Mekeisha Madden Toby

Keef's inner struggles as a Black artist versus an artist who happens to be Black is an unapologetically funny and honest through line that also gives the show the authenticity it needs. Although San Francisco as a setting doesn't factor in as the uncredited character that it should, Stanley Clarke's thoughtful score deliciously folds in a number of Black musical influences and vibes.

Coel is undeniably comfortable in her body and non-European beauty, and delivers a raw performance and story that unflinchingly examines consent, victim shaming, gender, race, class, imposter syndrome, and our over-reliance on social media through the lens of a Black Londoner.

There is no shortage of signature humor in Season 4.

Thankfully, The Thing About Harry gets more right than it gets wrong and will give romantics the weekend fodder they need to laugh, cry, and root for Sam and Harry on the road to love. And if your bully from high school suddenly sends you a friend request, he or she is probably watching the same movie too.

The CW's "musical comedy-drama" feels depth-averse as its characters float around New York like stylishly dressed pappi in the wind. ... But thankfully there are exceptions.

If fictional TV characters Ally McBeal and Eli Stone had a love child, it would be Zoey Clarke.

The end result is a mostly fun but sometimes uneven venture into territory in which not all of the surviving headliners are creatively comfortable. Making things more complicated, all of the stars are executive producers on the series so the breadth of relatable vulnerability is limited.

Funny, irreverent, subversive and self-aware. ... Every episode (HBO previewed the first six for critics) has at least three noteworthy sketches that will make viewers revel, ruminate and post. ... While the show won’t make everyone laugh – What sketch comedy offering does? – or even appeal to all black women it will resonate with those seeking refuge from the endless cycle of internet outrage.

Like sipping whiskey on a lazy Sunday afternoon, “Deadwood: The Movie” gradually but deliberately rewards fans who have waited 13 years. ... Although there are moments where the table setting lasts a little too long--the meat of the action via a murder doesn’t take place for 40 minutes--time matters less when you’re catching up with old friends. Better still is the increased pace and gunfire the film experiences after said death.

Heavy on drama but light on action, the piece methodically deconstructs a widow’s reckoning of her late husband when all of his deceit comes crashing down around her after he’s gone.

If executed properly, "The Neighborhood" could hold up a powerful cultural mirror in the vein of [Richard] Pryor and Norman Lear. But it’s not quite there yet.

This show gets a lot of things right from the perfect amount of references and music from the original and the acid-washed 1980s where the movie reigned supreme to the impressive casting and acting. .... That said, Cobra Kai relies on coincidence far too often even for a show spawned from the decade of decadence.

The end result is a film that clumsily tries to sympathize with Paterno instead of the young boys he chose to ignore until it was too late. ... [Pacino] is less at ease with his take on Joe Pa, delivering a performance of a man just as uneven as the film it is named after. ... Riley Keough, Kathy Baker and Annie Parisse deliver strong performances as Ganim, Joe’s wife, Sue, and his daughter Mary Kay respectively.

This is a comedy by natives for natives and residents near and far. It’s that undeniable sense of pride and ownership that will make you “stand up and tell ’em you’re from Detroit” between bouts of laughter and smiles.

Creator Michael Schur (“Parks and Recreation”) must be commended for not only playing to Bell and Danson’s strengths but much like he did with his previous NBC hit, Schur creates a place for lesser-known cast members to truly shine.

Usher slowly but surely emerges as a major contributor on this underrated series filled with genuinely funny and touching moments.

Power is as sexy, flashy and addictive as it has always been. The only difference is the women in Ghost’s world have a lot more to do and say--and the series is better for it.

What makes Jenny and Lola so likable is that they are resilient, brave and fully realized in ways the teenage girls in the nearly three-decade-old original were not.

For all of its ambition, the drama feels lopsided at times because Winfrey, Whitfield, David and Dandridge’s performances are so dominate and riveting, they dwarf everything else. In order to compel viewers to keep coming back, Wright and company will have to either focus solely on the big four--more Oprah, please--or flesh out the ancillary portrayals so that they’re more distinctive.

What starts off as a lusty and dewy-eyed dance between lovers quickly turns into a taut game of cat and mouse more titillating than the pair’s pending nuptials. Enos and Krause have palpable chemistry.

Underground celebrates the small, exceptional group of black and white heroes who risked it all for the sake of freedom. And it’s that story, the amazing cast and the historically accurate writing behind the drama that make this series worth the investment.

Subplots surrounding Green’s southern belle daughters, espionage and PTSD do little to move the series along and would’ve been better shortened or left on the cutting-room floor. That said, such distractions do little to dilute Mercy Street as the imperative Civil War narrative it truly is.

We’ve all seen this world mined before in movies and TV programs alike. What makes Teachers stand out is the way in which all of these humorous Katies handle the trouble their offbeat and sometimes lewd and rude characters have made.

Instead of being nags or props, the female costars on this series are just as fleshed out and funny as their male counterparts, and the comedy is all the better for it.

Smart, sincere and punctuated by four-letter obscenities in the way Burr’s stand-up routine is.

This big-box comedy is stocked full of broad and easy laughs familiar though they may be.

None of these [Dick Wolf Chicago] shows are groundbreaking. All have dialogue is lumpy. But for viewers who crave the familiar, there is something comforting about attractive people saving the day.

Despite noticeable efforts to play Kent and Betty as wounded, troubled people with murderously kinky bedroom predilections, Westwick and Christensen’s stunted, one-note characters seem better suited as reenactments on an Investigation Discovery true-crime program than a prime-time series.