Lily Moayeri

The cast comes across as natural, even in their stereotypical roles. The dialogue is similarly fluid and representative of the kind of conversations that would happen in these circumstances.

Welcome to Wrexham is, in a word, boring. The documentary-capturing cameras have been on from before day one and they’re capturing the dullest footage there ever was.

Legacy starts strong and only gets stronger. It’s a multi-generational family dynasty real-life drama far more riveting than any dramatized version.

The first few episodes of Season Three are overly saccharine. ... Thankfully, this cloying approach fades away relatively soon and Trying reverts to its winning and likeable personality.

With a sharply-written script, nuanced direction, and deft acting, particularly on the part of Doherty, Chloe is a study in modern social dynamics and their psychological impacts as much as it is a ravishing mystery that needs to be seen through to the end.

There are a lot of roadblocks before Sheila gets everything she is working for and none of them are rehashes of those she navigated in Season 1. This is a brand-new hell for Sheila, with enough redemptions along the way to keep you rooting for her.

The successes on season two of Hacks are hard won by the series’ characters who maneuver around a minefield of losses. The message of perseverance and determination, however, is sent with aplomb and without a shred of “hack”-y-ness.

It feels a little predictable, but the extreme personas of the overdrawn characters keep you locked in.

The set-up sounds promising except the overwhelming apologetic tone that blankets every single exchange stops Ten Percent from developing any kind of edge.

Starstruck gets off to a dull start, then becomes predictable and uninteresting. But, as the episodes progress, Matefeo rediscovers the instinctive humor that made the first season such a delight.

Sharp and accurate, at the same time, humorous, it is this latter characteristic that allows for the messages of the series to come through loud and clear. We’re listening and cannot wait to hear what the rest of this season has to say.

From female orgasms to women finding a career that speaks to their skills and passions to male objectification, differing viewpoints on women’s rights, misogyny, power dynamics, Minx tackles it all with a nuanced touch.

Amanda Seyfried gamely does her best, and at times she succeeds in capturing Holmes’ mannerisms and deranged energy.

Once you get past the initial insufferable hump at the series’ start, it becomes a guilty, addictive watch, not unlike watching self-centered wealthy people on reality shows dedicated to them.

The fourth season of the 1950s-into-1960s period comedy The Marvelous Mrs. Maisel gets off to a shaky start.

Granted, Dollface is a comedy, but it’s not a comedy for tweens, yet that’s how the series plays out.

The confusion of this multi-genre series and its far-fetched ending is only justified by Bell and her imminent watchability, which works no matter who she is portraying or how shabby the material she’s working with is. ... An empty calorie binge.

We Need to Talk About Cosby is difficult to watch, but it is absolutely necessary.

The sensitive and relatable approach to its subject matter treats the seriousness of alcoholism and the difficulties of recovery with respect and dignity, the laughs a tonic rather than gratuitous. Recommended for all generations at the end of the alphabet.

It weaves the stories of its eight principal characters in a way that never feels redundant or overcomplicated.

And Just Like That… addresses these issues [death, alcoholism, racism, sexual identity] with a lot more respect bringing a deserved weightiness to the matters, which are explored over the course of the 10 episodes and not resolved in under half an hour—love. The overarching cringing “wokeness” of it all—hate.

The themes of women’s rights and sociological progress are strong throughout this season. Contraception, that was so controversial in earlier seasons is becoming commonplace. ... Call the Midwife stays in step with its times. Only seven episodes this season is simply not enough.

To give the second season of The Morning Show something, anything, to propel it forward, there are a variety of soapy dramas, many of them pinned to the new characters. These cobbled together histrionic dramatics are offensive compared to the gravity of the issues of the first season. Even combined, the desperate scrambles of the second season don’t have enough bite, or credibility, for the viewer to invest in.

While the humor of Back to Life’s second season is still razor-sharp, the sinister elements and the characters’ excruciating pain override the laughs, tipping the series into highly sensitive human interactions and dangerous, heightened feelings much more so than comedy. ... Six episodes per season is simply not enough of this charming. if disturbing, series.

You need to keep your wits about you to pick up on all the witticisms of The Other Two, and it’s worth a re-watch to pick up on all the little quips that are littered throughout the series. They’re even better the second time around.

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

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.

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