Palm Royale is so gorgeous to look at, the story is almost secondary. Funny and frothy, Palm Royale is an indulgent watch not unlike gorging on colorful and beautifully decorated pastries.

The further The Girls on the Bus gets into its storylines, the more likeable the central characters become, and the more invested you become in what happens with them.

The New Look lags and drags. It takes far too long to get its points across. When it finally does, it does so with not enough conviction. Instead of focusing on the fashion, which is in the title (The New Look was the name of Dior’s first collection when he set up his own house), the 10-episode series keeps forgetting what it’s about and reverts to being a Holocaust story.

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

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.

Glover and Erskine’s fans will have high expectations after the ground they broke on Atlanta and Pen15. This follow up project will prove to be no less enjoyable, even if it is more conventional and vying for a broader, thrill-and-romance seeking audience. The expert crafting of superficial pleasures, plus distinctive chemistry and heartfelt exchanges between its leads helps Mr. & Mrs. Smith hone in on an elusive target.

Later surprise-laden and richly complex scenes handily salvage Fargo’s fifth season after a ham-fisted start. That, and consistently remarkable performances at even the most shoddily written early moments, along with breathtaking action and bleak humor, show Hawley is still a TV visionary well suited to build on the Coen Brothers’ Fargo 1996 film legacy–even if he takes commendable big swings that occasionally miss.

The Curse is not for everyone, but in general, it’s a lot more approachable than some of Fielder’s and Safdie’s other works. The series features such precise filmmaking and multi-layered storytelling that it naturally appeals to many different audiences.

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.

Lovingly filmed, richly written.

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.

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.

High Desert is barren of laughs, and its tone is as abrasive as a dusty California valley cactus.

Few shows have such a unique combination of grounded action and performances with an Orwellian social conscience and special effects splashed flash forwards. If Class of ’09 balances those elements better going forward, it could be as well-rounded, lithe and lethal as the best trained FBI boot camp recruits it is depicting.

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.

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.

But even Bader, a seasoned comedic character actor, can’t make the overly-quippy-yet-deflated dialogue land. Same goes for the rest of the talented but hung-out-to-dry cast, each straining for cringey humor in one limp written exchange after the next. Only Odenkirk and Enos succeed by playing their scenes utterly straight.

There’s a lot of squandered potential here. The lack of focus on the customers is an easy win missed. And while the lack of a “big bad” may be refreshing but means the show lacks any sense of real peril or urgency. By the halfway mark we lose sight of the driving force of the show and slip into soapy silliness.

With contributions from horror luminaries such as Ana Lily Armipour (A Girl Walks Home Alone At Night), the visionary Panos Cosmatos (Mandy) and Jennifer Kent (The Babadook), and stars like Dan Stevens and F. Murray Abraham, there’s a good deal of hope that the series might transcend its conventional presentation and predictability to offer something a little more substantial.

The series may be called Ramy, but the best parts of the show are its supporting characters. Finely drawn and beautifully developed, both the scripted versions and the actors who portray them are on point.

The cast comes across as natural, even in their stereotypical roles. The dialogue is similarly fluid and representative of the kind of conversations that would happen in these circumstances.

Welcome to Wrexham is, in a word, boring. The documentary-capturing cameras have been on from before day one and they’re capturing the dullest footage there ever was.

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.

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

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.

The first few episodes of Season Three are overly saccharine. ... Thankfully, this cloying approach fades away relatively soon and Trying reverts to its winning and likeable personality.

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.

It’s the tending to his deeper wounds: familial, romantic and professional, however, that make The Old Man not just highly watchable but truly memorable.