While the conflicts of this season are of the easy-to-resolve variety, they are problematic enough to keep viewers involved.

Duntsch’s story would be tough to stitch up in even the steadiest of auteur’s hands. Hats off to Macmanus and directors Maggie Kiley, Jennifer Morrison and So Yong Kim for their ambitious vision, not to mention the ace cast. At the same time, it’s a shame that Dr. Death is too often so dull.

The original series was nowhere near being the most profound television of its time, but at least it was entertaining. The Gossip Girl reboot’s uninteresting storylines, paper-thin characters, and lack of purpose cannot even claim that praise.

Unlike most peak TV series that drag on like a rained-out vacation, The White Lotus could use more episodes to explore its underused characters’ arcs, or at least let these rich nitwits twist in the wind a little longer.

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.

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 30-minute episodic structure makes the series feel less powerful than the film it is based off of. Even so, Blindspotting is a welcome return to form for not only the stellar cast, but also for Diggs and Casal’s consistently encapsulating, dynamic and affecting screenwriting style.

Season Two of Betty feels like watching an identity crisis unfold. Not necessarily trying to figure out what kind of show it wants to be, or what story it wants to tell, but rather, how exactly to tell that story.

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

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.

An entire season of no conflicts and Shrill’s series finale ends with a mess of loose ends, that makes it feel like all Annie’s and Fran’s personal accomplishments have amounted to nothing and leaves viewers with no resolution.

The Underground Railroad is an incredibly tough watch, but it is a deeply poignant and thought-provoking series from one of the most consistent and incredible directors of the 21st century.

While turning Backman’s complex novel into a series rather than a film was a smart move, Beartown does run into some issues along the way. The rise of Beartown’s hockey team is important for the context of the story, but the series spends too little time showing how their skill improved. The series relies too heavily on surface-level montages to communicate how this dramatic shift actually happened.

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.

The most common criticisms of Euphoria are its inaccurate portrayals of modern high-schoolers, its complex and confusing plotlines, and Levinson’s constant use of differing experimental filmmaking techniques. All three of those things are at play here, but in this case, where Levinson focuses specifically on a single character, they become more rewarding.

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

We Are Who We Are’s scope is almost too expansive, but Guadagnino’s gentle direction and subdued script help the audience build a connection to the characters.

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.

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.

Aside from giving these secondary characters more substantive scenery to chew on, our wish list also includes better dialogue for the leads, especially Spector, who spends far too much time reciting thematic exposition. When he does get to speak like a living breathing marginalized minority he’s downright gripping, but show runners Simon and Ed Burns should have more faith that viewers can read between the lines, and ditch the exposition. ... But if this miniseries falls short of those lofty goals, it’ll still be sturdily watchable, thanks to its pristine production value and impassioned acting.

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.

Horrifying as it is, Leaving Neverland lacks a bit of nuance, rarely coming at these allegations from any sides other than the subjects. There is footage of Jackson denying initial charges but the movie primarily focuses on Robson and Safechucks stories, which are credible and damning without ever feeling exploitive for the purpose of the documentary.

Shangri-La is not an advertisement for the studio, nor is it a biography on Rubin. It touches on the history of the space, which was built in 1976, featuring some classic footage with Scorsese and The Band, and the titular character for the television show Mr. Ed, who lived in a stable at Shangri-La when on hiatus.

There are a few new characters that are life preservers in this murky swamp of uninteresting plots.

"Meta" is the word used most to describe this strange take on a reboot, which in its very weirdness will have viewers—all of whom will be those that watched the original series when it aired in real-time, none of whom will be fans that aren't the ages of the actors/characters as it will make absolutely no sense to them.

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

Charlotte and Jonah don't get enough screen time, which is the shame as they are the main reasons to tune into Ozark, which is otherwise not worth the commitment.

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.