Joseph Falcone

Under the guidance of Cumberbatch, who serves as executive producer, Nicholls’ translation is a surprisingly positive endeavour, combating the inherent bleakness and social commentary of Aubyn’s stern prose with black comedy and an unceasing desire to better one’s self. ... There’s just too much to unpack in a mere handful of hours--simply put.

A lot has changed in the second season of HBO’s arcane sci-fi thriller, but the show’s ensemble remains its most prized asset, notably Evan Rachel Wood and newcomer Peter Mullan (Sunset Song).

Better than season 1 in some regards, but weaker in spots, it’s difficult to say whether Legion’s second outing is an improvement over its predecessor or at a stalemate.

When you enlist in the Peaky Blinders army you can expect a lion’s share of brawls, bullets, and broads. What most don’t anticipate is an irresistible ensemble performing immaculately as a collective, delivering an absorbing, visceral story entrenched within imposing production and costume design. These attributes are precisely what has made Steven Knight’s period crime-drama startup so successful, now four seasons deep with a fifth on the way. Viewers will soon find out that the latest six-episode story arc is no slouch and even though nothing of what has made Peaky Blinders a hit has changed.

Unafraid to delve deep into the Monarchy’s turbulent history, in its second season The Crown has once again set the bar for Netflix Originals. The series’ regal production design, sublime writing, and ravishing camerawork frame the ensemble’s consistently impeccable theatrics in pure gold. The biographical drama has justified its minutely dull setup and indeed shown viewers that heavy lies the crown.

The manner in which Simon and Pelecanos unfurl their semi-fictitious creations is wondrously restrictive, regarding pace and exposition. Handled by any other showrunner(s), this content would’ve crash and burned.

True to form, the complete picture remains an enigma and it may never be viewed with complete clarity, even by season’s end. If you can stomach the unknown and visual viciousness though, finding entertainment in the journey and joy in the minutiae, then strap yourself in for a wild ride. Conclusively, it's far too early to fall on either side of the fence, but from what we’ve seen of the show's return thus far, Lynch and company have set up what is sure to be a damn fine season.

Samurai Jack is animated storytelling of the highest caliber and it hasn’t skipped a beat.

Retaining watchability with extended cameos from industry heavyweights and an admirable sweetness noticeably missing from television, Crashing is a wacky love letter to comedy with heart to spare.

Elevated by Hans Zimmer and his team’s grandiose musical accompaniment, and bolstered by unrivalled footage obtained with the utmost preparation, care, and skill, Planet Earth II is a more than worthy successor to the extraordinary 2006 BBC production.