Ultimately Only Murders in the Building doesn’t break new ground so much as it deftly embraces what makes the mystery genre so universally compelling.

The Chair is funny as heck with some earned moments of real emotion, and a killer cast. Six episodes flew by, and we hope to see more of Pembroke’s English department soon.

Hallowed Ground reframes Eyes on the Prize for the 21st century while also encouraging us to dig into the award-winning series. It stirs up some emotion and surely offers some inspiration to the next generation of activists — just like Hampton did.

All you really need to know about the second season is that it was absolutely worth the wait.

Even though we weren’t completely turned off by Taylor Kitsch’s performance, his presence in The Defeated transforms the show from something intriguing to something that could either get really good or go south in a hurry.

Season 2 of Modern Love is better than the first because Carney has decided to concentrate on more intimate stories, and not try to lean on huge names to get people’s attention.

Brand New Cherry Flavor has its high points, but its story isn’t unique enough and its weirdness seems like the free-floating kind that makes most viewers scratch their heads at what they’re seeing.

What If…? is a fun exploration of alternate versions of the MCU, with animation that does a good job of conveying the action that’s baked into the MCU recipe.

It stuck close to the original formula, with some updates. And that makes for a much more entertaining show.

An ensemble that both highlights these characters’ strengths and humanizes their weaknesses. Leading the charge is Nicole Kidman in a role practically designed for her. ... The result is a show that’s as addicting and delightfully soapy as HBO’s summer hit The White Lotus.

While the information in UFO may or may not convince you that the US government knows more than it’s telling us about UFOs and extraterrestrial life, it’s presented in a fast-paced and entertaining manner that will at least pique your curiosity on the subject.

After the first two episode, we want to see these kids get that money and leave, even though we know that’s not likely to happen. Even if they steal everything in sight, Harjo and Waititi have seen to it that we quickly want to root for them to steal even more, even though we know we shouldn’t. That’s a pretty damn good sign.

Hit & Run boasts a fine international cast, an interesting premise, and opens up a lot of story avenues without confusing the viewer.

Mr. Corman has the potential to become something truly great and powerful, a modern-day mirror to the glorifying of perceived trauma that has come to define so many narratives. You just have to give it space to get there.

It feels like she miscalculated with bringing back her old vapid persona in Cooking With Paris. We wanted to see a more unvarnished Paris, not the one we’ve been seeing for the last 20 years.

We often complain that docuseries take six hours to tell three hours of story, which leads to a lot of filler. Here, it feels like there’s about eight to ten hours of story, squeezed into six 45-50 minute episodes. ... Corben doesn’t position this as some dark, scary, noirish true crime series, and that is refreshing.

The incisive writing and nuanced performances combine to make Heels one of the most entertaining shows of the summer. ... Amell and Ludwig are the headliners but Heels is bolstered by its exceptional undercard.

While Obama: In Pursuit Of A More Perfect Union is likely more reverent than most people might like, it’s still an effective portrait of a president whose desire was to unite instead of divide.

Small Town News: KPVM Pahrump is funny as heck, but it also shows just how tough it is to run a news-driven local station, no matter how small the area it covers is.

The Prince is essentially a royal version of Family Guy, and not nearly as biting or funny as Janetti’s former series is.

Myth & Mogul: John DeLorean succeeds because it’s nicely-paced, with moving graphics filling in information where a narrator might in similar docuseries. It also succeeds because of the access director/producer Mike Connolly got to important people in DeLorean’s story during the era when he designed his now infamous car. ... Where the docuseries really shines is in the footage that Pennebaker’s family provided. It fills in the other blanks that most docuseries have to use reenactments to fill.

If you’re jonesing for a musical story after watching Schmigadoon!, start streaming Centaurworld, even if you don’t have kids. It’s funny and strange all at once, and the music is pretty darn good.

Tattoo Redo is fun makeover show that sets the right tone by making fun of the awful tattoos people get while celebrating the artists that do an expert job of covering them up.

If you’re a fan of The Bachelor franchise or Love Island, Love Is Blind, and Too Hot To Handle, just jump right in. Don’t even think about it, you know you’re gonna love this.

100 Foot Wave brings to bear the sheer force of the waves its subject is surfing, but is enlightening, too, offering insights into the world of professional tow-in surfing and the personalities involved in making it happen at sea level.

Going with animation not only allows us to visualize Notaro’s funny trips down her own Memory Lane, but also enjoy a lighter take on her interaction with the crowd at Largo (dubbed La Venue in Drawn). ... Notaro may be a notoriously dry comedian, perhaps too dry for some tastes? So this also may be your best chance to see her in a completely new light. Or 11 new lights.

Smith eschews his normally wordy dialogue style, but keeps the characters smart and real, which helps us want to follow all of them as they go on their journey. He also hews closely to the convoluted world that is Eternia, where there’s layer upon layer of intrigue and mysticism that needs to be restored or captured. The animation is an upgraded version of the ’80s Filmation style the original show had, but with just enough retro touches to keep the show connected to its predecessor.

The episodes of Through Our Eyes are short but informative, not because they’re crammed with statistics, but because they feature kids who are going through real-life issues and managing to live full childhoods despite their circumstances.

We’re recommending Turner & Hooch mostly for the dog. ... Without Hooch, the show is mostly a generic basic-cable mystery series; if it can’t develop better relationships between its characters, the dog will still be the only thing keeping us watching.

We’re really just recommending Sexy Beasts for Rob Delaney’s narration. The rest of the show is just weird at times, creepy at others.

Professor T doesn’t tread new ground. But the writing is solid and Miller and the rest of the cast do a good job of making the obsessive detective trope entertaining to watch.

Power Book III: Raising Kanan is a prequel that not only captures a particular place at a particular time but also builds a world that can quickly help the show stand alone from its parent series.

We suspect that the remaining four episodes of the limited series will pick up, as the ship actually fulfills its doomed mission as an insurance claim. But if you want to get a good idea about the main two characters, the first episode does a fine job setting things up.

The comedy is so black sometimes you can’t see the funny. But it’s all in the absurdities of life, and this well-written and well-acted show promises to be a satisfying watch to anyone ready for its bleakness.

Insert your favorite Beatles or McCartney title here — the point is, 3, 2, 1 will have you enthralled. ... McCartney 3, 2, 1 is imbued with a loose, parlor conversation vibe that belies the gravity of the memories and recording studio insights that McCartney peppers into the conversation. 3, 2, 1 is fascinating.

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.

We have a lot of reservations about Dr. Death, but considering the show will examine just how a butcher like Duntsch can keep getting hired by major hospitals who should be vetting their hires better. The cast helps things along, despite their sometimes over-the-top performances.

We’re lucky that we get to watch this woman on the court, but this interesting, insightful, and inspiring documentary also shows how lucky we are to get to know her in this way.

Heist is a change of pace from the usual Netflix true crime docuseries, which by itself warrants a recommendation. Whether you think that these heists and the people who pulled them off deserve such an upbeat spotlight is up to you, but the series itself is visually interesting and well-executed.

More often than not, that structure comes off stiff and clunky rather than genuine and flowing. ... That’s not to say that the dialogue from Gaby Chiappe, who adapted Cecil Day-Lewis’ novel (though seems to change quite a bit, including Frances’ gender) isn’t sharp. It’s what we enjoyed about the first episode the most, including Jumbo’s and Howle’s performances (Harris doesn’t appear until Episode 2). But we just wish Frances’ way to George didn’t look so damned easy.

It’s plenty strange and generates big laughs as well as tiny snorts of funniness along the way.

Even though the repetitiveness of some of the stock footage — closeups of recorders, Farrow looking at papers behind a microphone but not talking into it — might get old, the story is structured in a way that brings viewers in immediately, giving them information on it that they may not have known if they didn’t read Farrow’s book or listened to his podcast.

The White Lotus should be an interesting six-hour look at how privileged people mess things up with that privilege. It’s a fine marriage of smart writing and a fantastic cast.

The good news is Ted Lasso is still the best comedy on TV. In the six episodes sent to critics, the show’s iconic blend of heart and humor were still omnipresent in every scene. However Ted Lasso Season 2 does make some bold swings straight out the gate. ... And some of those swings? Well — to borrow a baseball metaphor — are more bunts than hits. But through it all, Ted Lasso remains Ted Lasso, a virtuoso work of art that puts humanity first in its storytelling.

Tim Robinson’s new series of psychotic vignettes are just as funny (if not more so, on occasion) as his first season, and that’s largely thanks to some genuinely unhinged writing and an amazing group of guest stars.

Schmigadoon! is silly, sweet, sharp, and most of all, sensational. It’s just the latest in a string of Apple TV+ comedies to balance wit and heart.

If the new Gossip Girl can loosen its grip enough to let its Upper East Siders become the actual bullies they not-so-secretly are, there’s a chance it may capture something great once again. If not, Gossip Girl may need to sign off, for good.

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.

Because of the twist at the end of the first episode and the series’ relative brevity, watching Sophie: A Murder In West Cork should be worth your time.

The Choe Show is full of artsy weirdness, but the interviews are genuine, as are the responses David Choe gets from the friends he talks to.

The Mysterious Benedict Society is smart without being overly precious, but is just weird enough to keep kids’ attention. It helps that the writing and acting help keep things from flying off into Tweeland.

Sex/Life is a show that has no idea what kind of message it wants to send, besides maybe the fact that it would be awfully nice if people could boink like rabbits while having a busy family life.

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.

There’s nostalgia and memories of prom to be channeled for anyone of a certain age, of course. But this lead ep of This is Pop and what’s to follow are also offering fresh takes on a pretty wide subject.

Capital One College Bowl is well-paced with questions that aren’t super hard, but not super easy either. Here’s hoping that Peyton Manning loosens up a bit as the tournament goes along, and that he doesn’t need to force throwing things to Cooper in order to get some laughs.

Us manages to be funny and heartfelt despite documenting what looks to be the end of a long marriage. Even if the story isn’t for you, though, you may just watch so you can start planning your next big vacation.

Kevin Can F**k Himself quickly moves past its high concept to show the picture of a woman in crisis, and we’re excited to see how she tries to improve things through the first season.

It’s through Byrne’s cutting insults and screams buried under her pained smile that Physical truly finds its voice. ... Shelia and her near-constant self-flagellation become Physical’s driving force. It’s a positioning that’s pointedly brilliant.

STREAM IT If you grew up watching iCarly and are happy to see most of the old gang again. SKIP IT if you’re expecting the grown-up Carly and her friends to give you a more grown-up sitcom.

With the requisite beautiful photography and a funny but warm narration from Oswalt, Penguin Town is definitely something you can either binge or dip in and out of, especially if you’ve bought into the penguins as something akin to sitcom characters.

Dave is nothing if not a show for a very specific taste. It’s too smart to be labeled sophomoric, and while it’s packed with really great acting and a lot of heart, it’s also entirely common and accurate to use the word “weird” to describe it. But, like Dave himself, that’s part of its charm.

Just as rambling, hyper-specific, and brilliantly dumb as this series always has been. ... If you love the show for its weirdo characters, Mr. Nimbus will leave you quoting and thrusting to his every line. If sci-fi insanity is more your speed, there’s a time-altering B-plot that is so perfectly Rick and Morty you’ll be shocked the show hasn’t done it before.

The Republic of Sarah has its charms, but the premise is unsustainable and it’s larded down with too much “CW stuff” to give that premise a chance to make itself sustainable.

While there are a ton of head-scratching aspects of Blindspotting, there’s more than enough to recommend, especially the performances of Cephas Jones and Barron.

Ultimately, Starstruck is a romantic comedy that understands, respects, appreciates, and celebrates the genre, all while still carving out its own unique place in the category.

Loki is a surrealist, kafkaesque mashup of True Detective and The Office—and it is a sight to behold. ... The show should not work, but it does. Loki (the series) was burdened with glorious purpose from the start and, unlike Loki (the character), you can consider that purpose fulfilled.

Little Birds just tries to do too much, leading to an unfocused and hard-to-watch first episode.

Season 2 of Why Women Kill surpasses the first season by concentrating on one story and one set of interconnected characters, boosted by an excellent cast.

While acting and visuals in the first episode are excellent, and we have some hope that Lisey’s Story will go beyond just imagery and symbolism and give us an actual story, it feels like it will ultimately end up being a bit too frustrating to follow week-to-week.

We were surprised how engaged we were with Sweet Tooth, even though it’s a show about a virus that wipes out most of humanity; it’s not something you want to contemplate as the real pandemic we’re suffering through winds to a close. But good performances and an adaptation that grounds things into some sort of reality saves the show from eye-rolling preciousness.

Easily the best comedy special of the pandemic, if not the best “content” of any kind from the pandemic that you’ll see, putting everything we’ve felt over the past year and a half, and still feel, as each of us figure out what comes next.

In its second season Tuca & Bertie is unafraid to get deep, and we’re all better for it.

Howery keeps things moving and loose, and he pokes just enough fun at the contestants to help allay their nervousness. But the practices are so lacking in tension that they slow the game action down. ... If the producers can tighten the show’s pacing in subsequent episodes, it should make for a fun summer series.

Like a lot of the animated programs Fox has put out in the past 15 years, this one needs some patience. Perhaps the rapid-fire jokes we see in group will give way to these individual stories that will mine laughs from the characters. But right now, the show is so overpopulated it doesn’t give any of these characters room to explore.

There’s a lot about Panic that makes us roll our eyes. But we’ll give it a recommendation because we were actually rooting for its main character by the end of the first episode, and we were surprised that we were doing so. That’s a good sign for the rest of the season.

Crime Scene Kitchen is enjoyable because of Joel McHale, full stop. Everything else on the show is fungible, except for the guessing game you will have once you see the evidence left in that crime scene. Either way, it’ll make you hungry, which is always a good sign of a cooking show.

High On The Hog is not only informative, but makes a real emotional connection between food and the history behind it, and a lot of that is thanks to the “relaxed intensity” of Satterfield.

Friends: The Reunion completely redefines how we should view sitcom reunions moving forward, and it sets the bar so high that I truly don’t know if any other get together can ever top it.

Archival footage is the hero here, everything from tear gas canisters arcing into the students at Kent State and those lying bleeding after the National Guard shootings, to a raw live performance of “Ohio” by Crosby, Stills & Nash that leaps off the screen with nervy energy. Audio interviews accompany the montages, and are lent particular power in their juxtaposition.

There’s lots to like about Kerry Godliman as Pearl, and it does seem like the chemistry between Godliman and Howard Charles is good enough to sustain Whitstable Pearl, but the mysteries need to get a lot stronger before this show can compete with other hit British mystery series.

We want to see more of both of these guy’s worlds, like the obvious attraction Dan has for Jess and his interest in Zayna’s education, or what Kevin is building with Jasmine. The situations both get in might be funny, or (like in the premiere) they might not. But the more they’re steeped in the relationship between the two friends and their worlds, the better the show will be.

By shifting its focus from Dev to Denise, Master Of None gives us a third season that’s fresh and poignant and makes us want to see more after its first episode. Does it trip over its own pretentiousness at times? Sure. But that’s not a deterrent for us.

In Treatment is saved by the performances by Aduba and the people playing her patients. But this is a show that feels like it’s from another time, despite the up-to-date references throughout.

If you don’t go in looking for bombshells from Harry or other superstars, The Me You Can’t See is a revealing look at mental illness and how our awareness of how pervasive it is in its many forms is just starting to develop.

The performances in Solos would have really worked well on stage. But on TV, even the sharp performances can’t make up for lack of action or story propulsion. There’s a reason why monologuing rarely translates well to film or TV, and Solos shows why.

Marvel’s M.O.D.O.K. suffers from not only being not as funny as it should be, but it also pumps the fan service gags instead of actually developing the world around its star supervillain.

There’s certainly information in the first episode that we either didn’t know or forgot, and Having historians like Stryker and Jules Gill-Peterson give their perspectives of that history helps contextualize things. We hope that as the episodes move towards more modern times, the reliance on recreations will subside.

Run The World proves that a TV formula can be repeated if the characters and actors are appealing and the writing starts to create worlds around them that are start to stand out on their own. After the first episode, the show is on its way to doing just that.

Despite the performances by the miniseries’ leads, Death And Nightingales is just too boring and inaccessible to really get into; by the end of the first episode, we were even more in the dark about the story than we were at the beginning.

The final frame of the pilot challenges your notion on how the rest of this journey will go. ... These two slaves are going to be free at some point, but what they will encounter on their way north will create enough tension and empathy to keep viewers’ attention beyond the first episode.

Perhaps as things go along, we’ll see more development from these characters. But it may also be that Halston is the only one we see any kind of depth from. And that feels like a missed opportunity. ... McGregor’s performance ties together the flatter characters that are depicted in Halston’s orbit. Despite the broad strokes, five episodes sounds just about right for this series.

Writer Julie Gearey wastes no time getting to the meat of the story. In doing that, it makes the characters one-dimensional. ... Intergalactic tries too hard to create its world, leaving a confusing mess in its wake.

The Upshaws has “good sitcom bones”, but is so saddled with tired plots and dialogue it just makes for a show that feels like it’s already stale, even though it just started.

It’s refreshing to experience a talk show that cuts the monologue out entirely to get straight to the straight talking. ... [Ziwe] certainly stars shines throughout, even while she’s consistently throwing shade and facial expressions.

From Cradle To Stage gives viewers a great look at how their favorite music stars became so driven to succeed in what is an impossible business, and the moms who helped make them that way.

The Drowning has some aspects that are a little on the unbelievable side, but for the most part it’s a well-written, well-acted psychological mystery.

While it’s a valiant try at starting a new superhero franchise, Jupiter’s Legacy can’t wrangle its sprawling mythology well enough to make a coherent and cohesive first episode.

What the series lacks in laugh-out-loud moments, it more than makes up for in thought-provoking ones, especially if you’ve found yourself wondering what Che would do if he had more agency and authority in selecting the sketches on SNL.