Goldberg and her team have a much better handle on both Meyerism and what might draw worshipers to it in season two, and that keeps the rest of the show afloat. But ultimately the show works because it captures the feeling of being enmeshed in something greater than yourself, whether that organization is bound together by faith, by familial duty, or by love.

[The] dissonance between classic family hijinks and twisted debauchery is exactly what makes The Detour such a fantastic ride.

There's so much thought put into each scene, the composition of each frame, and the camera angles being used that you could mute the show and still come away with a brilliant, emotional story.

While not every moment works, Brockmire the TV series offers a world worth visiting, and characters worth rooting for, even when they stumble.

Clearly, the darkness that’s always been present in Unbreakable Kimmy Schmidt is finally breaking through in this fourth season, even though it’s also loaded with the same hysterical one-liners and fast-paced humor of the other seasons.

The series is at its best when it captures the small, human moments that play out amid these flashes of chaos--stolen kisses and thwarted connections and pitched hand-to-hand battles. It’s not perfect, but if it strove for clean perfection, it wouldn’t be nearly as good.

It boasts terrific performances, unpredictable twists, and a stack of fanfic-favorite tropes (if the series’ title has you thinking of Whitney Houston, you’re frankly on the right track) executed with polish and flair. Though the thread of tension crackling at the show’s center doesn’t quite make it all the way through to the end, the journey is still enough of a roller coaster to make it well worth the ride.

It is not a perfect show, but it’s a lovable and endlessly watchable one. Sometimes, when you just want to watch a fun TV show, “lovable and watchable” is better than perfection anyway.

As a TV show, I Love Dick’s makes the smart choice to lean into the book’s aggression, giving Hahn the freedom to fully let loose. The series embraces every sordid, horny detail of Chris’s desire, staring viewers directly (and often literally) in the face and daring us to blink.

Good Trouble strikes me almost as TV’s first good Gen Z drama. It’s forthright and earnest, and it wears its politics on its sleeve. It understands that the world is filled with junk, but sometimes you can make something beautiful out of that junk. And it knows that even if the end is near, it’s not quite here yet. There’s still time.

Based on what I’ve seen of Loki so far, the show is off to a great start. I’d even say it’s more promising than WandaVision at the outset.

The result is not so much a show for today’s teens, but rather a show for adults to wistfully look back at those years after having experienced every moment of awkwardness, heartbreak, anger, genuine friendship amidst a world of jelly pens, AOL chatrooms, retainers, landlines, and the Pen15 club.

While Runaways can still feel like a show written about teens by adults (here’s looking at you, #blessed selfies and rando man at a rager peddling pills by asking girls if they “want to party”), for the most part, Runaways demonstrates empathy for its characters by allotting them time and consideration beyond their most basic descriptors.

[And Then There Were None] is enormous fun: a lush, lurid, gothic fantasy of a murder mystery. It also has little in common with its source material.

As an overall package, At Home With Amy Sedaris is a gleeful hodgepodge of silly jokes, talk show satire, and bubbly innuendo delivered with the gusto of a host who refuses to have anything less than an amazing time. It’s fun, it’s wacky, it’s everything Sedaris does best in one Technicolor package.

If you want a solidly executed version of the [cop drama] form--or just enjoy a good detective novel--then Bosch season two should do the trick.

The show’s six-episode second chapter, debuting this week, is terrific from stem to stern, taking a story that would seem unlikely to translate well to television and turning it into an eerie, Twilight Zone-style tale of suburban conformity, post-high school depression, and the inability to escape the legacy of one’s parents.

Dickinson is a slick, stylish show, and refreshingly, it knows exactly what it’s doing.

Undone is a frequently beautiful and thought-provoking ride.

The Looming Tower, despite its high stakes and its ostensibly true story (though many details have been changed), is a cop show. A really well-done cop show, admittedly, but a cop show. And more power to it.

The point is that Gibney and his collaborators have synthesized all of this information, put it in one place, and turned it into an emotional arc that will leave you as seething with fury at the church as any of those interviewed for the film.

As of its first four episodes, Underground is in a solid position moving forward, thanks to its breathless momentum and wonderful anchoring performances from Hodge, Smollett-Bell, Vann, and Miller in particular.

Casual is more wry than funny, but it has some sharp observations and moments. It's also got a secret weapon in Watkins.... Casual definitely gets better as it goes along.

On its face, this show is a solid new entry in the Sherman-Palladino pantheon of wisecracking heroines and the assorted people who love them. But The Marvelous Mrs. Maisel is also a stellar showcase for a woman unleashing her full fury and potential in a way no one--least of all herself--saw coming, or will soon forget.

Despite its name and Bernthal’s intense performance, The Punisher is about more than just its ruthless antihero, and proves much more incisive than it may initially seem to be. ... Even when its stylized viciousness is undercut by real-world tragedy, The Punisher, like Marvel’s very best Netflix series, gives its title character a bloody good introduction.

Stories the writers have obviously been wanting to tell for years are ramping up, and the actors are in peak form. Even if you tuned out of this show somewhere in the intervening years, it's worth coming back to see how it all ends.

The Crown struggles at times, but there’s something within it — a slumbering beast, deep beneath its waves, just waiting to surface. You catch glimpses of it here and there--when Elizabeth betrays someone in the name of the crown, especially--and those glimpses are enough to animate this first season.

Stranger Things hasn’t yet fallen into the Home Alone 2 trap. But it’s telling that the most exciting moments of season two are the ones when the characters evolve and change, and when the world around them does too.