Good Behavior isn't as morally or narratively complex as some of the better dramas on TV right now, but on a level of pure, breezy entertainment, TNT's new series is dangerously addictive.
Production values run high within Netflix's new blockbuster series The Crown, with everything from opulent operating rooms to the sunny waves of Malta providing the backdrop to the show's royal drama. Centering on the cancer-stricken fall of King George VI, and subsequent rise to power of Queen Elizabeth II, The Crown isn't too far removed from other similarly themed period pieces.
People of Earth is easy to love and laugh at because it skillfully marries a ridiculously out-there premise with a tone and main character that are hilariously down-to-earth.
The Great Indoors isn’t just annoying because it’s not funny, but because it simplifies everything - from character interactions to the mind space of an entire generation - for the sole purpose of one tiring joke: millennials are dumb.
Much of my take on Mom's season 4 premiere, which debuts this Thursday on CBS, is a reverberation of what I thought about the season 3 premiere last year. Although that might sound initially damning, it's actually straight-up praise: I loved the show a year ago, and the year before that, and the year before that, when it premiered. Season 4 hasn't reinvented the Mom wheel - take a street-level, taboo topic and find ways to tell funny, affecting stories related to it - but what it has done is iterate itself into what I'd call the best sitcom on television right now.
Although Eyewitness makes a poor first impression, the show eventually twists and turns into a mesmerizing and addictive murder story-slash-family drama with an emotionally dense backdrop, all brought to life by two remarkable leads in Nicholson and Young.
Although bland and uninspired in spots, Channel Zero mostly satisfies as a surprisingly eerie, restrained, and downright unsettling adaptation of the short form source material from which it originates.
Like many pilots nowadays, American Housewife is bolstered by an energetic lead performance - the wonderful Katy Mixon - but without real bite or insight, the show seeps into an indistinct "quirky" sitcom background pretty quickly.
Without recognizable humor or gratifying emotions, Divorce's melancholic dissection of a loveless marriage fails to deliver on the potential for a black comedy-filled title fight between two clearly game actors.
As confident and ballsy as her character is slowly trying to become, Issa Rae's Insecure is yet another impactful, humorous knockout for HBO, with the added bonus of two ridiculously engaging black women spearheading its stories.
