While I’m still waiting for Close Enough to do something a little different to separate itself from the pack and avoid being lost to the archives of forgotten animated sitcoms, it’s a fine watch in the meantime, especially for fans of Quintel’s work.

Little Voice is a sweet, warm-hearted show, filled with natural performances and dotted with lovely songs. Its general willingness to leave story threads dangling makes the viewer feel she’s been dropped into a true-ish tale of modern bohemia.

In the end, it lands somewhere between the creeping dread synonymous with the greats of J-Horror and a splatter-the-walls penchant for gore that’s more akin to something out of New French Extremity. It’s not for everyone and considering the trauma of it’s most extreme moments I’m not entirely sure who I’d recommend it to, but it’s certainly refreshing to see a franchise installment this late in the game that manages to bring something new to the table.

It’s honestly rare to watch a show and not just feel fully confident about being able to recommend it to anyone, regardless of gender or age, but say that it should be watched by everyone. Young women deserve to be taken seriously. And so does this show.

Warrior Nun‘s main issue is that one half of its story is just infinitely more engaging than the other. ... The saving grace of Warrior Nun‘s more tedious aspects is Baptista herself, whose performance as Ava looks effortlessly charming while still doing a ton of heavy lifting.

On one hand, this feels like a seminal entry in the true crime genre that gives survivors a chance to be heard. On the other, it may function best as a peek inside the lives of two married writers, as it’s those intimate moments — the texts between Melissa and Patton and the heartbreaking way this series ends — that put a lump in my throat and elevated this series into something more.

The documentary’s honesty goes a long way, both in telling a gripping narrative that makes you want to watch the entire six-episode run in one sitting (all of the episodes drop, collectively, on Friday), and in making you feel like you’re actually a fly on the wall, watching one of these productions unfold.

AT:DL-BMO feels a bit rushed when it comes to story beats and character development. There’s simply no time for fans to develop a deep emotional attachment to these new characters so that, when their lives are upended, we feel something strongly one way or another. Luckily, BMO acts as an emotional anchor here.

Despite different writers and directors, all three of these episodes feel much more consistent, united by more than just the occasional appearance from Peele.

Doom Patrol remains as effortlessly odd-ball in its sophomore season, but also improves itself by leaning even harder into the tragedy of it all at the same time.

This season seems concerned with focusing on the conflict between Vic and Manx, but the meandering and crude way in which it tells this story couldn’t be more off-putting if you tried to write it yourself. Unless you are a die-hard NOS4A2 fan who has been clamoring for more of the Vic vs. Manx showdown, I would strongly advise you to spend your time watching literally anything else.

Like the first season, there’s a high level of energy that verges often on a level of camp that is almost reminiscent of vintage Glee episodes; there’s a lot of speechifying on the part of characters. But while at times the second season is quite watchable — 90 percent of the time thanks to its cast — the show doesn’t really know what it wants to say about, well, anything.

HBO’s got its signature stamp all over this thing for better or worse. The result is something that’s only briefly connected to what you know as Perry Mason, and something so bleak as to make it hard to recommend.

While the 10 half-hour episodes rarely drag, they also never really dig into all of the issues brought forward.

As far as new, creative, original animated series go, Crossing Swords is one of the year’s best.

Season 2 manages to keep things fresh with new characters, plot twists, changing allegiances, and a return of some familiar faces, but what it does exceptionally well is two-fold: Unveiling Kipo‘s mythology and doubling-down on its social commentary.

The series absolutely explodes onto the screen with color, strange-yet-familiar locations and settings, and a super-fun sense of scale that stretches the imagination. Highlighting those visual delights are pitch-perfect musical cues that play up the tension of a stand-off, the frenetic energy of a daring escape, or the clashing of wills between warring factions in a savage land.

Overall, I May Destroy You is very much a must-watch show you need to keep on your radar. This show is fearless in its attitude towards the modern world in which it exists, with Coel’s creative voice bursting through to make some necessary commentary.

There are characters that work better than others, and it takes a few episodes for the series to find the right tone (satire ain’t easy), but by the end of the 10-episode first-season run I found myself endeared to this disparate ensemble and deeply invested in what happens next. So, you know, a Greg Daniels show.

Season 7 gets off to a bit of a rocky start with a dialogue-heavy establishing episode that’s understandably focused on set-up but frustratingly inert until its final moments. Fortunately, from those last scenes of the premiere forward, The 100 Season 7 moves at a breathless clip, infusing world-building with tense action, a firm embrace of all the exciting possibilities sci-fi storytelling has to offer, and another batch of impossible odds for Clarke and Co. to overcome.

Looney Tunes Cartoons is a hilarious throwback that hits all the right beats and never misses a step. ... If Looney Tunes Cartoons and the creative team behind the scenes set out to recreate the timeless classic top to bottom, then they’ve succeeded quite well. If you’re looking for progressive social commentary, you’ll find it elsewhere

Unless you’re a diehard Homecoming fan, Season 2 will probably disappoint. It’s not that Homecoming Season 2 isn’t as bingeable or well-acted or stylish as Season 1; it most definitely is all of these things. But after screening several episodes, it’s hard not to come away feeling like you’ve just watched what effectively amounts to a neat little epilogue rather than a continuation of the first season.

No matter which way you slice it, it’s evident from the first seven episodes I was able to screen the team behind and in front of the Love Life cameras is a shrewd one keen to freshen up a very familiar premise.

Despite some pacing issues that make it feel like She-Ra is racing to the finish line, Season 5 is solid. Ultimately, not every ship might sail the way fans want it to in the end, but the major relationships that have been developed along the way pay off with huge dividends in the final chapter, scripted by Stevenson.

Beautifully made and complex, and unflinching when it needs to be, The Great at times feels like a light meal, but then reveals its surprising density. It’s a show that’s easy to underestimate, but promises to be unforgettable.

Its jokes are rat-a-tat yet unpredictable, its characters are quick to understand yet ever-deepening, its performances are delightful, its animation is crisply fluid, and its songs? Wowee, its songs. They get you right in the heart upon first listen, and I promise you the first listen will not be your last listen. Simply put: Central Park is a knockout.

While Snowpiercer is not necessarily unwatchable, but it’s certainly not easy to remain engaged from episode to episode.

Cianfrance has a gift for exploring the complex relationships between people, and he deals the cards straight here. There’s also a timeless quality to his work that makes I Know This Much Is True feel like it could’ve been set at any point in the last few decades.