Saloni Gajjar

Somehow, the show takes itself too seriously and not seriously enough, leaving it an inorganic mess that not even its cast can elevate.

Titillating and abstract by nature, with a tragic conclusion to boot, The Listeners ultimately ends up like the allegory at its center: Didactic and forgettable.

The show is veering toward a more flamboyant, rollicking, and dare I say comedic energy. It’s an ambitious makeover that the cast and crew are well-equipped to handle, none more than Reid, who sinks his fangs into Lestat’s superstar avatar with aplomb. .... Getting to see IWTV‘s events through Lestat’s eyes and learn more about his origins makes season three enticing so far.

Perhaps Alice And Steve (like a lot of recent comedies) would benefit from a longer run—more episodes to let the protagonists and the premise grow. But in the six episodes it does have, the series sharpens its strengths—well, mainly an exceptional Walker—for a mildly amusing time.

It’s not exactly relatable or grounded, nor is it particularly hilarious, but Not Suitable For Work’s few bright spots and its impressive pedigree suggest that with a tighter focus, it could turn into the comfort hangout sitcom it desperately wants but doesn’t yet know how to be.

There are enough one-liners in Fey’s characteristically scathing style to keep the ship afloat, but in this case, it’s mainly the banter between the core ensemble that makes the journey(s) worth it.

It’s not as well-plotted or engrossing as Stranger Things‘ first season—again, the comparisons are inevitable—but The Boroughs offers plenty of fun and nostalgia (including a cheeky Thelma & Louise reference) in its own right.

As affecting as Bernthal and Moss-Bachrach’s performances are, “Gary” doubles down on some of The Bear‘s self-indulgent storytelling impulses: characters yelling at or over each other constantly, lazily written interactions (why in the world is Ireland’s Sherri waxing poetic about trees to Mikey?), and a visual aesthetic that has gone from gritty to gimmicky with its close-up shots. Crucially, the show doesn’t seem to trust its audience’s intelligence.

Devil In Silver fares better as a relevant dissection of social issues than it does as a creepy, survivalist drama. The show can’t blend both these aspects together seamlessly. And yet, the evocative performances alone make The Terror‘s third season a hellscape worth checking out.

With its diverse elements coming together like lightning in a bottle, Widow’s Bay is a destination well worth visiting.