Johnny Loftus

In You Season 4 Part 2, the series remains grotesque, absurd, slick, vapid, skewering, and often quite predictable. All of which makes it totally binge-able.

All of this suspicion and continuous threat of violence makes Snowfall an unsettling, utterly compelling watch, since it’s removed its own set of guarantees.

Cinematic, emotional, and actionably nostalgic, the third season of Star Trek: Picard feels like the truest representation of what returning Patrick Stewart and the TNG era was supposed to be for.

Wu-Tang: An American Saga mirrors and honors the expansive nature and broad range of creativity that defined Wu-Tang themselves, even if it sometimes struggles to hammer the whole thing into straightforward TV series storytelling.

From hip hop’s inception and its emergence and growth, Fight the Power: How Hip Hop Changed the World offers a powerful message that connects influence, innovation, and a unifying beat to how we continue to think and speak about the artform today.

As nascent true crime sensations go, a fan of the genre could do worse than Jack Murphy and the chronicle of Murf the Surf.

The grim goings-on and generally sour worldview that Mayor of Kingstown established with its first season have not abated with the arrival of its second. But nor has the fine acting and character work that exists in its many one-on-one moments.

Vikings: Valhalla is rich with history, the gore and glory of battle, and lusty romance. But its ensemble cast is also uniformly strong, with characters on all sides of the geopolitical and religious struggles at the heart of Valhalla having gained some valuable perspective.

Alice in Borderland is bloody, violent, and sometimes stingy with narrative facts. But it revels in making or breaking the rules it’s created for its topsyturvy world, and the core characters are compelling and fully rendered.

Jack Ryan has successfully evolved its formula of spycraft and gunfights to accommodate John Krasinski’s brand of charm. In other words, it’s solidly-built, with just enough of everything that a show in this genre requires.

South Side is the kind of second-by-second hilarious where seemingly every line is telling its own joke. And at a breezy 30 minutes, you can fill out the hour laughing.

The necessary biopic parts are all here. But George & Tammy is buoyed remarkably by its two terrific leads, with Michael Shannon and Jessica Chastain embodying the best and worst about the country stars as both distinct individuals and two people in a loving but combative celebrity relationship.

Avenue 5 packs its half-hour episodes with laughs and a kind of manic absurdity that’s well-positioned to carry this comedy in whatever direction its hapless luxury space liner is pushed in next.

At times, Spector doesn’t seem to know how to align the man’s competing legacies. But it does its best to portray a fuller picture of the woman who paid the ultimate price for his behavior.

The sleeper stars of this first episode of season five are obviously the actors who get to play younger versions of the show’s core characters. ... Season 5 of Yellowstone, its longest yet, has the future of the Duttons, their ranch, and the complexion of the state they call home in its steady rifle sights.

Warrior Nun feels revived and reenergized as it begins the second season nobody was originally sure it would receive. There’s a lot to sort out, like Adriel’s true lineage and who will survive the continued bloodshed. But as Ava, Alba Baptista is ready to lead the charge.

Take your average police-involved murder mystery and amplify it with creepy goings-on of both the real and imagined variety, questions of deja vu and busted memory, spooky kids, and some terrific performances from Jessica Raine and Peter Capaldi, and you’ve got The Devil’s Hour.

It would have been interesting for Unsolved Mysteries to get the authorities on record. But according to a postscript, those agencies denied a request to speak.

In Chad & JT Go Deep, their characters are as earnest as they are detached, like stoners who make no little plans but falter on the perception and follow-through. And that earnestness can mostly make up for wherever the humor becomes so indirect as to be scattershot.

It’s interesting to revisit 1999, to look at the crackly VHS footage and say “What did it all mean?”, especially in the context of the decade that came next. Trainwreck: Woodstock ‘99 doesn’t dig all the way into those larger questions. But it does offer a primer, and its share of insights.

Industry is chock full of people being deliciously awful toward one another and making blatantly personal plays for financial gain, making all of their machinations eminently watchable.

There’s plenty of material here to fill the breezy half-hour episodes of What We Do in the Shadows, where bits ricochet wildly off crown molding and claw foot furniture.

As big as Stranger Things has stretched in season four, the avenues by which its parallel narrative threads will converge are becoming more clear with the revelations of volume two. And that’s exciting, watching as all of these characters, long broken apart, find their way back to each other.

Led by strong work from Evan Rachel Wood, Thandiwe Newton, and Aaron Paul, the sleek visual aesthetic Westworld works with allows it to coast on its own cool weirdness whenever the plotting starts to chase its own tail.

The Umbrella Academy never met a time traveling wrinkle it didn’t like, and for season three, there’s a lot of fallout to sort through. But with strong characters both old and new, there’s plenty of reason to see it through.

Steeped in blood, sopped in whiskey, and lit in brooding pools of yellow and gray, Peaky Blinders is mood TV escapism with a satisfying historical bent.

The Orville: New Horizons is back for a third season with a new home, some light, effective tweaking, and more seasoning for its core cast.

With much of its principal cast back in the saddle, Borgen: Power & Glory is a welcome return for a terrific Danish political thriller that hasn’t let up the tension since its 2010 premiere.