Overall, the storytelling in Dear White People is solid, despite the mildly jarring feel of its two halves. There’s a palpable sense of purpose that unites all 10 episodes and an artistic style that consistently elevates it.

Legends of Tomorrow‘s fourth season has carried over the momentum established by its previous effort.

While it's partly let down by its glacially-paced first three episodes, Daredevil season 3 manages to find its footing before long. Fans of the ongoing battle between Matt Murdock and Kingpin will not be disappointed.

Getting past these angel and demon power struggles is a problem the producers need to address because it got stale after season 9. ... The latest installment does have its moments.

All in all, “The Woman Who Fell To Earth” succeeds as a statement of intent for this brand new era of Doctor Who, telling us that it’s going to be easily accessible, gorgeous to look at and listen to, all about the character drama and brought to life with a lead actress who has a lot of energy. In terms of comparing it to past Who, it’s not a flawless season opener, but it does a terrific job of making us excited for the rest of Doctor No. 13’s tenure.

In the eyes of this critic, showrunner Todd Helbing and company have rediscovered what’s quintessentially The Flash. ... These folks have put together one of the strongest premieres this show has ever produced, and it’s guaranteed to leave people talking.

The characters come together organically, with even guest heroes like Hawk (Alan Ritchson) and Dove (Minka Kelly) getting roped in. And though they bring a boatload of drama with them, they make for a welcome addition. ... Pacing issues in the debut episode aside, the directing and cinematography are rock solid.

Iron Fist's sophomore season isn't able to right the many wrongs from its first. Don't waste your time on this one.

Luke Cage's second season marks the darkest point of the Netflix Marvel shows to date, and will have you rethinking your definition of 'good' and 'evil' once you reach the ending.

Since Cloak & Dagger is about building expectations, it’s hard to know exactly how it’ll fare based on these early installments. But it’s evident that showrunner Joe Pokanski is trying to craft something pretty substantial and timely for his young audiences, and there’s reason to believe it’ll make a great impact for those who follow it. For now, though, it’s best to let it air its remaining episodes and hope it’s going to be among the better contributions from the MCU.

Under the guidance of Cumberbatch, who serves as executive producer, Nicholls’ translation is a surprisingly positive endeavour, combating the inherent bleakness and social commentary of Aubyn’s stern prose with black comedy and an unceasing desire to better one’s self. ... There’s just too much to unpack in a mere handful of hours--simply put.

A lot has changed in the second season of HBO’s arcane sci-fi thriller, but the show’s ensemble remains its most prized asset, notably Evan Rachel Wood and newcomer Peter Mullan (Sunset Song).

A level above the endless viewing options that exist today.

Better than season 1 in some regards, but weaker in spots, it’s difficult to say whether Legion’s second outing is an improvement over its predecessor or at a stalemate.

It falls into certain trappings, seemingly being obsessed with the concepts of ranks and guilds just as many sci-fi and fantasy tales are. Granted, it does work in these confines, but I tired of it quickly. ... To get the most out of this series, you’re going to need to enjoy both the military and political intrigue as well as Seg-El’s journey.

With the casting solidly in place, this execution falls on the series’ directors. Edward Berger admirably handles three of the first four episodes and Sergio Mimica-Gezzan helms the third.

While not quite as transcendent as its first outing, Jessica Jones season 2 continues to prove that its lead character is one of the most complex and fascinating figures in the MCU, both on film and television. The series’ penchant for leaning into its noir elements--hard-boiled narration and all--lends it a tone and spirit completely distinct from the sea of superhero stories currently out there.

With the new status quo comes those bold new possibilities. Along the way, much allegory is to be witnessed, and I’m not just talking about the obvious. Really, it’s recommended that you pay attention and perhaps even watch each episode twice in order to soak up every detail. As usual, the writers deserve a medal, with each installment chock full of numerous intricacies.

While it’s hard to say if Ash vs. Evil Dead is the best it’s ever been this year, the series does feel as invested in these characters as ever before.

To its credit, this young series has done a phenomenal job of finding its footing with the first two episodes, and trust me, it’s the second that’ll really hook you. Capable of warming hearts just as The Flash does while being more similar in tone to Arrow, Black Lightning stands as one of the more sophisticated additions to the DC TV landscape.

When you enlist in the Peaky Blinders army you can expect a lion’s share of brawls, bullets, and broads. What most don’t anticipate is an irresistible ensemble performing immaculately as a collective, delivering an absorbing, visceral story entrenched within imposing production and costume design. These attributes are precisely what has made Steven Knight’s period crime-drama startup so successful, now four seasons deep with a fifth on the way. Viewers will soon find out that the latest six-episode story arc is no slouch and even though nothing of what has made Peaky Blinders a hit has changed.

Black Mirror is a treat for TV and a show that Netflix should pin to its front page with pride. It’s one of those dramas that you finish watching and head to your desk, determined to pen something half as good, or sit back and think: “Good lord, that’s clever.”

After four seasons and a universe of ideas, Agents of S.H.I.E.L.D. is still doing what it does best. It’s constantly shifting the goal posts and surprising its audience with delightful twists and turns, never taking its fanbase for granted or getting too caught up in what’s already worked.

Unafraid to delve deep into the Monarchy’s turbulent history, in its second season The Crown has once again set the bar for Netflix Originals. The series’ regal production design, sublime writing, and ravishing camerawork frame the ensemble’s consistently impeccable theatrics in pure gold. The biographical drama has justified its minutely dull setup and indeed shown viewers that heavy lies the crown.

Deeply melancholic, The Punisher is more of a procedural than fans might expect, though one colored by sporadic bursts of the kind of over-the-top violence not likely to spill onto an episode of Law & Order. That being said, it does feel like a tone befitting someone as inherently bleak as Frank Castle.

Runaways is no phony teen drama, and although the first episodes somewhat falter when trying to merge awkward angst and fascinating mythology, when it succeeds the show is as effective as any of Marvel’s other big-screen genre mash-ups.

All in all, Stranger Things season 2 is ultimately more of the same, but still a very worthy sequel, which is good news for those of us (like me) who only hoped for the Duffer Brothers to manage to carry through the success of the original run with an affecting, and believable, continuation of the story.

Mr. Robot season 3 is quick to prove its building excellence. It’s apparent that Esmail learned from the mistakes he made in his strong, if frankly overloaded, second season, and that he understands what it is that drew fans into his show in the first place.