Saloni Gajjar

Despite centering on Molly’s burgeoning love life and reconnecting with her family, the characterization still feels fragmented. It’s a good thing Sofia, Nicholas, and the others surround her, but even their backstories aren’t fleshed out enough. Luckily, the cast holds its own and makes Loot an easy watch, with the season finale perfectly setting up what could potentially be a far more uncompromising future of the show.

Despite a lack of answers (at least in the first trio of installments), several unfinished storylines return in promising form. The cast is top-notch, and there’s never a dull moment thanks to smorgasbord of horny demons.

In the end, Dark Winds is a must-watch for its performances, direction, location, and style. But the show falters in answering its mysteries.

To its credit, the lingering pace doesn’t translate to any boring moments. Stranger Things still injects an enthralling backstory into its well-established universe. It’s an indication that the final two episodes of Volume 2 (dropping on July 1), despite its movie length, will only elevate season four.

Planted seeds really go nowhere by the end. Several subplots, including one with Cisco and his former bike gang, occupy real estate with zero payoffs. Garcia-Rulfo, Newton, and Campbell try their hardest, but the show isn’t worthy of their talents (or even a continuation).

It won’t be laugh-out-loud or sappy, but Breeders remains one of the most grounded family comedies on air right now.

Girls5eva’s satirization of the music industry and pop culture ephemera remains as splendid as ever.

More than anything, UTBOH is a thoughtful and evocative display of reckoning with one’s faith. It doesn’t match up to Krakauer’s sprawling volume, but it’s still an earnest effort from the whole cast and crew, and deserving of its own spotlight.

Oseman’s work is undeniably sharp and “aww”-inducing, and it might be a challenge not to watch all eight episodes in one sitting. Luckily, though, the four hours will be time well spent.

Seven bewitching, off-kilter, and visually stunning episodes.

The whole cast is splendid actually, which might be the biggest reason to tune into The Girl From Plainville, despite its unsteady and drawn-out run.

Starstruck’s lead pair is endlessly endearing and watchable, even when the show recycles some of their core issues by the end of the season. Thankfully, the repetition doesn’t hinder the show too much. It’s still a goldmine in terms of a lighthearted rom-com, exactly the kind of brief, joyful escape we need.

The show is at once an educational, sweeping saga (about culture, history, politics, romance, and lineage), and a pointed story about its protagonist, Sunja, and her loved ones at various times in their lives. As such, it’s brimming with ideas, and conveys them really well.

The show is determined to be all heart to a degree that comes off as a little forced. Welcome To Flatch roughly clicks around episode six (“RIP Cynthia”), though, by honing in on the whole ensemble during an absurd funeral plot. It’s here that the show finally finds something of a comedic groove.

Amell settles into Nathan with more self-awareness, but it’s Allo, Johnson, and Edwards who come out swinging. The solid performances, and Upload’s timely arrival—when is scrutinizing affluent conglomerates and the impact of social media not relevant?—really transform the show in its second outing.

Despite its foreseeable conclusion, Pieces Of Her is still a pleasant thriller, especially due to Collette and Heathcote’s work. Being aggressively mediocre but enjoyable overall isn’t a bad thing—in this case, predictability triumphs any outlandish endings.

Despite its more evocative performances, Inventing Anna demands patience that doesn’t pay off, squandering its promising potential along the way.

Suspicion doesn’t spend any time making viewers care about Leo or Katherine, so the entire mission feels very low-stakes. There are bare minimum levels of intrigue, and fans of the genre might even enjoy the ride, but Suspicion has nothing to offer besides an average suspense story.

Despite the strong performances, The Woman In The House is nothing more than a wasted opportunity to poke fun at, while still appreciating, successful thrillers.

The half-hour passes quickly because Ansari is still affable as a comedian, but the humor is bland and empty. He wants to connect with viewers on a more emotional level, but the transparent attempt to rebuild his image feels too measured and staged, taking precedence over the performance itself.

Ozark returns to prove its worth in the genre by remaining a riveting and satisfying crime drama to its bitter (almost) end.

Like most horror series and movies, Archive 81 requires some suspension of disbelief, but just give it time and it will slowly rope in the non-genre fans with its poignant specificity and drama.

Search Party’s ambitious and implausible conclusion is emblematic of its main character in a way; it’s terrifying, fearless, and goes big because there really is nothing left to lose. There are some minor misses along the way, but the anarchy of the final season sharpens the show’s understanding of the zeitgeist.

The show and its lead try to be more earnest in season two, only to fall short due to lazy writing, dramatic and stretched-out narrative arcs, and Emily’s ongoing lack of distinctive traits beyond the fact that she’s apparently good at her job.

Pen15 is a crackerjack cringe comedy, but it’s also a love letter to both performers. The show is very much built around their talent, and Erskine and Konkle give it their all.

The show is effective as a ripped-from-the-headlines re-creation of the Anthrax case, especially for viewers who don’t know much about it, but it has little to offer beyond that.

The way the show tackles how teens cope with sudden freedom is both funny and truthful. ... This coming-of-age story is a joyride.

Caustic humor isn’t as central this time around. There are still plenty of thrilling zingers and visuals, but The Great blossoms into a show with a big heart and, inevitably, heartbreak for its protagonists and viewers.