Ben Travers

In “East of Eden,” Zoe Kazan‘s aching, radiant adaptation of John Steinbeck’s 1952 classic, there is ample beauty, dreadful and otherwise.

Despite earnestly engaging with its younger characters while throwing the olds to the wolves, the series ultimately feels like it’s told from a parent’s perspective. It’s a plea instead of a roar, and the modern world, with all its problems, calls for screams.

“War” proves as inept at building characters that can support multiple seasons as it does depicting the legal drama in the here and now.

It’s a clunky, instantly forgettable comedy that stands in stark contrast to their last TV collaboration.

As Alex’s screw-ups and successes accumulate, “Youth” proves itself consistently self-aware, punctuating her relatable plight with empathetic insights.

Setting aside its twisted, lazy take on feminism — including the unintended implication that women should be allowed to kill any asshole they please — “Monster” Season 4 isn’t just aspiring for little else beyond recycling its own previous commentary.

It’s an action-delivery device, so when it’s not delivering action, it feels broken. Things are bound to pick up in the latter half of Season 2, but for now, it’s a waste of Harry’s time, Tom Hardy’s time, and fans’ time, too.

In the end, the Emmys felt like yet another awards show resigned to its diminishing fate. The vibes were sleepy, the pace was sluggish, and any experimentation was entirely absent.

After a wobbly start, a rushed middle, and way too much time left to wrap up, the 2026 Emmys felt frustrating and empty, which may be the ultimate disservice to a worthy group of winners. Unlike the ceremony itself, Mariska Hargitay started a little rough and largely improved.

Staring at Fred/Don/Jon’s concerned visage may prove distracting enough for certain viewers to ignore the series’ larger flaws and embrace its loose censure of systemic corruption.