Alison Foreman

In the end, scene by scene, tête-à-tête by tête-à-tête, rumor by rumor, the show makes that enigmatic face on billboards about as fully realized as you could hope.

This pairing [Jessica Biel and Melanie Lynskey] of strongly gendered performances would be fine if Candy used them to critique the virgin/harlot dichotomy. But as it stands, this series is a textbook example of how not to write women, reinforcing stereotypes instead of challenging them.

Through this churn of grief-stricken family turmoil and legal strategizing, The Staircase has begun a treacherous ascent toward saying something truly meaningful. It’s messy and massive in both scope and ambition. But whether that effort will be enough to justify retrying this case remains to be seen.

Season four part two offers plenty of reminders about what made this show work really well for a little while. Ozark might not be getting out clean. But it isn’t overstaying its welcome either.

Despite a stellar cast, equally good performances, and the rights to one of cinema’s greatest achievements (conveniently celebrating its 50th anniversary this year), The Offer mishandles its embarrassment of riches by rolling out a generic carousel of flat anecdotes that feel first and foremost like a Godfather-themed ad for Paramount+.

Despite the promise of a stunning natural setting and a big ol’ hole to throw things into, Watkins can’t quite come into his own. Even as the soapy interpersonal stories ramp up, there’s a nagging feeling Outer Range never goes far enough.

Slow Horses’s first season is chock full of characters, lines, and moments that will work brilliantly for fans of spy thrillers—not gritty spy thrillers, not action-packed spy thrillers, but straight-laced, classic, by-the-book ones. ... This conventional addition to an already crowded genre counts as a confirmed kill.