A darkly enchanting look at the bleaker side of having superpowers.

While not hilarious, The Residence has funny moments. Paired with Uzo Aduba’s mesmerizing performance as Cordelia Cupp, the show is very watchable.

We’re on the fence. At times, High Desert comes off as an overflowing sack of chaotic scenes passing for a story, but at other times, when it’s focused on where it’s going, it can be fun to watch.

If you want to get a more complete picture of how Chppendales exploded in popularity and how Banerjee’s poor decisions led to his death, watch Curse Of The Chippendales or any of the other docuseries about the club’s history. Welcome To Chippendales is so over-fictionalized that it actually makes the story less compelling than the real thing.

This series of live talk shows demonstrates why Mulaney would’ve been and still remains a great candidate to anchor anything like Update.

With Kreese back in the center of the action, everyone working towards Sekai Taikai and an extended final season in 2024 and “final battle” in 2025 on the horizon, we can see Hurwitz, Schlossberg and Heald focusing and being able to bring Cobra Kai to the finish line with a funny, emotionally affecting story.

We’ll give Echo 3 the benefit of the doubt because it’s taking a more thoughtful and deliberate tack than most military shows. But boy, do things go pretty slowly to start.

The Acolyte‘s first four episodes are a brilliant addition to the larger Star Wars universe. By looking backwards to the waning days of the Jedi Order, Leslye Headland has pushed the franchise further into the future than ever before.

The Artful Dodger doesn’t try to replicate the vibe of Oliver Twist. It has its own vibe, one that moves quickly, is often funny, and is mostly entertaining to watch.

An intense and funny performance by Margo Martindale is the highlight of The Sticky, but the idea that this crazy heist story could go just about anywhere is what’s the most intriguing thing about it.

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.

Live to 100 leans away from woo-woo and self-promotion, and gives us a reasonably compelling investigation into longevity.

hat it brings to mind the most? The hyperbolic sleaze of TV “newsmagazine” Hard Copy. Get Gotti is slick and sensationalist and tiptoes right up to the edge of bad taste, occasionally dipping the tip of a toe in it. It’s also tonally conflicted.

While it’s not an investigation per se, we appreciate the strong journalistic approach Reckoning takes, using direct quotes and personal experience, wherever it can, to establish historic, scary patterns in Combs’ behavior. At the same time, director Alexandria Stapleton is an artful builder of tension, which makes Reckoning eminently watchable.

There’s little about A Teacher that should feel comfortable. FX on Hulu’s latest miniseries focuses on the relationship between a teacher and her underage high school student, and creator Hannah Fidell does everything possible to sell this romance. Yet it’s that grueling feeling of discomfort that makes this miniseries work.

The Lord Of The Rings: The Rings Of Power ups the ante in Season 2, but still takes its time to explore various sets of characters. It’s rare when a show gets five guaranteed seasons, and the show’s producers and writers are taking advantage of this expanded time to make the stories as good as they can be.

It demystifies our view of the competition, with all its ceremonial grandiosity, sweeping music and heart-tugging TV profiles. It takes our perception of these impenetrable sports heroes and turns it upside-down.

Once the awkwardness of setting up R.J. Decker‘s puzzle pieces ends, we see the potential for it to be a fun, quirky case-of-the-week detective series that will concentrate on its characters’ stories as much if not more than the weekly case.

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.

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.

Mid-Century Modern feels old-fashioned, even for a four-camera sitcom, mainly because it can’t seem to portray its characters in a way that’s more appropriate for 2025 than 1995.

Bupkis has some flaws, and Davidson at times suffers from the generosity he and his co-creators have given to the rest of the cast and guest stars. But it’s still a funny show that takes some surprising early emotional turns that still feel earned.

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.

Whether you’ve read Hannah-Jones’ work or are coming to it for the first time, The 1619 Project is a fascinating look at the Black population’s significant contributions to the building of the U.S., with a nuanced approach that was never in our U.S. History books.

Obviously this isn’t necessarily something to jump into completely cold. But fans of the MonsterVerse should enjoy this deeper dive into the lore of those films, with more room (and necessity) for emotional nuance than those big-budget adventures.

Between Seyfried’s performance and the bread crumbs we get about Mickey’s past in the first episode, there’s enough to keep us watching Long Bright River. But we can’t shake the feeling that, without Seyfried in the mix, the show would be indistinguishable from other procedurals of its type.

Lockerbie: A Search For The Truth is carried by Colin Firth, but its concentration on one man’s quest for the truth also keeps the show’s writers and producers from drifting into melodrama around a real-life terrorist act.

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.