Change looms over The Deuce, as the series focuses on the far-reaching effects of urban transformation.
More than any other prestige TV offering, BoJack Horseman is simultaneously edifying and infantile.
Despite humanizing its characters, Jack Ryan is mostly interested in a broad battle between good and evil.
Ghoul is ironically impersonal and perfunctory, suggesting the work of a polished propaganda machine.
In season two, Ozark dramatically quickens its pace, as if it’s brought a gun to a chess match.
Disenchantment feels instantly familiar, unmistakably a product of Matt Groening’s well-honed house style.
Lodge 49 mixes whimsical surrealism and more grounded portrayals of quotidian reality.
Orange Is the New Black has always taken a unique, often maximalist approach to television.
Castle Rock is a generically gloomy small-town mystery that doesn’t lack for allusions to Stephen King’s past work.
Sharp Objects ultimately testifies to the triumph of survival, no matter how ugly or desperate a form it takes.
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