Bylined reviews with verdicts and scores — newest first. Showing 337–360 of 370 TV reviews.
★★★★★
FX's Shōgun reinvents Clavell's doorstop novel by quietly shifting the camera off its English castaway and onto the Japanese court around him — a political epic told, at last, from the inside, in its own language.
★★★★½
Slow Horses reinvents the British spy drama from the bottom of the org chart — a service run on grudges and budget cuts, seen from the desk of its failures — with Gary Oldman's flatulent, brilliant Jackson Lamb as the great TV creation of the decade.
★★★★★
HBO's The Wire widens a Baltimore drug case into a five-season sociological epic — police, dealers, dockers, teachers, politicians and journalists — dramatizing with novelistic rigour how institutions grind down the people inside them.
★★★★½
Kingdom transplants the zombie outbreak to Korea's Joseon era, fusing sumptuous period intrigue with relentless undead horror — a lavish, politically pointed genre triumph that reinvents a tired form.
★★★★★
Apple TV+'s Pachinko braids decades of Korean diaspora history into a single family's endurance, colour-coding its Korean and Japanese dialogue to make the politics of language itself part of the drama.
★★★★☆
China's Story of Yanxi Palace follows a sharp-witted maid who refuses to be a victim as she outmanoeuvres the Qing court from the bottom up — a slick, addictive palace drama that became one of the most-watched series on the planet.
★★★★☆
Apple TV+'s Ted Lasso weaponizes relentless kindness, dropping a folksy American coach into English football to build a comedy about emotional honesty that struck a genuine cultural nerve — sharpest in its near-perfect early seasons.
★★★★★
Better Call Saul inherits Breaking Bad's world and rejects its velocity, filming the moral erosion of Jimmy McGill in long, patient compositions where the tragedy is that we already know the ending.
★★★★★
Breaking Bad is the most rigorously constructed character study television has produced — a Western dressed as a crime drama, tracking one man's transformation from cornered everyman into apex predator with the merciless logic of a chemical reaction.
★★★★★
Germany's Dark spins a child's disappearance into a labyrinthine, multi-generational time-travel epic of interlocking families and cosmic determinism — one of the most intricately engineered and rewarding science-fiction series ever made.
★★★★★
Prime Video's Fleabag turns direct address into a formal masterstroke, making the audience the confidant of a grieving, self-sabotaging woman — a filthy, devastating tragicomedy whose second season is close to perfect.
★★★★☆
China's Joy of Life sends a young man with a hidden past through the lethal politics of a fictional empire, leavening its court intrigue with sly modern wit — a sprawling, unexpectedly funny costume epic that became a mainstream juggernaut.
★★★★½
Netflix's Baby Reindeer turns Richard Gadd's real experience of being stalked into an unsparing study of trauma, complicity and self-loathing — a limited series that refuses the comforts of victimhood and became a global phenomenon.
★★★★☆
Spain's Money Heist built a worldwide phenomenon out of red jumpsuits, Dalí masks and an endless supply of last-second reversals — a pulpy, adrenalized heist saga that is irresistible even when it overstays its welcome.
★★★★★
Apple TV+'s Severance is not a mystery box to be solved but a philosophical machine, using the sterile geometry of corporate space to stage the oldest question in cinema: who are we when no one is watching?
★★★★☆
China's The Knockout traces two decades of a dogged cop and the fishmonger who rises to rule an organised-crime empire — a gritty, sweeping anti-corruption saga that became the runaway television event of its year, powered by a mesmerising villain.
★★★★½
HBO's The Last of Us proves a great game can become great television by trusting its quietest instincts — swapping set-piece horror for the slow, unbearable tenderness of two people learning to matter to each other.
★★★★☆
Japan's Alice in Borderland drops a directionless gamer into an eerily emptied Tokyo where survival depends on winning sadistic games — a slick, propulsive thriller that pairs its deadly puzzles with real emotional stakes.
★★★★½
Peacock's Poker Face revives the Columbo-style 'howcatchem' as a rebuke to a decade of grim serialized prestige — a self-contained, road-trip mystery carried by Natasha Lyonne's rumpled human lie-detector.
★★★★☆
France's Lupin reimagines Maurice Leblanc's gentleman thief as a modern con man avenging his father, and rides the sheer magnetism of Omar Sy to become one of Netflix's biggest non-English hits.
★★★★★
Jesse Armstrong's Succession weaponises the restless handheld camera and the withheld reaction shot to turn corporate warfare into a King Lear for the age of private jets — the finest ensemble drama of its decade.
★★★★☆
Netflix's first Indian original, Sacred Games braids a weary Mumbai cop's race against catastrophe with a gangster's decades-spanning rise — a sprawling, profane and cinematically ambitious crime epic powered by Nawazuddin Siddiqui.
★★★★☆
Prime Video's The Boys weaponizes the superhero genre against itself, imagining caped icons as brand-managed celebrities and authoritarian monsters — a gleefully grotesque satire anchored by Antony Starr's terrifying Homelander.
★★★★☆
Showtime's Yellowjackets splits its story across two timelines — teenage survivors of a plane crash and the wrecked women they become — turning cannibal-in-the-woods horror into a study of trauma that never truly ends.
