HBO

Salted freedom fries, mini sliders with toothpick flags and terrible biodynamic German wine: “Tailgate Party” finds the Roy siblings setting fire to American democracy.

The bulls—t brothers head west for a product launch at Waystar Studios in Los Angeles, with a new disastrous plan to price out Lukas Matsson by overinflating the value of the Waystar's newest pitch.

“Kill List” is ripe with subtext upon subtext, with power seesawing rapidly between the siblings, the old guard and the Swedes.

After last week’s Earth-shattering death, the tightly contained “Honeymoon States” delivers sky high stakes and searing one-liners as the siblings come home to a haunted house full of “roses and rotting corpses.”

“Connor’s Wedding,” the third episode in the fourth and final season of “Succession,” is a deceptively innocent title for the most emotionally devastating hour of “Succession” yet.

“Swarm” needs convicted characters and innovative direction to achieve the acclaim or cultural revelation Glover and Nabers show reaches for.

"The Last of Us," based on the 2013 video game of the same name, is both gut-wrenchingly brutal and beautifully tentative, solidifying the show as a true masterclass in video game adaptation.

Beyond mere standards of inclusion and representation, HBO’s “The Last of Us” crafts these queer characters thoughtfully and authentically, depicting their love without the trauma or violence that too often accompanies queer love in modern media.

“The White Lotus” is tightly contained. Nothing gets pushed to the margins or tarnished by the tedium of polemic that so often afflicts other shows that set their ambitions similarly high.

The series opens with the fire and fury one might expect from a show with “dragon” in its title, yet it grows into something wildly unpredictable. It is, in many ways, one of the most triumphant debut seasons of a television program in recent memory.