As a potentially thoughtful drama (hey, this is PBS) set during a revolutionary and colonialist era, Beecham House falls as flat as papadum.
It has its flaws, but Love, Victor is a fun teen rom-com hat isn’t entirely rosy.
From the mid-’60s to around 1972, Laurel Canyon became the epicenter of a magical musical interlude that gave birth to some of the most iconic and timeless music of a generation.
Maybe Space Force will figure out what kind of comedy it is and launch into a rejuvenated second season turn. Though that assumes it will get a second season.
Much of the fun of Ramy comes from its deadpan embrace of heightened absurdity.
Was this alternate history lesson too much of a downer for viewers weighed down by the burdens of their own unexpected rendezvous with history?
In The Great, Tony McNamara proves that period pieces that pit conniving yet sympathetic women against tyrannical men can make for a kind of refreshingly cathartic entertainment.
One of the show’s impressive accomplishments is that its creators managed to find musicians who could act.
Maybe being quarantined for so long has taken its toll, but Hollywood satisfies well enough as a vibrant escape to glamorous parties filled with scheming executives and hot-to-trot actors on the make.
Never Have I Ever suffers from an identity crisis: the show doesn’t want to face that it is just another Netflix teen comedy, albeit with its share of engaging moments.