ITV's Innocent had a lot of interesting ideas, and was elevated by Lee Ingleby's performance, but it didn't quite stick the landing.
Immediately, Safe arrives in a crowded genre: crime dramas centred on a missing or dead child. Despite this, however, Safe does manages to stand out.
What’s most important about The City and the City is all the ways in which it’s unfamiliar - and how it's able to render the noir genre as something new.
It’s not about Versace. No, The Assassination of Gianni Versace is about Andrew Cunanan, the events that shaped his life, and the stories of his victims.
Come Home subverts typical assumptions about parents, posing potentially difficult questions. Can they understand the characters, even as they dislike them?
Save Me can perhaps be best summed up as a show about people driven to personal extremes, and the difficult acts that become necessary as a result.
The Good Doctor is a clear spiritual sequel to House, with overt parallels between the two dramas, but responds to its predecessor in many interesting ways.
Electric Dreams seemed poised to inherit Black Mirror's crown - but why, in the end, wasn't it as popular as its predecessor?
If Jamestown can be said to be about one thing, it’s power. The series examines and interrogates this theme, exploring the dynamics between the settlers.
In its second season, Jessica Jones became more like a traditional superhero show - but in doing so, did it lose some of its human insight?
Collateral is pointedly not a whodunnit, nor even necessarily a crime drama - it's a piece fascinated by individuals and personal power within institutions.
Having a more flexible runtime is supposed to be an advantage of online television - but just how much of a benefit is it?
Trauma is fascinated by death and its impact, showing how grief ultimately unravels the lives of Dan Bowker (John Simm) and Jon Allerton (Adrian Lester)
Describing Hard Sun as a “pre-apocalyptic crime drama” is a misrepresentation of the show - it never leaves the confines of the police procedural genre.
Channel 4's Kiri was an engaging drama that raised several questions - but it offered few answers, and lacked a proper resolution.
The Orville is basically just Star Trek fan-fiction - but in the grand scheme of things, that's not the worst thing to be.
(Some of the) reasons why Hell Bent is Steven Moffat's best episode of Doctor Who, one of Peter Capaldi's best episodes, & one of the best companion exits.
An analysis of the trailer for The Handmaid's Tale Season 2, and new details released about the series - who will Marisa Tomei play? What is the resistance?
Star Trek has its own strengths, its own appeal, and its own identity. Star Trek: Discovery isn’t Game of Thrones, and it shouldn’t try to be.
With spoilers, here's a look at how Black Mirror's USS Callister posits a perfect metaphor for nerd culture in 2017, and how to fix it.
“No one wants complexity and reality from us,” declares the Queen Mother in The Crown. But that’s what 'Beryl' delivers, candid and intimate as it is.
Babylon Berlin, a noir mystery set against a backdrop of political intrigue &revolutionary fervour, carries itself with an entirely deserved confidence.
Allegories of Nazis are prevalent across our media - but what's the result of that? Does it normalise them - or worse, does it fictionalise them?
The Marvel Netflix shows have been hit or miss ratio; it would have been easy for The Punisher to fail as well. That it didn’t is a welcome surprise.
Channel 4's new show The End of the F***ing World is an absolute gem of a series, one that is absolutely worth your time.