Daniel Fienberg

I Will Find You is a disposable mixture of repetition, red herrings, narrative dead-ends and illogical resolutions, but in part thanks to a top-notch cast led by Sam Worthington, Britt Lower, Chi McBride and Logan Browning, even the rampant wheel-spinning remains generally watchable, amid the irritation.

The series is still too packed, too narratively rushed and, as much as I’m certain passionate fans will disagree, the surplus of dragons and special effects has become somewhat anticlimactic. But! The third episode of the season and, to a lesser degree, the fourth were my favorite House of the Dragon episodes to date.

The Listeners is finally a show in which big ideas and stupid plot contrivances intersect and often fail to resolve, a jumble of ambitions and flaws that Hall is frequently required to carry single-handedly. That she succeeds makes the series worth watching.

Like Max Cady smirking in the shadows, Cape Fear overstays its welcome, but it does so with bursts of intemperate amusement and, like its predecessors, a cast to die — or exact revenge — for.

Human Resources had a conceptual looniness that Mating Season lacks, improved as it went and then, naturally, was canceled after two seasons. Mating Season offers plenty of amusement and the potential for growth is clear.

Periodically, Spider-Noir is, indeed, a hoot. It’s too bad you have to wade through so much nondescript storytelling to get there.

Nemesis is a soapy serialized thriller that embraces its emotional excesses and occasional detours of narrative ludicrousness. Some of those story choices and character decisions irritated me, and the less than ideal central casting proved a frequent liability, but I never found Nemesis to be anything less than pulpy and entertaining.

It’s a bluntly entertaining, thoroughly disposable series nestled partway between prestige antihero drama and enjoyably brainless pulp, not quite providing the pleasures of either but not exactly failing at its mid-level aspirations.

The resulting series feels more rushed and less contextually nuanced than its predecessors. It’s a simmering cauldron of spooky, disturbing elements that never quite comes to a boil in terms of frights or theme.

Now we certainly don’t need another [adaptation] for a while. What Thorne, Munden and company have accomplished with this still all-too-relevant text may not be definitive, but it’s very close.