Phillip Maciak

Some of this year’s TV felt distinctly deflated. But the very best shows took on the subject of disappointment itself.

From “What We Do in the Shadows” to “Interior Chinatown,” Waititi has a gift for making defiantly original, rambling, rollicking, freewheeling shows.

The new prequel on HBO plays like a watered-down “Game of Thrones.”

The FX adaptation of Patrick Radden Keefe’s bestseller about the Troubles is a gutting and grand limited series. But it needed more time to do its subject justice.

The HBO show, in its third and final season, is a a miniature epic about grief and acceptance.

Like a string of recent shows and films, Alfonso Cuarón’s new miniseries starring Cate Blanchett flips without warning.

Has TV wealth ever felt this hollow? Have friendships and family on TV ever felt this mutually destructive?

Brian Jordan Alvarez’s show takes young people seriously. And despite that, probably because of that, it is very, very funny, indeed.

The Apple TV series, now in its fourth season, may be the best, least watched show on television.

Robert and Michelle King’s show fits an enormous story about the fallibility of humankind inside a network procedural.

Sure, “The Sopranos” is art, but “Real Housewives”?

The prequel inherited the “Games of Thrones” empire—but doesn’t know quite what to do with it.

When streamers “dump” whole seasons instead of releasing weekly, they strip away some of TV’s most reliable pleasures.

Park Chan-wook’s new miniseries on HBO takes American imperialism to task.

The new FX series is not an attempt to make a “new” Game of Thrones or a “new” Mad Men or even a “new” Shōgun.

Larry David crafted a show about mortifying social encounters that somehow left us feeling comforted. 

The new Netflix show faithfully adapts Liu Cixin’s bestselling novels but lacks imagination.

Rather than project a cool, comforting exterior, these comedians have each built a show out of their unease.

The Apple TV+ show starring Juliet Binoche wrestles with Coco Chanel’s work for the Nazis.

If the 2005 film relied on explosive star power, the new TV version works harder for its payoffs.