There’s a palpable tonal shift in comparison to season one, with The Handmaid’s Tale now marking itself as a much spikier piece - but does it go too far?
Succession is the story of a programme that lost a lot of viewers before eventually reclaiming them - so what does that tell us about the scope of a series?
There was lots of Doctor Who news at SDCC 2018 today - all of which is explained here, from details about the companions to what we know about new monsters.
She's coming home: Take a look at the new Doctor Who series 11 trailer, and our breakdown of what it tells us about Jodie Whittaker's Thirteenth Doctor.
Elementary, like many Sherlock Holmes adaptations, struggled to find a villain to match Moriarty - until season 6 introduced Desmond Harrington's Michael.
How Genius: Picasso, through its depiction of the women in Picasso's life and their artwork, interrogates the way gender defined "genius".
A Very English Scandal doesn't just have one victim, it has two - both Norman Scott and Jeremy Thorpe were victims, in a way.
Change has always been a key theme in Westworld, as the hosts began to grow beyond their programming, but it looks set to be the defining idea of Season 3.
Flowers, since the beginning, has always had something of the feel of a fairytale; the second series is grounded in "a pagan and mystical heritage".
The Good Fight’s title sequence marries ordered elegance with violent disruption, establishing chaos as the status quo. It begs the question: what next?
The Resident initially seemed like a retread of the abrasive medical antihero drama, but it gradually became more interesting (if not necessarily better)...
As Solo: A Star Wars story struggles at the Box Office, the question turns to Jon Favreau's Star Wars TV show. What does it need to be to succeed?
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?