His & Hers (2026)

At its core, “His & Hers” has all the delicious elements of a stellar thriller. Thompson and Bernthal are formidable in their roles. .... This is not the show you think it is, and that’s why it’s masterful.

Bolstered by crackling chemistry between series leads Tessa Thompson and Jon Bernthal. .... While it doesn’t reinvent the genre, the show ends up being more than the sum of its parts and keeps you hooked from beginning to end.

Repeatedly, and amusingly, toys with expectations.

It’s a character-driven enterprise, though there are a pair of concluding plot twists that, in their utter insanity, may make some viewers crazy themselves. .... That said, there’s a lot to enjoy about “His & Hers.” The performances are absorbing, though the fact that Anna and Jack are at odds for much of the six-part series is probably fortunate, because the actors are so stylistically incompatible.

While some of the clues are there all along, two major reveals in the back half of the series seem too conveniently withheld from the audience and the characters until the last minute. All that aside, the final two episodes are also the most action-packed and full of surprises.

The performances and potential for lots of twists makes His & Hers a show that we want to see more of. But the first episode needed to give viewers a few more crums of contextual information in order for it to make more story sense.

The twists, they are plentiful. The absurdities, they multiply. The viewerly enjoyment, it increases. The script – intoxicating mercenariness aside – is serviceable. The endeavour is bingeable. Nobody needs more, this early in the year. His-and-hers comfort television is enough.

The result is a story that often feels unfocused, a murder mystery that neither of the two main characters seems much interested in solving. And yet, and yet: His & Hers does still scratch that January itch, with its gossipy aura and multiple demented plot twists.

But as a series, “His & Hers” is best at luring us in. The payoffs are consistently disappointing and the final episode basically an eye-roller, start-to-finish — all filler and “explanations” and “You didn’t see THAT coming” when we most certainly did and a long time before.

It all floats along, watchable enough as far as it goes. It unfolds in that middle ground somewhere between utter boredom and compelling entertainment. But you can do better than that.

As more murders pile up, seemingly targeting Anna’s old high school clique, emotions run high all around. Jack is so blustery, so loudly and quickly dismissive of Priya’s good ideas, that the phrase “doth protest too much” springs to mind. (As does, “Simmer down, Jon Bernthal.”)

“His & Hers” hints at a welcome playfulness by revealing the reporter/cop connection just after Anna has sex with someone else she just met. But the show quickly becomes irretrievably serious, despite most storylines hinging on conflicts of interest so outrageous they would only make sense in a farce.

Where the ending of "His & Hers" straddles the line between good and bad in an interesting fashion, most of the show up until that point falls in the much less exciting middle ground of mere mediocrity.

At times, they [Tessa Thompson and Jon Bernthal] do so much to elevate the material that you want to give it a pass just to reward their efforts, but the show increasingly places so much bad dialogue and illogical character choices in their paths that even they get stuck in the Southern mud of this Georgia tale.

The general indifference shown toward its own story — or, at least, the best versions of it — comes to emphasize the emptiness at its core. And the big reveal, so preciously protected until the very end, isn’t clever enough to distract from such a muted build-up. It isn’t really clever at all.

It wastes them [Tessa Thompson and Jon Bernthal] on a prestige-looking soap that mistakes escalation for depth and leaves you with the lingering sense you didn’t watch a mystery unravel so much as a premise collapse.

Unsatisfying and improbable, the series prioritizes shock value over substantial world-building and character development.

Arch at some moments and grim at others, the show ultimately works as neither a self-aware black comedy nor a poignant exploration of the not-at-all-funny traumas it uncovers.