Molly Eichel

It doesn't try to get too edgy (looking at you, Netflix's The Ranch), yet feels new all the same.

It’s a sweet, well-made show. It may not dominate the conversation of the internet, but it’s certainly worth talking about.

Some episodes are silly, others are sad. ... All of them are worth watching.

You'll turn on the first episode and mysteriously find yourself sitting in the same spot on your couch eight episodes later, never having moved an inch.

[Five-year-old Joe Hughes (Max Vento)] doesn’t take direction, not because he’s obstinate, but because he can’t. Joe is also a wider part of the family portrait, which is one of The A Word’s greatest strengths. It shares that quality with another dramedy that used an autism-spectrum disorder to great narrative effect: Parenthood.

There’s an artfulness to Rosenfeldt’s killers, and that’s what makes his stories compelling, even if they’re ridiculously improbable. Seeing how Rosenfeldt can keep everything moving cohesively is almost as much fun as the story itself.

Preacher lets its mystery and mythology trickle out slowly over the four episodes provided for review, never being vague for vagueness' sake, or too obvious.

The show works better when Dice is in sitcom mode, rather than trying to stretch his dramatic chops.

There is potential for Lopez, but George has to stop relying on old tricks.

[Netflix's Love] at least felt fresh and directed in the way it surgically examined the tropes of the romantic comedy. It was a character study that had a purpose, explaining through its run why we were watching these characters to begin with. Flaked never answers that question.