Lacy Baugher

The Seduction almost certainly won’t be for everyone. Its characters are largely selfish and unlikeable, its midsection gets a bit draggy at various points—the show is probably an episode too long—and its themes are certainly not what anyone would call subtle. But there’s something deeply appealing about its determination to plot its own path. And, like the heroine at its center, it mostly finds its way.

It’s genuinely one of the weirdest and most strangely satisfying things on television at the moment, simultaneously heartbreaking, hopeful, and disturbing by turns. It couldn’t have possibly arrived at a better moment.

One part entertaining historical adventure, one part genuinely swoon-worthy love story, and one part political drama, MGM+’s Robin Hood is an unexpected delight, a show that’s so much better than it probably has any right to be, and a welcome reminder that there’s still plenty of life in some of our oldest tales, when someone takes the time to tell them well.

It seems safe to admit that this little experiment [recasting Geralt] is more successful than any of us probably expected. .... The character of Yennefer is largely absent from events at this part of the story in Andrzej Sapkowski’s novels, so her arc this season is pretty much made up out of whole cloth. And, spoiler alert: it’s fantastic.

In many ways, it feels as though Down Cemetery Road is finding itself as much as Sarah and Zoë are. But the show’s brisk pace and unexpected humor help keep things surprising, and let’s not kid ourselves, we’d all watch actresses of this caliber read the phone book together.

It’s not perfect — and no one should come into this expecting another Interview — but there’s plenty to sink your teeth into while you’re waiting for the next round of vampire drama.

Season 3 ends with yet another twist that leaves both Wylers in a new and potentially difficult position. Here’s hoping the show balances the emotional and political fall of it a bit more deftly next time around.

Nothing about this show should work. And…yet. In all its dumb, ridiculous glory, it (mostly) does.

His [Matthew Lewis'] chemistry with Amanda Redman, who plays Daniel’s mother, Audrey, is top-notch. .... Their occasionally prickly bond is built from equal parts snarky banter, emotional repression, and affection, resulting in something that feels unlike almost anything else in this genre space at the moment.

The series’ cast is across the board excellent. .... Though the back half of the season struggles with some pacing problems and several ill-advised time jumps, House of Guinness is so confident in its own identity that the show mostly makes it work.