An evisceration of Big Pharma. ... With a level-headedness that makes its takedown all the more effective, Gibney’s film shines a spotlight on the evolution of Purdue and company’s treacherous conduct.

Girls5eva, with its sprint through zaniness and invigorating message about getting yourself back out there even if it might be scary, might be the comedy series to capture our transition back into a celebratory world.

As with any new series, Ziwe has its uneven spots. Some of the musical performances can drag for just a moment too long, and some of the sketches can feel redundant. But overall, these premiere episodes are a formidable start that seem to indicate Ziwe and her show have real staying power.

The comedy and the intimacy of Che’s personal experience creates a show that feels funnier, more resonant, and more current than he could ever hope to be on SNL.

The Sons of Sam presents Terry’s suppositions in exhaustive detail, in order to both highlight their validity and reveal their flaws. Over the course of four well-constructed episodes, it’s the latter that eventually become too legion to easily dismiss. ... An illuminating—and sad—portrait of calamitous obsession.

The Girlfriend Experience is an efficient and confident affair, with little excess fat found on any of its half-hour episodes. ... As Iris, Telles strikes an unnerving balance between formidable intellectual and conniving predator. ... Like the show itself, there are layers to Iris that are difficult to pin down, but fascinating to ponder.

At once familiar and novel, it remixes disparate parts into a coherent whole, providing a new twist on the archetypal samurai hero. Not to mention that, when it gets down to fighting business, it downright slays.

The storytelling feels almost as clear and deliberate as it did when The Handmaid’s Tale first began, even if this series might never recover its initial urgency. After non-stop pain, it seems we’re finally in for at least a little catharsis.

It is the breeziest, most impactful thing I’ve watched this week, an easy, casual viewing that manages to strike you right in the heart. Watch it! It’s nice.

As vaguely sketched as its world remains by the end of this season, its characters leap right off the page—and their stories seem guaranteed to leave viewers, non-readers and Grisha obsessives alike, eager for more.

Told over the course of three sharp and entertaining episodes, Rofé’s wacky docuseries benefits from having an expert protagonist to guide us through this wild saga. Holthouse has a casual sensibleness and good humor that makes him instantly likable and trustworthy.

It doesn’t disappoint, delivering a whiplash-inducing storyline that bounces between a series of days in 1993, 1994, and 1995. ... Despite being both Aurelia and Holt’s biggest project to date, the series allows them to show off their considerable acting chops, as they essentially play three different versions of the same character over the course of a single episode.

This series is a mess. ... The real trouble with Wahl Street is that it has almost nothing to say about Mark Wahlberg or about business that we haven’t heard before. It’s a drooling love letter to the idea of “rise and grind” that, after a year of COVID-induced burnout, feels out of touch.

Berlinger turns the proceedings into a platform for his star. And every time Lauren says she’s putting the spotlight on the dead, it feels as if she’s courting it herself. Compounding matters further, Lauren’s analysis of Little is of a pedestrian variety. ... Time and again, the series makes weighty pronouncements that just aren’t nearly as astute or revelatory as it thinks they are, thereby rendering everything a bit exaggerated and empty.

But what starts as the familiar slow burn of those other shows—a close-knit community is rocked by a murder that a hardened local detective must investigate—quickly catches fire, becoming a powerful portrait of grief, trauma, and the devastating secrets buried in this claustrophobic town’s tangled web of relationships.

Beyond trite monologues about oppression and belonging, it remains unclear how each of the Touched relate to their powers, or their place in the world more broadly. ... The Nevers heaps layer upon layer of unnecessary plot atop its tidy premise. ... The Nevers’ dizzying character roster does its performers a disservice as well.

Them’s directors stage their requisite jump scares with aplomb, and both Ayorinde and Thomas deliver engaging harried-to-their-breaking-point lead performances. Yet there’s no nuance to the proceedings’ dramatic dynamics.

It’s impossible to tell, for now, whether this charming sitcom will rise to the notoriety of predecessors like Modern Family. But its soft-focus exploration of class feels like fertile ground for a broadcast sitcom in 2021—and the canny casting, specific but flexible premise, and focus on heart all feel right on the money.

This is a Robbery has a propulsive momentum that doesn’t interfere with its comprehensive examination of its story’s numerous angles. Utilizing an array of graphical timelines and maps, photographs, and archival news and crime scene videos, it lucidly details the multiple threads that comprise its tale.

This six-part non-fiction venture is a bit too comprehensive; like so many of its genre brethren, it could have been at least one episode shorter without losing any key facts or insights. That’s especially felt in its back half, when an inordinate amount of attention is given to the minutiae of Gacy’s trial. ... Fortunately, John Wayne Gacy: Devil in Disguise is otherwise exhaustive, illuminating, and intriguing.

Guided by sturdy performances and a premise that promises buddy comedy, anti-terrorist combat and world-building in equal measure, the premiere of Marvel’s latest shows off few radical moves but delivers just what the faithful want.

The reason the series will resonate is because of how candid she is about the complexities of addiction, the bumpy road of recovery, the pressures to be a poster child for sobriety, and the effects an episode like the one she experienced has on those in a person’s life. It’s perhaps corny but valid to venture that it could even save people’s lives.

With the personable Hoback as its guide, it offers real-time access to Ron, Jim, Fredrick, Qtubers, OAN’s Jack Posobiec, and more, and is bolstered by an avalanche of news and internet clips, archival material, and interviews with experts.

While the premise is a bit dystopian, considering that couples are choosing to stay in their cramped apartments to save up for a home or sacrificing their wedding to pick up a new set of keys, the show itself is heartwarming and becomes a fun guessing game of predicting which way each couple will swing. Holmes and Miller are upbeat, understanding, and pull out all the stops for their prospective clients.

Without the chest-rattling boom of every seismic Jaeger footstep, or deafening din of a Kaiju shriek, the series packs less of a wallop. That said, the upside to this endeavor is over-the-top action that even Del Toro’s CGI magicians couldn’t quite pull off—a trade-off that makes Johnson and Kyle’s series maybe not a grand success, but certainly a worthwhile addition to the franchise.

Even at a relatively brief three episodes, Murder Among the Mormons feels a tad padded, especially as it makes its way through its final installment. The series’ closing passages, however, are worth the wait, painting a chilling portrait of a man who—out of a lust for attention and wealth, and a desire to demolish the Mormon religion—treated history, relationships and people’s lives as pawns in his own deadly game.

Even grading on the curve of an attempt to stage a live production like this during the pandemic, the Globes failed to meet even the lowest bar. The irony is that this year’s hideous mess of a telecast did actually make the case for why award shows matter.

Ginny & Georgia never seems to find the thread connecting its many moving parts together. ... But there is potential here. Antonia Gentry, a relative newcomer, is a compelling presence, even when limited by somewhat unwieldy material.