The Detroit News

"True Detective: Night Country" is best taken as a small town story, which uses a crime to peel back the region's layers of humanity, nature and corruption, to expose the depth of the darkness within.

The twisted, distorted, decadent fun of "The Curse" is how much you'll recognize but won't like what you see.

He's not really stretching here, he's adding to the bank of Pete Davidson characterizations he's already done. It's gotten him this far, sure. But with "Bupkis," the well has run dry.

Yeun and Wong are both excellent, meeting the material and consistently finding new wrinkles, new layers, in their characters.

"Swarm" plays with form the way "Atlanta" was able to completely switch styles from one episode to the next, and it finds freedom in its narrative looseness. If only it had more going on underneath its hood. ... But at least with Fishback in the driver's seat, the ride is never dull.

"Poker Face" pays homage to the shows that came before it by following in their tradition and honoring their path. And it's done in the right spirit, so that it never has to call bulls--- on itself.

The high production values and the series' ability to pivot its storytelling — the third episode is a lovely and quite moving distraction from the main plot — keep it fresh, even as the show's familiarities and the rudimentary bickering between characters ("you sure do ask a lot of questions!" Joel crankily remarks to Ellie, as he'd rather walk in silence) ring all sorts of bells.

This is a Tim Burton production, so it looks great. But looks wouldn't matter if Jenna Ortega's deadpan wasn’t just as elastic as it needed to be — she consistently pushes outside the caricature enough to keep things lively.

"The White Lotus" is still a buzz of capitalist hypocrisy, absurd indulgence, clueless privilege and mordant wit. The beautiful people have changed for the most part, but the abundant anxieties and kinks beneath their shiny surfaces are apparently universal.

There’s tons of pseudo-scientific cyberpunk gobbledygook, of course, but Smith keeps things moving and pretense falls to the wayside. ... “The Peripheral” is dead center fun.