Jack Hamilton

It’s both surprising and ultimately frustrating, then, that Welcome to Derry isn’t so much a further adaptation of the novel as a half-baked attempt at a prequel, an elaborate but ultimately vapid work of King fanfiction dumped into an entertainment landscape that already boasts no shortage of such endeavors.

And So It Goes is a disappointingly underwhelming music documentary. Clocking in at nearly five hours, it’s both indefensibly long and exasperatingly short on formal inventiveness.

The show’s fourth and final season, which starts Sunday on HBO, finds McBride and his ridiculously talented band of collaborators going out on top, and at the top of their game. It’s only March, but if The Righteous Gemstones’ capstone season ends up being the best thing on TV in 2025, it will have been a good year for TV indeed.

The result is a show that’s fitfully stylish and broadly watchable while never totally coherent.

Murder in Boston doesn’t break much formal ground: It hews mostly to the industry-standard mix of archival footage and talking-head interviews, and even includes Hehir’s much-memed Last Dance technique of occasionally having subjects watch footage of one another’s testimonies on an iPad. But the series is refreshingly nuanced, rich in context, and deftly assured in its narrative decisionmaking.

A show that’s mostly just OK. But as someone who loves basketball and admires much of McKay’s earlier work, I view Winning Time as a frustrating missed opportunity.

It is a comedy with every fiber of its being, and the funniest one currently on air. ... Gemstones’ extraordinary collection of comedic talent makes it a joy to watch even when its narrative flow occasionally lurches.

The Outsider’s relative sprawl—10 hours to tackle a nearly 600-page book—affords unusual leeway and breathing room, which Price exploits with intelligence and deft creativity. It also helps that the cast is uniformly excellent.

In its second season, Big Mouth, unlike junior high, has only gotten better.

The show makes skillful use of its episodic medium, carefully pacing its storylines and building out its world while still making sure each hour is filtered through generous helpings of creepiness.