Glória takes the standard Cold War spy drama and places it in a unique setting, which sets up some intriguing scenarios for missions to be executed and/or thwarted.

Home is beautifully-shot and tells stories that go beyond just “look at this beautiful and unusual house!” While the episodes can drag at times, it’s still an enjoyable diversion.

Is Snoopy Presents: For Auld Lang Syne the contemplative Peanuts that we know and love? Not really. But shifting the perspective to the usually confident Lucy, and showing a moment where she has a lack of confidence, is refreshing and welcome.

The grim goings-on and generally sour worldview that Mayor of Kingstown established with its first season have not abated with the arrival of its second. But nor has the fine acting and character work that exists in its many one-on-one moments.

There isn’t anything groundbreaking about the filmmaking, but the true crime at the center of the story is compelling.

While the pacing is still inconsistent, the second season of Killing It continues to mine the chemistry between Robinson and O’Doherty as well as how tough it is these days to come from nothing and achieve success.

Just eggheaded enough to engage those of us who want to put a smidgen of math behind the overwhelming flood of emotional sludge we parents feel when we’re being parents, or thinking about being parents, or generally existing as parents.

Despite some of the distracting flourishes, Killing County examines a topic that we don’t see a lot of in the true crime docuseries genre.

STREAM IT, obviously, if you’re a Beatles fanatic and are looking for something to nap to after Thanksgiving dinner. Anthology has lived a few lives by now, but this updated streaming version feels clean and presentable, just like the young and scrubbed Beatles in 1964.

We wish the new Star Search had some better pacing, and that the judges were a skosh tougher on the acts than they are. But for the most part we watched and voted along with the rest of the audience watching live, and rooted for those we liked. That’s the sign of an overall good show.

The Morning Show Season 2 is a thrilling melange of ridiculous drama. There are hookups that had me gasping, plot developments that gave me whiplash, and a few moments where I had second-hand embarrassment for all involved. ... The Morning Show will never be a perfect show. It’s too boldly outspoken, too shockingly self-indulgent, and too obsessed with speaking first about a moment in time instead of speaking wisely. Still, I can’t help but find its brand of backstabbing elites terribly fun to watch.

Fans of this genre of reality show will likely really get into the storylines presented here. We wish that Burnett and his producers concentrated on more non-American teams.

Margo’s Got Money Troubles has serious moments, but it’s a show that doesn’t try to take itself too seriously, and that sense of fun is going to make Margo’s journey to provide for her son very watchable.

It avoids being too salacious and trashy (despite the fact that the subject matter could easily go that way), and looks at things from a legal perspective more than a tabloid headline perspective to represent both parties as well as it can.

The case of the Beatrice Six is an interesting one, and we’re pretty sure that once Mind Over Murder gets into the details of how the six got arrested, convicted and exonerated, it’ll move better. But you may want to have your finger on the fast forward button during the first couple of episodes.

While its narrative structure is as dry as a bone, Who Killed Jill Dando? carries a lot of intrigue, simply because of how famous the case is and how wildly speculative the investigation got.

Barrera sells the idea that she can absolutely survive, making her resourcefulness in the situation almost plausible. Now we just need to see where the plot goes, which will play out in those flashbacks. ... One of the things we like about the six-episode limited series is that the episodes are all around 30 minutes, so you’re not seeing Liv wandering around the wilderness for hours on end.

While the first episode of The Stolen Girl is a bit too predictable, there does seem to be a really twisty story underneath the predictable premiere.

Duck Dynasty: The Revival might just be the silly, goofy fun you need after a hard week of working and watching the news, especially if you identify with the Robertsons’ credo of “Faith, family and ducks.”

The Dead Girls moves a little slowly, but the performances and subject matter are definitely interesting enough to keep us watching.

The first episode has more than enough twists and turns, paired with the full-of-personality members of the Heaven family, to really engage the viewer. Whether the story itself holds up over the remaining episodes is yet to be seen.

The Lost Flowers Of Alice Hart is a portrayal of domestic abuse that starts out a bit obtuse, but given the intense subject matter, that obtuseness is an effective way to bring people into Alice’s story.

We’re still not sure if The Girlfriend is going to be a taut, gripping thriller or just make us roll our eyes so much that they get tired. But the first episode shows enough promise, and makes viewers ask enough questions about both of its main characters, to keep us watching.

Like its international counterparts, Sing On! is light and fun and a show that you can easily binge if you just want to enjoy watching people singing for prizes.

While the ER in Berlin ER looks grungier and bleaker than ones we’ve seen on American TV, the beats of the show will be familiar to people who are fans of medical dramas. In this case, the show is watchable because of its cast, especially Jones and Popadic.

While there are parts of Griselda that feels like a generic cartel drama, Sofia Vergara’s fierce performance in the title role demands our attention, as well as helping the show move along at a confident pace.

We’re willing to give Protection a pass because of Siobhan Finneran’s lead performance, but the show feels like it’s weighed down by a lot of British cop show cliches.

We just wish a bit more thought was put into the story’s logic. At times it feels like there’s not enough material for the 90-minute runtime, and at others it feels like details have been left out. The first episode was scarier than the second, but the second was more fun than the first. It was mostly an entertaining episode, just inconsistent.

It’s campy and a little cheesy, but in a good way.

Gutsy reveals enough insight about the Clintons and the people they talk to make it watchable, even enjoyable. We just wish there was more depth to the episodes.

It’s all well-done here, but there isn’t a whole lot about the story that’s engaging us and inviting us to keep watching.

While not our cup of tea, we definitely see how appealing The Sandman would be to fans of Gaiman and his work. We’re just not sure it’s particularly accessible to those of us who are new to the story.

A perfectly fine show that you can sit and watch with your family, and you might even laugh once or twice. That’s more than what we can say about most family sitcoms.

[Coben's] insights tend to be generic in nature and spoken by Coben in a way that sounds like he’s reading from a cue card. In fact, Coben’s presence eventually becomes a bit of a liability. .... Despite the stiff and unnecessary narration by Coben, Harlan Coben’s Final Twist still does a good job of giving viewers lots of surprises in each episode’s brief running time.

We saw glimmers of a good show in the pilot, thanks to showrunners Alex Herschlag and Jennie Snyder Urman’s insistence on taking time to build the characters instead of going for cheap gags.

If the first season can clear up some of the confusion and expand the world beyond the recruits, we expect things to get very interesting.

Maxton Hall: The World Between Us is certainly a show for people who enjoy high school romance and boarding school intrigue, but it’s also nothing we haven’t seen before.

While we’re skeptical that the twists and turns of Imperfect Women are really going to surprise us, we are curious enough about those twists and turns to keep watching.

We think there will be enough of the original cast on screen to make watching That ’90s Show worthwhile. But we’re not sure if audiences are going to want to sit through the broad scenes featuring the teens to get to the good stuff.

There’s a lot of entertaining weirdness going on in Coldwater, so much so that the problems we have with the characters and plotting might end up being overridden by it. So, even if the show isn’t all that good, it might still be fun to watch.

While The Consultant isn’t that funny or scary, and many of the supporting characters are one-dimensional. But if you just like watching Christoph Waltz being weird, this show will have lots and lots of that.

We’re giving a tentative recommendation to MobLand because of the cast and the show’s potential to go deep into its characters’ psyches. But we also wonder if this is just a generic mob drama with a prestige drama skin on it, which would be a big disappointment if that was the case.

We’ll give Trickster points for having a mostly Indigenous cast and writing staff. But the show itself has to become a bit less bleak for us to want to keep watching.

Manhunt winds up being a mixed bag of thrilling revelation and tortuous tedium. The Apple TV+ show often loses its all its juice by trying to squeeze in as much historical embellishment as possible.

If you like straightforward British procedurals based on classic characters, than Dalgliesh won’t disappoint. But there seems to be a lost opportunity to dive more into Dalgliesh’s interesting character, especially given who is playing the detective this time around.

Milioti and Romano put in really great work in the series, and have good chemistry with each other. It’s the other elements of the show that we’re not sure about yet.

Loot is a very watchable, and funny-enough show. But we just want a Maya Rudolph series to really make its star a tour de force.

Really, the only reason to watch A Man In Full is to see Daniels swagger his way through six episodes as Charlie Croker. The rest of the show has some fine actors, but we have no idea if they’ll get any kind of meaty stories in such a brief series.

Refn spreads out his sensory overload, giving all the brooding and brashness ample space to breathe. It can be repetitive, yes, but never monotonous. ... But, at the end of the day, this is NWR for NWR-heads.

Stateless has the pedigree and the performances to match its prestige drama ambitions. But the first episode suffers from tonal mismatches and doesn’t bring the stories together in a satisfying enough way to make us automatically want to watch more.

Billionaire Island is just getting started setting up its soapy family rivalry story, and there’s enough there in the first episode to make us hope things will get better.

Jansson-Schweizer takes what could have been a very serious Cold War tale and turns it on its ear, making the incident a product of a drunken crew and making the various world leaders involved in the negotiations into the caricatures they were portrayed as at the time. Sometimes it works, sometimes it doesn’t.

Whether The Last Frontier can maintain this pace for the next nine hours is unlikely. But it’s a good start more than a rocky one (and note, future episodes reportedly stray from some of the core drama as Frank and co. track down loose escapees). Give it another ep or two before you move on.

While there doesn’t seem to be anything new about DMV, the cast has potential and the first episode had enough funny moments to give the show a chance.

The series is worth watching for Lily James’s phenomenal, career-redefining turn as Pamela Anderson. However, the strengths of the series are ultimately undercut by its own wild ambitions. It wants to be a darkly comic true crime tale, a tragic love story, a cruel satire, and a reclamation of Pamela Anderson all at the same time. Ultimately, these divergent tones don’t come together in perfect harmony.

We continue to enjoy Dalgliesh because of Bertie Carvel’s grimace-filled empathetic portrayal of Adam Dalgliesh. We just wish we had more info about the detective and somewhat more tightly-written mysteries.

The largely unfunny pilot of Going Dutch would normally lead us to give the show a “skip it,” but given the showrunner’s pedigree and the interpersonal potential of the father-daughter story, we’re giving the show a chance to improve.

AHS: Delicate has the potential to be a good installment of American Horror Story, because of good performances from Roberts and Kim K. But there are also a lot of red flags that indicate that the season may get too weighed down in the pop culture aspect of Roberts’ character at the sacrifice of actual blood and horror.

Black Cake works best when it concentrates on how Covey became Eleanor and managed to make a life for herself despite the secrets she kept. The impact of those secrets on the present day feel like more of a punctuation on the story instead of part of the story itself.

We like Clarke’s strong, stoic presence as DCI Ellis in Inspector Ellis, which is why we’re recommending the show. But we hope the series has less-confusing and more-engaging mysteries in the other two episodes.

You’re going to need some patience with I Love LA in order to enjoy it. Like most comedies about found family, there’s too much jokey chatter and not enough actual character depth to help viewers latch onto the situations of Maia or anyone else. But the friendship between Maia and Tallulah tells us that there may be more underneath the vocal fry.

There are a lot of powerful, personal moments in the interviews featured in Teen Torture, Inc. But the docuseries also relies heavily on the kind of stilted reenactments that clog up a lot of today’s true crime stuff, repeated use of the same stock footage and personal photographs, and provocative statements that it doesn’t immediately back up with facts or research.

This new version of Hollywood Squares isn’t far off from actually being a pretty good take on the original. There is room for funny lines and celebrity hijinks in each episode, as long as Barrymore and the rest of the producers find the right formula that takes advantage of their panels without grinding the gameplay to a halt.

Questions spring out of the narrative about child manipulation and the ethics of media frenzies, fringe thematics that might take deeper root in a documentary series that’s more concerned with journalistic integrity than Trainwreck’s pursuit of amusement. But Balloon Boy, in making us wonder if the entire Heene family colluded on this stunt and stuck to it for 15 years despite the fact that Occam’s Razor tells us they’re most likely cuckoo fakers, has all the moral ambiguity a quest-for-a-likely-unattainable-truth doc needs.

For the most part, Ten Pound Poms is a watchable drama about the difficulties Brits had in Australia during the post-WWII immigration movement. But its sudden dark turn in the first episode, plus a couple of underdeveloped stories, make us wonder just where the show is going.

There’s enough we liked about the first two episodes of The Franchise to recommend it, but we wonder how far the show’s accomplished producers can push the “crazy production of a high-budget film” theme without making things either absurd or annoying.

We’re giving The Decameron a lukewarm recommendation because there are characters that we do want to follow in this dark comedy, and we have confidence that the storytelling will help deepen the characters we don’t love. But the comedic elements don’t hit most of the time, and we wonder how much effort it will take viewers to really buy into the goings on at this Tuscan villa.

If you’re looking to see some catharsis from the victims of The Golden State Killer, then this special episode of I’ll Be Gone In The Dark will be satisfying. But if you’re looking for additional information about the case, you’ll likely be left disappointed.

Bodkin is relatively light and pleasant to watch, but we’re not sure if the show is going to get much deeper or more interesting than what we saw in the first episode.

We don’t know if Dark Wolf is gonna show us exactly how Ben Edwards became the Dark Wolf, which as a title feels airport novel generic. But we are interested in Taylor Kitsch building on the brood he brought to the Edwards role in Terminal List, or perhaps showing us how he got that way in the first place. And yeah, the guns and jocularity and serious people saying stuff like “Team 1, go!” into ear bud microphones – that’ll be here, too, which is its own draw for shows such as this.

Tulsa King continues to be a bit cartoonish and ridiculous, with stories that are introduced and dropped with increasing frequency. But Stallone is still entertaining as Dwight, as is the crew around him, and that may be enough for this show.

If you’re in the mood for one of those mystery shows that you can watch and try to solve along with the main character, The Madame Blanc Mysteries fills that bill very well.

We’re giving a recommendation of 61st Street mostly for the performances of Vance and Ellis. But we’re definitely concerned that the show will lean too hard on things we’ve seen in this genre too many times already to say anything new.

DeGeneres still has the chops as a shrewd observational comedian, but can she effectively chop away at her own mystique? Yes and no. .... While she gets sizable laughs making fun of men for getting away with making ridiculous public scenes by playing air guitar or imagining their golf swings, DeGeneres gets far less mileage with more shallow thoughts about somehow not knowing what it means to be in charge.

While we still like seeing Cuoco and the rest of the cast of Based On A True Story, we’re still not buying that the Season 2 story will be as good as what we saw in Season 1.

Kin starts a bit muddled but the performances and story setup give us a good feeling that the tension will ratchet up as the series goes along.

There are enough funny elements, and good performances, in Time Bandits to keep watching beyond the first episode. But we’re not sure there is enough there to sustain audience interest — whether it’s kids or adults — for ten episodes.

The Most Dangerous Animal Of All is intriguing enough to spend three-and-a-half hours on, but you may find yourself wondering why this story couldn’t have been told in half the time.

While Free Bert could be funnier, we do appreciate that Kreischer and his co-creators took a chance and made his show about something rather than just an extension of his comedy persona.

We’re going to give Full Circle a very tentative STREAM IT, because we’ve got confidence that Solomon and Soderbergh have a way to bring these characters and stories into a tighter focus. But, boy, it might be a tough first couple of hours getting to that point.

The presence of Lowe and Tyler helps offset the silliness that goes on around them.

The Night Agent is still perfectly good “watch while doing laundry” TV, but it feels like the third season is even more lunkheaded than the first two, and the absence of Buchanan is huge.

We’re recommending Snabba Cash because we’re interested in Leya’s story and Evin Ahmad’s strong performance. But the rest of the characters are less compelling, at least in the first episode.

Quiz isn’t exactly a heavy lift for the viewer; it’s only 3 parts — though probably would be better as 2 — and is about a scandal that has more silly elements (a lot of coughing, for instance) than serious ones.

The first episode, where the group is in the middle of the Hydra rolling crisis, doesn’t exactly reestablish what each person’s role is in the company, but definitely goes a long way of reestablishing their characters, just by showing how they’re reacting to the ever-escalating crisis. ... The second episode shows that the storytelling is still a little inconsistent.

The Liberator would not have worked if it wasn’t animated, due to its speechifying corniness. But the fine acting and arresting visual style takes the WWII drama from mundane to at least watchable.

While there are a lot of scene of just people talking that don’t add much to the overall story, The Gold still paints an interesting picture of a massive accidental heist and its aftermath.

The show still tends to bog itself down with too many characters and stories, as well as the gimmickry of Coop’s narration intruding on what’s going on. .... The addition of Marsden is promising, though. .... We hope his presence focuses the story in a way that we didn’t see previously.

What we’re hoping is that the one good story out of the four in No Good Deed can carry the series’ first season, at least until the others improve. The show’s excellent ensemble deserves that kind of patience.

The action and revenge story in Mercy For None is enough to keep us watching, and the episodes are well-paced. But we really need to see more context about the rivalry between the gangs in order to really get invested in this story.

The show touches on so many topics that can make for really compelling drama, but there seems to be a penchant for the show to default to action scenes and “scary cartel” tropes more often than not. ... We’re OK with a more action-oriented, good guy-bad guy show because Yung and the rest of the cast do a good job with the material they’re given.

Muppets Haunted Mansion is trifling silliness. It inspires some smiles, if not out-loud laughter. Call it a slight amusement then. Please don’t take that as a deterrent — Disney’s recent Muppets fare has kind of lowered our expectations, and this is perfectly acceptable fodder for an evening of family togetherness.

There’s enough action in Trackers to keep you interested. But the first episode is disjointed and confusing, and you may not have the patience to stay with the show as the stories start to come together.

We’re not sure how much more juice there is left to squeeze from the lemon that is Ashley and Gordon’s odd relationship, but Colin From Accounts tries its best to do just that, while expanding what we know about the world around them.

The show's aesthetic is somewhat voyeuristic, but not in a bad way.

While we’re still not fully on board with the relationship at the center of Platonic, we can see where it might be going in the second season, and it’s a direction that makes a whole lot more sense for Will and Sylvia as their lives shift and change.

We’re still a little annoyed that the second season of The Last Thing He Told Me seems to serve up a thrill-light nothingburger of a story, but we still want to see the chemistry between Garner and Rice, which is the best thing about the series.

Talamasca: The New Order is entertaining enough for fans of Anne Rice’s Immortal Universe to get their fill, but we’re not sure if the story hangs together well enough for newbies.