In its final season, the series struggles to cook up something fresh, but it’s still hard to resist.
There’s a sense of boldness missing from the show’s laidback, escapist tone.
The series boasts a unique charm that sneaks up on you.
The reboot has arrived at a time when warmth and optimism are precious commodities.
Season two is even more mired in soapy family squabbles and love triangles than the first.
There’s nothing to distinguish the series from the raft of other recent animated sitcoms.
These shows prove the marathon-watching juggernaut’s concern for both quantity and quality.
Wonder Man is a series about intimacy, belonging, the importance of storytelling.
Both in conceit and execution, the series is another misguided slog.
Moments of humanity glimmer on the show’s fetid surface like stars in a dirty street puddle.
Season two offers another hour-by-hour chronicle of an emergency room shift from hell.
The show’s fifth and final season boils down to a series of “Remember when?” moments.
I came into the show’s fifth season a curmudgeon. I left a communist.
Whether mining the past, pods, or headlines, good stories were the core of the year’s best shows.
This is a series about what happens when human empathy is stretched to its limit.
The cast seems to know exactly what they’re doing even when the series doesn’t.
The final season sees the band getting back together.
The series is about as indistinct as its title, following a friend group striving to make it.
Returning to Stephen King’s cursed town proves to be a bumpy but engrossing ride.
The fragmented structure of the four-part miniseries leaves it with no coherent center.
Like The Americans, the series understands that the political is almost always personal.