Simply put: season two of Daredevil is not as good as season one. But it’s still a darn good season of television, even by Netflix’s high standards.

At its center, “Night of the Hawk” makes a point about proving its central thesis—the thing that sucks about feelings is you realize how much you can hurt someone or get hurt

Just as a 23-episode order can hurt a season of television by stretching it out too thinly, the room given to broadcast network series can also allow for episodes like The Flash’s “King Shark” to linger on trauma in believable, realistic ways.

This season of the show has certainly not been a total loss, and there’s plenty to be thankful for, but the best reaction anyone could have to “My Struggle” and “My Struggle II” is to forget them entirely and forever.

“Code of Silence,” while not strictly a comedic episode, is a breath of stress-free air in a season that has pivoted around more difficult material.

[W]hen “Babylon” isn’t trying to philosophize too much, it charms in several ways, the most prominent being how it uses [its] supporting roles...

“Sins of the Father” manages to collate its different moving pieces into an hour that is entertaining and rich enough in story...

“Home Again” doesn’t exactly hit all the notes it’s aiming for, but it at least attempts to do two important things that The X-Files is capable of doing on a good day: 1) establish an emotional connection between the audience and the central characters and 2) scare the hell out of people.

In the world of The Flash, family always comes first.

There are very serious episodes of The X-Files that involve supposed monsters. This is not one of them, and it succeeds more so than the first two episodes of the season because of a commitment to being entertaining in its own way.