Max Gao

Momoa adeptly embodies all of Ka’iana’s contradictions, creating a compelling portrait of a desperate leader bound by duty and sacrifice. .... While the characters in Ka’iana’s immediate family could have all used a tighter focus after his unexpected departure at the start of the season, their relationships eventually pay off in the final three episodes in a way that is rewarding and heartbreaking in equal measure.

In the end, Wash comes to realize that it’s up to him to create the life and world he wants for himself. It’s just a shame that the one he inhabits onscreen cannot entirely live up to the one on the page.

Through creating a memorable portrait of the devastation caused by poverty and addiction, Long Bright River dares viewers not to look away, showcasing the human toll of a crisis of our own making.

Over these episodes, the characters are unremarkable at best and ill-defined at worst. They each have their own secrets and “dark pasts,” but the show gives viewers little reason to buy into their stories or, frankly, even care about their fates or the larger mystery surrounding what really happened at The Pit.

While Evolution certainly doesn’t reinvent any hallmarks of crime dramas—this is Criminal Minds, after all—the serialized nature of the new season gradually builds intrigue that will ultimately make a final showdown between Volt and the BAU much more satisfying.

Will Trent remains a breezy and entertaining take on the classic procedural format. Thankfully, the writers have found a way to create a show that complements Slaughter’s novels but can easily stand on its own.

The show is still as broadly comedic as ever and hasn’t lost the charm that made the first two seasons so successful, but there is an extra undercurrent of loss that rises to the surface this season that gives the actors something new to play with.

Despite a few foibles in its execution, The Brothers Sun is notable for its diversity of Asian characters, who run the gamut from (anti)hero to villain, making this action-packed dramedy series, all in all, a worthy star vehicle for Yeoh.

The limited series works best in the ’50s and the ’80s, when the writers decide to strip away any unnecessary minor characters and, instead, keep the focus on Hawk and Tim’s inextricable connection. But all in all, this is the kind of devastating love story for the ages, brought to life with the undeniable talents of Bomer and Bailey, that will stay with you long after the end credits roll.

The women here, over the five episodes screened for review, remain eminently more interesting than the men. .... But that's a pretty minor complaint—and, all in all, the show delivers on its promise, offering a fresh and sudsy take on the archetypes and hallmarks of a well-worn genre.