Omnivore is a visual feast and an informative docuseries about essential everyday ingredients we all use and eat. We just wish it was a bit more warm and personal of a show.

The game play of The Crystal Maze drags a bit during a typical hour episode, but Conover and the contestants’ family togetherness are more than enough to get us through the slow spots.

The House is certainly off-putting and weird at times, but the animation is great and the stories moved along just quickly enough to keep us interested.

If you didn’t watch Filthy Rich and you want to find out more details about the Epstein case, Surviving Jeffrey Epstein will give you all of the details you need to know, but mainly through the testimony of the girls (now women) that Epstein and Maxwell victimized.

The second season of Marvel’s Hit-Monkey is better than the first, simply because the show’s creators figured out how to make it funny and deepen the show’s characters at the same time.

We’re still wondering if Archive 81 can effectively put its timelines together into a coherent thriller. But it’s off to a promising start, due to good performances from both Athie and Shihabi.

If you followed the GameStop story or saw GameStopped, the information in Eat The Rich: The GameStop Saga will probably be familiar to you. But it’s presented in an entertaining way and also has a more complete picture of the stock’s ups and downs.

While the video essays in Voir sometimes dip too far into pretentiousness, the dreamy visuals and insightful analysis make this a compelling watch for aspiring critics, as well as viewers looking for fresh reasons to watch classic films like Jaws.

Marie Antoinette starts slowly but should pick up as Antoinette tries to seduce the reluctant Louie and both become monarchs.

While not quite as intense as its first season, the second season of Suspect is still very watchable because of the well-paced half-hour episodes and a cast that can handle its tell-don’t-show storytelling.

It doesn’t look like it’s going to follow the traditional path that other Superman series have, and that’s just fine with us. Just as we like seeing Clark and Lois as harried parents, we’re also happy to see Superman battle some different enemies for a change.

Despite some plot contrivances in the first episode, we’re still recommending Who Is Erin Carter? because Evin Ahmad does a good job making Erin a bit more credible.

The songs and videos of We The People are entertaining, but they also do a good job of connecting with their intended audience and making the concepts that are sung about stick in young brains.

Some of Little Voice‘s saccharine might get you in a grumpy mood, but Bareilles’ music and O’Grady’s performance will help with alleviate those grumpies pretty quickly.

Fishback is the key to the watchability of Swarm. As her character becomes a more experienced killer, Fishback becomes more confident in her performance. The show is definitely stylishly shot (Glover directed the first episode), but much of that would be empty without Fishback’s performance.

Assembly Required is a fun competition show, though it lacks some of the detail that the truly mechanically-inclined might want to see. But it’s made more fun by the presence of Allen and Karn.

While we’re a bit disappointed in the dark turn The Boys has made as it goes into its final season, we’re looking forward to seeing how Eric Kripke and company bring the story to an end.

This is a slow burn that assumes you’re somewhat familiar with this case. Most of the stress in “Episode One” worked for this critic because I knew what was coming. If I didn’t, there’s a chance this somber pacing drift into boring territory instead of being quietly terrifying.

It’s never been our cup of tea, but David Shore and company have managed to put together a good ensemble that still works well together as the show enters its final season.

Red Alert tries its best to show the harrowing experience of October 7 in southern Israel while concentrating on the heroic acts that happened that day. It’s a balance that’s at times hard to maintain but it is also worth watching.

Fiona Nolan and her family are the more interesting of the two, if only because how they came together. .... When Anderson and Headey are in scenes together, it’s hard to look away.

We’re expecting a lot of tension and action in The Day Of The Jackal. The performances of Redmayne and Lynch give us hope that the tension can be sustained over 10 episodes, but we’re not sure if the intensity of the first episode can be maintained.

Haunted Hotel could be funnier, but it’s got fun characters and the capacity to create an infinite number of funny ghosts and monsters to occupy the hotel’s many rooms.

Dave starts slow but does a good job of introducing (or re-introducing) us to Lil Dicky, and how he became a hip hop star by just being Dave.

While it may take you awhile to figure out how everyone in Miss Austen is connected to each other, the performances of Hawes as the older Cassandra and Ferran as the young Jane will keep you interested in the story.

It definitely suffers from a bit of bloat. (Not everything has to be a ten-part series, I swear.) Still, it’s comforting, well-crafted off-season sports content, a perfectly nice thing to spend your time with if you’ve got the time to spend.

The New Years keeps its storytelling relatively simple, focusing on the main characters as we peek in on their evolving relationship over a decade.

We enjoyed Penelope because Megan Stott’s performance is a clinic in solo acting, and we appreciate the story’s fantasy aspects. But those nagging questions that pop into our heads while watching it just don’t go away.

The scripted visuals here fill things in quite well because Berlinger keeps them weird and odd, like the hotel itself. ... Considering the complexities of the Lam case, plus the Cecil Hotel’s history, no one can claim that Crime Scene: The Vanishing At The Cecil Hotel is padded out. We’re actually wondering how they’ll cover everything in 4 episodes.

Season 3 of The Witcher has enough story and action to satisfy fans of the show. We just wish the characters had a bit more to say.

Guadagnino concentrates so much on the teenagers that the adults might get the short end of the character stick. ... The first episode of We Are Who We Are takes its time to get to where it wants to go, but the ride is pleasant because we’re so intrigued by Fraser and his various relationships.

The Beauty is focused, gruesome and just funny enough to keep things moving. All of this is miraculous, given Ryan Murphy’s recent track record.

Murder In A Small Town is both a murder mystery series and a romance series. Can the two mesh? So far, it has, mainly thanks to the chemistry between Sutherland and Kreuk.

The Hunt For Raoul Moat is a pretty by-the-numbers limited series about a real-life manhunt. However, the performances are compelling enough, and the runtime short enough, to keep viewers engaged.

The conceit is executed well; we don’t feel manipulated by Barrett, Kelly and their writers deliberately hiding things or throwing us red herrings. But we’re not 100 percent engaged by Sam’s story, either. ... The performances of Law and Waterson, as well as the chemistry between Watson and Considine as the weirdly gruff and cheery Martins are keeping us interested.

We’re unsure how the cold case ties in with the domestic homicide case that brings Collins and Adama together. It may not, but it seems that having a second, unrelated case taking Collins’ time would be a waste of plot if it didn’t tie into the other case somehow. We also are curious to see if Collins’ personal issues, plus her anger with Bradshaw, will factor in.

While we were annoyed at the first episode of The Sons Of Sam: A Descent Into Darkness, we’re looking forward to digging into what Terry found and how the investigation affected him.

Love In The Time Of Corona isn’t telling any stories that’ll blow you away, but the couples have understandable chemistry, and the production values are surprisingly high, given the restrictions the producers and crew were under.

Just in the first episode, the guest voices all stole the show, but there was definitely enough going on with Keef, Clovis and even Gunther to keep us watching. We just hope that as Keef gets more “woke,” his character becomes more well-rounded.

Hawke’s titanic presence as John Brown makes The Good Lord Bird move along quickly and keeps its comedic undertones intact. The rest we can take or leave, but we’ll keep watching mainly because of the show’s star.

Stillwater is a nice Zen alternative to the noisy and grating kids’ shows out there. If you’ve got a kid who doesn’t mind calm TV, this will give both of you a break for 25 minutes.

Boo, Bitch is a show whose main characters do more than enough to carry a show that has mostly generic secondary characters in an overdone genre. Without Condor and Colletti playing the main roles, the show would have been very forgettable.

The Lincoln Lawyer is one of those shows that won’t leave a big impression on you after you watch it, but it’s got enough good stuff going on to make it an enjoyable, pulpy watch.

Chucky adds some fun story elements to the “murdering doll” dynamic, bringing the franchise back to it’s earliest days, when we found out how Charles Lee Ray became a belligerent, knife-wielding, redheaded doll.

Son Of A Critch is funny and generally sweet show about a kid who didn’t fit in, but finds a way to find friends and a life in junior high, anyway.

The Hardacres is an enjoyable period drama that stays light on the drama and goes heavy on establishing how solid the family unit is, whether they live on the docks or on a country estate.

The murder mystery stuff is satisfactory, and could lead to unexpected reveals. But in Nine Bodies, it’s the suspicion and what’s left unsaid among its plane crash survivors that has us hanging with them in their jungle clearing.

If you’ve been a fan of this show over the last quarter-century, you’re going to watch these new episodes, and they’re going to be as funny and sometimes frustrating as they’ve always been.

The Pale Horse looks great, and has fine performances. But Sewell’s slimy protagonist is the lynchpin that makes this one of Amazon’s better Christie adaptations.

The conspiracy aspects of The Capture are intriguing enough to keep us watching. We just hope we don’t get manipulated as much as we did during the first episode.

Treason has more than enough tension and intrigue to span its 5-episode season. As long as it doesn’t get too bogged down with unnecessary side stories, the show should be very entertaining.

While the cases of the week are a necessary evil on a show like Matlock, we wish there was more room to play out the complexities of Matty and Olympia’[s] relationship and the Wellbrexa case.

Despite the lack of details, The Glory works as a revenge story because you’re immediately drawn to Dong-eun and want to see her get back at those that scarred her for life. But we hope that there will also be more nuance to Yeon-jin and some of the other tormentors, as well.

The Serpent is certainly a slow burn, and it’s jumpy timeline will take some getting used to. But the lead performance by Rahim, and fine supporting performances by Coleman, Howle and Bamber help us stay engaged with the story.

Swan is appealing as Jenny, and we’re always happy when a procedural focuses as much on characters as it does on the case of the week. It’s a sign that Coroner will only get better.

I, Jack Wright has real potential to be a fun murder mystery combined with a dramedy about wealthy family conflict. The first episode certainly indicates that things will only get more explosive as the series goes along.

Criminal Minds: Evolution is indeed an evolution of the franchise; the cast seems to enjoy its meaty season-long mysteries, and it’s always good to see the group working together again.

What role Bronte plays in all this, whether she becomes an intellectual or even a physical love interest for Joe, is yet to be seen. It seems that Joe is attracted to her because she provides something Kate doesn’t, even though he loves Kate as much as anyone he’s ever met. That complex dance is going to be interesting to watch.

While The Glory isn’t quite as dark as we anticipated it to be, there’s still a lot of moments when Dong-eun’s revenge plan is at the forefront of the action, which is where the show is at its best.

Bling Empire mostly follows the tried-and-true reality formula, but with just enough new wrinkles to get fans of that genre excited to binge its first season in one or two sittings.

Deadloch is a show that doesn’t make fun of murder, but has a lot of fun with the people investigating the murders, along with everyone who might be a suspect, and does so in a pretty entertaining way.

If you’ve stuck with Sweet Tooth to this point, there is nothing about the final season that would make you stay away from completing the story.

From Scratch is a perfect slice of escapism for the wine moms and independent women of the world. It’s not worthy of awards, but it is worth recommending to my fellow die-hard romantics as a blithe bit of distraction from everyday stress and sorrows.

While Emily In Paris seems to be a bit of a lightweight series, Collins is a winner in the lead role, and Star is a pretty dependable storyteller, so we’re hoping for the best.

While there’s a lot about Supacell that we’ve seen before, there’s also enough that’s new to keep us watching, especially given the performances of its main cast.

Little Disasters has some annoying “perfect family with secrets” tropes, and uses some irritating narrative devices like foruth-wall-breaking snippets and narration. However, we liked the exploration of this unlikely friendship between a medical skeptic and a doctor, and how their differences end up threatening one of their families.

While sometimes White House Plumbers finds it hard to satirize what is already ridiculous at face value, it still gets off some big laughs and is bolstered by the performances of Harrelson and Theroux.

We’re hoping that some of the quirkiness of Dispatches From Elsewhere meshes better with story as the series goes along, but the ensemble’s initial chemistry compels us to keep watching.

Whereas it once felt like all of this show’s challenges were emanating from the same place they do on Jimmy Donaldson’s YouTube channel, with others doing them instead of MrBeast himself, Season 2 of Beast Games feels better positioned inside what we all understand as contemporary reality competition.

While we hope the show, and Obama, stay as grounded as it does in the first episode, Working: What We Do All Day is still a good glimpse at just what work is like in America, especially in these post-pandemic times.

The premise of Based On A True Story is definitely absurd and by the end of the first episode, we’re not sure where it’s going to go. But Messina and Cuoco’s performances are more than enough to keep our attention while the show figures itself out.

Hey, this thing is creepy. Teacup thrusts us into the everyday life of a family who must navigate their own internal problems as the world around them becomes increasingly unsettling. And weird! And probably morebloody!

There is some inherent cheesiness to the scripted parts of Martin Scorsese Presents: The Saints, but the stories try to ground themselves in human reality, and Scorsese’s presents adds his gravitas and genuine curiosity about faith and the Catholic church.

Despite the fact that it feels like it’s set to go in a bunch of wayward directions, Moment Of Truth is still a docuseries worth watching, mainly because it’s a reminder of how a high-profile case can be influenced by so many different factors.

The first episode of Starting 5 is titled “Meet the Hoopers”, and it’s clearly focused on introductions, but the notion that introductions are necessary is pretty silly, given the star caliber we’re talking about here.

Beastars compellingly tangles some of the mundanities of human high school life (Oh no! Drama in drama club!) with some weird world-building within an anthropomorphic reality.

History’s Thomas Jefferson docuseries tries its best to make sure the Founding Father is seen in a proper light, and for the most part achieves that goal.

Young Rock starts off well and it feels like it’ll settle in to a nice family vibe once it gets into a groove with its format. And as much as we like Johnson, it will get even better when we see less of The Rock.

Fred And Rose West: A British Horror Story does a good job of utilizing the audio and video recordings that are the docuseries’ centerpiece, while not getting in the weeds of what is a very complex story about the Wests and their victims.

Dune: Prophecy has more than enough, between all the scheming between houses and the performances of Watson and Williams, to recommend it, but we just wish it had taken a different tack on the story of Bene Gesserit than the one it chose.

If you’re a fan of the video game franchise, then you’ll likely want to skip this series just on principle, but if you’re new to the world of Devil May Cry or a returning Season 1 viewer who loves exciting action and doesn’t mind a slightly underwhelming plot, then give Season 2 a shot.

Miracle Workers: Dark Ages may not have that satisfying story arc that the show’s first season has, but Viswanathan is a great lead and the characters are well-established by the end of the first episode.

Despite its very casual pace, The Lying Life Of Adults has an interesting family story at its core that will inform how its main character comes of age.

While the fourth season of Dark Winds is taking a chance by going off the rez, seeing Leaphorn, Chee and Manuelito facing big changes brings interesting context to what might be normally be considered a standard police thriller case.

The Gray House is surprisingly engaging for such a sprawling historical drama, aided mostly by a good mix of characters and a strong lead performance by Daisy Head.

The second season of Tucci In Italy made us realize what Tucci is actually connecting with is the food and culture, and that helps us like him better.

While we still feel that there’s a bit of a lunkheaded feel to The Night Agent, Basso’s and Buchanan’s characters are established enough in the second season that the improved mission they’re on is something we’re looking forward to watching.

Long Way Home has an ambling quality about it that suits a travel-centric show, all of the scenic shots you’d expect – from the Scottish highlands to Scandinavian fjords and onward through Europe – and a level of bff banter between Ewan McGregor and Charley Boorman that’s enjoyable as we become their companions for their latest two-wheeled adventure.

We think that the chemistry between Campbell and Elliot will be enough to keep people tuning into this version of The Hardy Boys. But we’re also wondering when gritty reboots of beloved kids’ literary characters is going to stop.

It’s off to a solid start, with good performances and a story that fits well in today’s television landscape.

Some of the incidents that begin the disputes are a bit confusing. .... But some are so “normal” they’re crystal clear. .... It’s disputes like the ones in the second episode that feel more real to us.

Kenan Thompson makes for a strong center to what looks like will be a warm family sitcom. It has some pacing issues, but by the end of the first episode, we were confident that they would be smoothed out.

By keeping the stories simple, Roar is able to send its messages without hammering it over viewers’ heads. Could some of the episodes stick their landings better? Sure. But the storytelling in the series mostly solid.

We like Interior Chinatown enough to look past the “stuck in a cop show” conceit, but we just hope it doesn’t weigh the show down as the season continues.

We’re intrigued by the time period depicted in Spy City, simply because it’s a part of that period in East-West relations that has been under-documented, at least for people who aren’t huge Cold War history buffs. It helps that the acting and production design are both excellent.

There’s great potential for a fun road-trip comedy here.

Ghosts is still fun, but we’re just not sure how many good stories this Sam, Jay and the ghostly gang have left in them.

Standout performances by Spencer, Ejogo and more make Self Made a pleasurable watch. It’s just too bad that the story of Madam C.J. Walker isn’t given time to slow down and breathe.