones.