The series does a good job of having us follow their story, get invested, and then have our hearts broken when things go wrong for them, all the while hoping that they will see success again.

Ultimately, Westworld hasn't gone back to the place where it all started, and continues to expand its scope far beyond the borders of the park, but rather than this resulting in more disarray, what plays out are the exciting twists, turns, and surprises through time that will make anyone sit up and take notice.

Overall, while Loot takes its time building momentum, spending a bit more attention on its lead's solo journey than absolutely necessary, once Molly is in the mix with her new teammates and the premise is really on its way, this show evokes all the feels. Maya Rudolph is at her best, shining just as bright as the rest of this rockstar cast.

There are twists and turns at every corner that will no doubt keep viewers coming back for more, but Season 2 of Only Murders in the Building ultimately loses itself in its overreaching and overly tangled web of plotlines.

Overall, The Summer I Turned Pretty is a fun summertime watch, the TV equivalent of "a beach read." Though not every moment is light and summery, it is a perfect ode to summer and young love.

It all manages to leap above the high bar set by the first [season], landing on something both raucously funny and reflective. Each joke is packed full of meaning that explodes into interesting places that never fall into any tropes, pushing back against our expectations to great comedic effect.

The field of stars around Elizabeth far outshines the future queen herself, and as a result, the series is bogged down in its own self-importance, following threads of lord protectors and stepmothers and God knows who else through a confusing maze of castle walls, time passing seemingly at will for characters you can’t bring yourselves to care about.

I'm firmly convinced that no other show out there is doing it exactly like Evil, and three seasons in, that still remains true.

For All Mankind is a fascinating, underrated show that offers science-fiction/alternate history on top of great storylines, strong characters, and well-written episodes. It all works together seamlessly without feeling like storylines are being sacrificed in the name of spectacle. If you liked the first two seasons, the third keeps up the momentum.

Dark Winds is much pulpier in its origins, though it shifts into being more profound when carried on McClarnon's shoulders. It is often messy and a bit haphazard, speeding through key revelations via flashback that could have used more time to breathe. However, the enduring commitment of the performances from McClarnon and the rest of the cast ensure that the final scenes piece everything together rather poetically.

Irma Vep takes a bit too long setting the table before getting to the meat of this adaptation, but once it gets going in the third episode, Assayas is crafting a remarkably personal and shockingly honest look at art and himself that expands upon one of his masterpieces in captivating ways.

Overall, "Electric Sheep" is definitely a great episode, but it would maybe be better if the show didn't continue in the same vein for the rest of the season. Serious stories like this, while important, don't exactly fit in with The Orville's brand of humor and wonder. As a rare treat, it's certainly satisfying, but here's hoping we get to see more classic sci-fi adventure stories in the next episodes.

Of the plotlines this season, Kimiko and Frenchie (Tomer Capon) are the most compelling to watch. ... There is a lot to love about this season of The Boys, but there is also a lot left to be desired. Most of the characters have reached a point where they need new motivations and outside influence to propel them forward.

It is a show that never rests on its laurels, confronting and confounding in equal measure. While it is a little rough around the edges, much like Bridges himself, it still never lacks a sharp sense of tact and tension that transcends beyond any constrictions.

While some former band members may be unhappy with Pistol, it is likely for the better. The style and flair is still there, but there is a hidden honesty to the series that makes it worthy of viewing and one that even non-fans of the Sex Pistols could enjoy.

While casual viewers might be put off by the deep dives into the series' lore and episode run times that aren't exactly binge-friendly, the fans who have loved Stranger Things all along should find themselves riveted by Season 4's most electrifying turn of events.

There is some unnecessary rushing in its conclusion as it barrels towards a strange cliffhanger. However, the core of Now & Then all works quite well as the emotional weight of the two timelines converging reveals much about the characters and the inevitability of their past catching up with them.

The Ipcress File isn't your garden variety spy story, nor is it a gloom-and-doom picture of horrible people doing horrible things. It's in the balance between those two extremes that The Ipcress File manages to fit itself — and while it's far from perfect, this is definitely a show that'll have you waiting with bated breath every week for the next thrilling episode.

Fortunately, The Essex Serpent delivers in just about every facet. From performances by Tom Hiddleston and Claire Danes that are infused with a delicious note of inward yearning that slowly displays itself on the outside to the fog-blanketed marshes of the Essex village in which the bulk of the story is set, the resulting product is an atmospheric, Gothic romance that doesn't retreat from indulging in its overall foreboding while it ultimately looks toward the possibility of an optimistic ending.

Taking certain story weaknesses into account, this version absolutely comes the closest to replicating the feeling one can get from reading Niffenegger's book, which had its own addictive qualities.

It goes through the motions with the enthusiasm of a nap, occasionally jarring us into paying attention before falling back into a deep slumber of mundanity.

With a directionless script, an uninspired central performance, and frustrating pacing, Conversations with Friends fails to earn the Sally Rooney-verse another victory.

Overall, Hacks Season 2 is a higher-stakes, higher-reward season, emotionally. The journey of pairing such generationally divided comedians together, first launched in Season 1, is now given even more interesting obstacles to navigate.

A slow-burn, compelling collision of faith and morality, Under the Banner of Heaven doesn’t ask the audience what is right and wrong but presents how morals can ultimately become skewed in the eyes of people who put their religion before their humanity, and the tragic consequences that inevitably ensue.

It lands firmly in the camp of good, but not great, and for someone who enjoys mystery novels, this series is probably a good weekend binge, a one and done to be watched while cleaning or with friends.

By starting from scratch with a whole new group of characters, The Wilds bifurcates its focus and renders everything more shallow as a result. It is ill-conceived from the jump, digging itself into a narrative hole that it spends far too long trying to get out of.

Watching this show not only makes the case for revisiting the documentary too; it demands a tandem viewing, with each successfully complementing the other in its existence.

The scenes between Gentleman Jack's two leading women are where the show continues to be its most compelling, as well as what gives the season its biggest emotional weight.