David Opie

Ride Or Die isn’t quite the action vehicle Waddingham and Spencer deserve, but they both excel regardless, hitting the thrills and comedic beats with formidable and charismatic tenacity.

For such a risky venture, Little House On The Prairie plays it a little too safe. Let’s hope the show takes things further in Netflix’s already-confirmed second season.

The Agency returns for a much stronger second season that improves on many of the show’s previous shortcomings, even if its slow-burn approach might not be for everyone.

Star City is cold and claustrophobic where For All Mankind is caring and cheerful, which makes for a gripping inversion of Apple's sci-fi drama — inspiring awe of a very different kind.

More than just a spiritual successor to Stranger Things, The Boroughs is an original sci-fi that succeeds on its own terms, even if it does need to iron out a few wrinkles, figuratively speaking.

Season 2 of this undeniably enjoyable Jilly Cooper adaptation comes with more heart, this time around — yet other organs still abound in TV's silliest, most decadent bonkbuster. 

Legends is tightly wound from the get-go, a true-crime drama that sets itself apart through its top-tier cast and thrills rooted in the grimy greys of drug-ravaged Britain. 

While both seasons of Beef revolve around a different dispute, we can probably all agree that Season 2 is an amusing but unfortunate step down in quality.

The Madison should be coursing with emotion, almost overwhelming in its strength and impact. Instead, the writing is just stagnant, awkward and predictable as it tries to wring out more emotion.

JD and Turk are still hanging out like old times when they can, and it's surprisingly nice for us to be hanging out with them again after so long too.