There are many shows that sympathize with killers and vilify their victims, but Love & Death never earns privilege. That’s because outside of Elizabeth Olsen’s devastatingly layered performance, Love & Death is a disaster.

It’s decidedly unclear from this first episode what the three newest cast members will add to the mix. Just like SNL.

While it is naturally big on the technicalities of tennis, there is a humanistic story at the center that is appealing to everyone.

Jane is a cute show with an important environmental message that does a good job of getting the information across to its young audience.

There is certainly a relentless darkness about Barry that gets even darker in its final season. But Hader and Berg still throw in enough absurd moments and character-based humor to keep things from careening into full-on drama. But we’re definitely expecting the final season to be heavily dramatic, and we’re on board for it.

Gorgeously unsettling tour de force. ... Dead Ringers is an incredible work of art, full of knotty conversations about the give and take of society at all levels. It takes an unapologetically feminine look at the politics, science, and emotion of maternity in the modern medical era. But more than anything else, it’s a brilliant showcase for one Rachel Weisz, who is operating at the top of her game.

A muddled mess. ... Waco: The Aftermath has a great cast, but it’s also massive, because of all the stories the show needs to cover. And none of them will get the attention they deserve in such a short limited series.

It’s one of those shows that has us hovering towards the “meh” end of the review spectrum. There was nothing inherently wrong with the first episode, but nothing really drew us in, either.

Florida Man is a muddled show that has some interesting characters and story points, but they’re lost in a show that’s far too crowded with characters and storylines.

Obsession wants to give viewers all the sexy with no story.

No amount of filmmaking flourishes, which we see when interviewees enter rooms, or turn to the camera, and other gimmicks, are going to make the viewer forget that they’ve seen all this before. Less gimmicks and more in-depth information on the particular parts of the event would have made for a better docuseries.

By taking the focus off Sam for a bit in Season 2, Single Drunk Female does wander a bit from what made it such an appealing show in its first season. But since we liked the support system that formed around Sam so much, it feels less like scope creep to us and more like a show evolving and settling in for a long run.

Rennervations is a touch frantic and a little unhinged, but that just seems to be a reflection of its star’s personality. We love seeing the conversions and the organizations that will get these really fun new vehicles.

Despite having a bored and unlikable character at its center, Am I Being Unreasonable? sets up enough mysteries and questions to make the three-hour series breeze by.

Jury Duty is working on a lot of levels. ... Jury Duty generates ever more laughs from the everyday absurdities of human interactions as its actors disappear into their constructed identities. But there’s built-in tension, too.

Kathryn Hahn makes Tiny Beautiful Things a compelling watch, mainly because she’s so good at playing someone barely holding things together. But the rest of the series, especially the flashback sequences, give us a pretty full picture of why her character continues to spiral.

Transatlantic takes a serious story and gives it a bit of a bouncy, adventurous edge, thanks to some crisp writing and a fun lead performance by Jacobs. But it still pays reverence to the people who risked everything to help Nazi refugees, as well as the refugees themselves.

The first episode of The Good Mothers sets up a powerful story.

A story that’s full of drama and emotion, punctuated with moments of comedy that are truly dark.

With season 3 of Dave, it’s no longer possible to discern any lines between the Lil Dicky of TV, the real life/YouTube Lil Dicky, and Dave Burd – a real, human man who created both personas and is at his best when acting as the Dave behind the Dicky, a person who just wants to feel seen.

The Crossover is a warm family dramedy with just enough of the drama part to keep us interested in following the Bells as they navigate life, school and hoops.

While not as enjoyable as Season 1, Season 2 of Schmigadoon! still has a lot going for it, especially if you’re a theater buff who felt that the 1960s — and especially the 1970s — was when Broadway was at its peak.

For the most part, this is more of the traditional talking-head-and-clips documentary. That format works, though, because of the fact that Shields is so open about all of the fascinating aspects of her life.

It feels like it’s going to be an exhausting show to watch; for every moment that will be interesting and show the real change in the power dynamics between men and women, there might be two others that will feel like we’re barely in one story before we rocket to another.

Even without Rob and John Owen Lowe’s father-son dynamic, Unstable would be an above average workplace sitcom. But they are the main attraction, and their scenes together really make the show fun to watch.

There’s some genuine big laughs and a few story questions that should keep us intrigued.

Emergency: NYC shows compelling cases and healthcare providers who understand the gravity of their jobs. We just wish it took more of a critical look at the healthcare system.

Celeste Barber is funny as Liv. ... We’re hoping that the support around her, from Amy and her husband, Liv’s mom and brother, as well as others, will get a little more character development. ... We’ve got confidence in writers Amy Stewart, Nick Coyle and Romina Accurso that they’ll do just that.