Saloni Gajjar

Despite the heaviness of the title, War is a frothy and fabulous series that manages to hold down a certain level of prestige TV sheen.

Howell will make you feel the urge to wrap Carrie White in a hug to shield her (until she ignites a deadly blaze, of course). Even if Carrie stumbles along the way, it at least makes a solid case for why today’s generation could use a drama like this one.

The framework may feel familiar, but there’s no denying its creators have their fingers on the pulse. It’s why Cupertino emerges as not only the strongest new broadcast series in recent memory, but also—the irony of it being a Paramount product notwithstanding—an engaging and contemporary anti-AI drama fit for our times.

A miniseries with no clear point and nothing to add to its worn out story beyond a fresh coat of red. That may change as the saga unfolds, but within its first episode, the new Monster justifies its existence in only the most sordid details.

A miniseries with no clear point and nothing to add to its worn out story beyond a fresh coat of red. That may change as the saga unfolds, but within its first episode, the new Monster justifies its existence in only the most sordid details.

Last Seen, with its ashy visual palette, isn’t a particularly thrilling crime drama; it fares far better as a turbulent and insightful family saga. It doesn’t reinvent the wheel, but it spins along just enough to reach a satisfying destination.

Ritchie continues to skillfully infuse the episodic format with his signature style—jokey onscreen text and narrations, snarky interactions, slow-motion shots, etc. .... The Gentlemen succeeds by not taking itself seriously, as evidenced by, what else, an outrageous and bloody final scene that makes an intriguing setup for a third season.

Even though it needs more tightening, The Paper—anchored by a terrific Gleeson and Frei—is an effectively fun mockumentary; one that plays to our nostalgia for Dunder Mifflin while trying to keep things fresh and contemporary.

Everything about Adults: the performances, the script, executive producer Nick Kroll’s blink-and-you’ll-miss-it role—snaps into place this year, resulting in a hilarious season two. Rarely has a modern TV comedy demanded the opportunity to try 22 episodes per season.

As you might expect from the team-up of Ellis and Murphy, The Shards is as campy as the day is long. Even if it’s not as enticing or graphically violent as the book, the series proves that its driving creative forces are, in fact, a scintillating TV match made in hell.