Netflix’s Aggressively Wholesome “Little House on the Prairie” Plays It Safe
A pleasant enough eight-episode drama that more than looks the part without ever really challenging its audience.
A pleasant enough eight-episode drama that more than looks the part without ever really challenging its audience.
Manages to surprise, even though so many of its beats are predetermined.
“Silo” has been one of the best shows on TV during its first two season; it’s just barely good enough in is third to keep viewers excited to see how it all ends.
The future Harvard Law graduate Elle Woods gets her own high-school-set prequel on Prime Video.
The action scenes are dynamic and exciting, the puzzles are clever, the romance is endearing, and Enola’s commitment to fairness ahead of her society is satisfying.
A stunningly crafted journey that delivers some of the most thrilling arcs in a genre in desperate need of rejuvenation.
A pleasant throwback to when adventure-themed television was something major networks still made.
It’s clever, sincere, and genuinely funny, and will be endlessly rewatchable to anyone that clicks with it.
Might be the best example yet of a show built to be a second screen while the viewer does something more interesting.
One of the most dynamic and satisfying shows of the 21st century.
A meaningful examination of loneliness in the modern age.
“Voicemails for Isabelle” has a high emotional IQ, a romantic journey you’ll want to follow, and a real sense of the lunacy that makes life hilarious.
While I have no doubt a lot of this was improvised, I also get the sense that this was a “there are no bad ideas” production.
Nothing can stop this show from continuing to burn a relentless fire that you can’t look away from.
“House of the Dragon” finally begins to breathe some new life into the series.
While one‑dimensional family dynamics and an uneven final act hold it back, Hall’s anchored performance and Bravo’s atmospheric direction ensure the unease lingers.
The film is likely to poke, prod, stab, and sting at the ribs of its demographic until their hope for redemption runs out.
Often skews younger than its source material in ways that don’t really serve the larger story it’s trying to tell.