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What gets remembered in American sports history, and who decides when innovation becomes acceptable only after it’s been stripped of its original authorship? SOUL POWER: THE LEGEND OF THE AMERICAN BASKETBALL ASSOCIATION frames its entire four-part structure around that question, and it’s at its strongest when it refuses to reduce the ABA to a novelty act or a footnote to NBA dominance.

What does redemption cost when the world stops giving second chances? THE ARTFUL DODGER: SEASON 2 opens with that question already answered in practice, if not yet in words. Jack Dawkins isn’t flirting with consequence anymore; he’s staring straight down the barrel of it. Where the first season was about possibility and transformation, this is about debt, the kind that doesn’t disappear just because you’ve learned new skills or adopted better manners.

What makes a neighborhood feel safe, and how quickly does that illusion fall apart once doubt creeps in? The ’Burbs takes that question and stretches it across eight tightly constructed episodes, using comedy not as a release valve but as a delivery system for discomfort. This isn’t a lazy remake, nor is it a nostalgia trap desperate to coast on the past. Instead, it’s a deliberate reworking of an idea that still feels uncomfortably relevant: the belief that danger always comes from somewhere else.

What does it mean to bring back a show that shaped generations without letting nostalgia do all the work? THE MUPPET SHOW (2026) enables that question to hang over every joke, musical number, and backstage meltdown, returning to the original Muppet Theatre while fully aware that reverence alone won’t carry it forward. Rather than trying to reinvent itself, the special treats legacy as something to engage with, not tiptoe around, and that confidence becomes its guiding principle.

What happens when doing the right thing doesn’t actually set anything right? That question sits at the center of DARK WINDS: SEASON 3, a continuation that refuses to offer the comfort of clean resolutions. Instead of escalating purely through shock, this season turns inward, allowing consequence, memory, and unresolved guilt to shape every decision its characters make. It’s a confident move for a series that already proved its command of atmosphere and cultural specificity, and it results in a season that feels heavier, more reflective, and deliberately restrained.

What happens when a network genre show refuses to stay canceled, survives a reinvention, and ends up preserved as a single entertainment staple? That question sits at the center of LUCIFER: THE COMPLETE SERIES, a release that captures both the strengths and the excesses of a series that thrived on personality more than precision.

What happens when a heist story refuses to let its characters hide behind competence? STEAL opens with a familiar setup, then steadily strips away the fantasy of control, replacing it with panic, compromise, and moral erosion in a space designed for spreadsheets, not shootouts. Every time you think you know where this thriller is headed, it slams you into a wall and turns the corner in the best way possible.

What does acceptance really mean when fear enters the room? SANCTUARY: A WITCH’S TALE builds its entire premise around that question, using supernatural identity not as a main focus, but as a stress test for a supposedly progressive community. Set in a small English town where witches live openly alongside non-magical residents, the series begins with a sudden death that fractures the illusion of harmony almost instantly.

What does power look like when the world has already decided you don’t have any? PONIES begins with that question embedded deep in its DNA, not as a slogan or thesis, but as its core message. Set in 1977 Moscow, the series doesn’t treat espionage as a fantasy of dominance or bravado. Instead, it frames spycraft as an act of endurance, adaptation, and emotional intelligence, told through two women who were never meant to matter to that world and therefore become dangerous precisely because of it.

What does survival look like when love exists, but stability doesn’t? That question sits at the center of what makes SHAMELESS so iconic from its opening scenes and never really lets go. Across eleven seasons, the series refuses to romanticize poverty, dysfunction, or family loyalty; instead, it treats endurance as a daily obligation rather than an achievement. Rewatching the complete run now, with the benefit of distance, makes it clear how deliberate that choice was, and how much of the show’s power comes from its unwillingness to soften the damage its characters inflict on one another.

What happens when a comfort mystery realizes it has nothing left to prove and decides to complicate its own formula instead? HARRY WILD Series 3 opens with that confidence, leaning into the core the show has already established while gently nudging its world toward greater emotional depth. This is no longer a series finding its footing; it understands exactly what it is and tests how far that identity can stretch without breaking the spell that made audiences fall for it in the first place.

Season two of THE HUNTING PARTY manages to tackle something the first season only flirted with: confidence. Where season one often felt like a show still negotiating its identity, balancing high-concept aspirations against procedural awareness, the sophomore run tightens its grip and commits to what makes the series so compelling. This is no longer just a crime show with a clever hook. It’s a story about institutional rot, moral compromise, and the psychological toll of treating human beings as problems to be managed rather than lives to be reckoned with.

STINGRAY offers a journey through a fascinating transitional space in television history. It is both a breakthrough and a prototype; a show that feels historically vital while also revealing its limitations. As the first British television series filmed entirely in color, it represents a technical leap forward that immediately sets it apart from its contemporaries. At the same time, it stands as a conceptual bridge between earlier Supermarionation experiments and the more refined work that would follow.

IRISH BLOOD feels familiar; a successful outsider pulled back into a past they were taught to forget. What separates the series from the series it pays homage to is its deliberate prioritization of emotional inheritance over procedural checklists. This is not a show obsessed with clever twists or puzzle-solving for its own sake. Instead, it's interested in the long-term consequences of abandonment, secrecy, and the lies families tell in the name of protection.

HIS PRINCESS FROM NOWHERE is a series that understands exactly how intriguing its own existence is. It knows it’s operating inside a format most people dismiss for anything more than doomscrolling. It knows the assumptions inherent in the vertical video format. And instead of fighting those assumptions or pretending they don’t exist, it quietly reshapes them into part of the experience. This isn’t trying to trick you into forgetting you’re watching something made for a phone. It’s inviting you to feel why that confinement matters.

Some shows make an impact by being cynical, or relentlessly bleak, and then there are shows like TED LASSO — the rare production that chooses warmth and humor without sacrificing sincerity. Revisiting the entire series in this 4K collection highlights just how carefully the show builds its emotion. The upgrade is welcome, but it’s the writing, performances, and character arcs that make this package worth owning. The story still stands firmly at the center.

TOWNSEND approaches therapy from an unusual angle, turning the concept inward and making the therapist the one searching for answers. The show follows Dr. Patrick Townsend, a celebrity psychologist whose life has publicly fallen apart. Instead of rebuilding his credibility through a redemption arc, the pilot puts him in a space where he’s questioning everything he used to present as expert guidance. It carries a dry, irreverent sense of humor that acknowledges how strange it can be when a person trained to guide others must confront his own lack of clarity.

THE HANDMAID’S TALE always carried a specific goal, but experiencing all six seasons together intensifies how its atmosphere of dread became its greatest tool and, later, its toughest limitation. The vision defined the early seasons; they weren’t content with simply imagining a collapsed America but actively interrogated how a society with democratic roots could break itself into something monstrous. This isn't just a setting—it’s an autopsy report. The first season, especially, remains one of the strongest debuts in modern television, propelled by the raw immediacy of Elisabeth Moss’ performance. She built June Osborne not as a symbol of rebellion from the outset, but as someone dragged toward resistance through repeated psychological and physical shattering. (The irony is how familiar many aspects of the series look to the real world we’re living in.)

The third season of THE GILDED AGE offers the confidence of a series that has settled into its identity. The world is grounded, the characters established, and the show is no longer working to convince the audience of its worth. Instead, this season focuses on escalation. The aftermath of the Opera War leaves the old order weakened, and the Russells step into the vacuum with a level of determination that transforms the social landscape of 1880s New York. The tension between tradition and progress has always been the backbone of this series, but Season 3 pushes those contrasts further, showing how ambition can reshape an entire community.

There’s a particular comfort in a series that knows exactly where it wants to stand from the moment it starts. ART DETECTIVES positions itself in that space where charm meets well-built cases, letting its mysteries feel grounded without being bleak. Instead of leaning on shock or cynicism, it trades in curiosity — the pull of art history, the tension of hidden motives, and the strange ways priceless objects can warp otherwise reasonable lives. With that foundation, the series lands securely in the cozy-crime sphere, but with just enough edge to keep its stories from fading into formula.

Season 3 of THE WALKING DEAD: DARYL DIXON wastes no time reminding you why these characters earned such longevity in the first place. There’s a confidence to this chapter, the kind that only emerges when a series knows its identity and trusts its cast to carry emotion without forcing spectacle. The return of Carol makes this even clearer; she doesn’t simply rejoin the story — she reorients it. The season carries the energy of a long-delayed conversation finally happening, the kind that personalizes every step Daryl and Carol take across a Europe that feels both expansive and claustrophobic. There’s real comfort in their reunion, but also an earned tension in how differently they’re approaching the idea of “home,” turning what could have been straightforward fan service into something richer.

ALL CREATURES GREAT AND SMALL enters its sixth season with the confidence of a series that knows exactly what it represents: a calm breath in an increasingly chaotic world. What makes this chapter particularly compelling is the way it folds lingering wartime tension into the daily rhythms of life in the Yorkshire Dales. There is no attempt to turn the series into a sweeping historical epic. Instead, it remains grounded in the homes, farms, surgeries, losses, and repairs that shape its characters’ lives. That restraint is part of why the show continues to work as well as it does. This season understands that healing rarely arrives all at once; it emerges in pieces, often through quiet moments rather than dramatic revelations.

TALES OF THE WALKING DEAD takes a franchise that has been running for over a decade and asks a simple question: what else can this world hold? Instead of tracking one group of survivors week after week, this anthology tells six self-contained stories set at different points after the outbreak, with distinct tones, locations, and a rotating cast of familiar and new faces. On paper, it’s exactly what this universe needed: permission to experiment. On screen, the result lands firmly in that middle category where ambition is undeniable, individual episodes stand out, but the season as a whole never quite becomes essential.

Sebastian Maniscalco’s latest stand-up special, filmed at the United Center in Chicago, feels like an artist out of sync with the world he’s performing in. For a comic who once thrived on observational precision—mocking modern quirks and social absurdities with sharp hits—IT AIN’T RIGHT instead comes across as a relic from an earlier era of stand-up. The polish is there, the energy is undeniable, but the content feels more like a time capsule from the 2000s than a reflection of 2025.