Brian Tallerico

Bluntly, it’s just far too boring, especially when it finally gets to a finale that’s easy to see coming. The producers are lucky that they landed such a talented cast to adapt Stapley’s novel, but you know what they say: Luck only gets you so far.

The less-interesting characters taking the spotlight and the drag of the early timeline make for the first season of “Silo” that often drags. Having said that, the ensemble is still strong enough and the concept sturdy enough that the show never completely collapses.

“I Will Find You” forgets to be fun. It’s just dumb.

The truth is there are no bad performances here—just the occasional actor straining against an underwritten villain, a product of a show with more than a dozen characters to track across the world, and the writer’s choice to rarely give us their POV.

What’s most interesting is that “Mating Season” gets better when it stops trying to be “Big Mouth 2,” allowing the writers and voice cast to play adult idiots with the same horny glee as they did their teenage ones for years, but turn them into characters that stand on their own four feet.

Overall, it’s a fun ride with just enough emotional weight given to it by an excellent ensemble.

The pieces of its puzzle—involving a single mom and a murder mystery that begins online—don’t all fit together perfectly, but it’s hard to care too much about an abundance of coincidences and lucky timing on a show this well-paced, wonderfully performed, and unpredictable.

Despite some ever-timely themes about the inequity and systemic failures of the mental health system in this country, “Devil in Silver” feels flat, likely a factor of being too faithful to its source (LaValle himself gets writer credit, which is often a mistake) or a rushed production that never quite found its voice on set.

The personal and the political intertwine in this moving, novelistic series, a reminder that Granik is a filmmaker who deserves to be mentioned alongside the best working today.

It is truly unlike anything else on TV, a wild swing of tonal shifts that works because it commits so fully to both halves of the equation.