American Primeval is an unsparing look at a segment of the American West in the 1850s that pretty much saw conflict, blood and death every single day. It’s certainly bleak, but it also reflects what it was really like for people heading West at that time, and why survival was probably their greatest achievement.

We still like a lot about Sugar, including Farrell’s perormance as well as the show’s film noir look and feel, but after the first season’s revelations, the show needs to have something more than just a missing-person mystery to make it not feel like it’s going backwards.

It’s not everyone’s cup of tea, but The Midnight Gospel is fascinatingly strange, and if you listen to what is actually talked about, you may come away with some insight into the human condition.

It’s a well-acted show with some reasonably intricate foreign relations plotting at its core that would have been right at home on network television in the 2000s or 2010s, save for a few f-bombs here and there. Our opinion of the show hasn’t really changed in that regard, though we do think that the plot is now getting so intricate, the show may be nudging itself more towards the “prestige TV’ end of the spectrum.

On Call has a nice pace to it, and the performances of Bellisario and Larracuente are understated and effective. Sure, it’s a police procedural, but at least its format and subject matter are a little different than what we normally see.

The Great North has some work to do to get to the level of its cousin shows, Bob’s Burgers and Central Park. But with a great voice cast and Bouchard overseeing things, it should get there eventually.

Will you come away from Last Light thinking you watched the best show ever? No. But it’s got more than enough action and intrigue, a family that’s trying to reunite during a worldwide crisis and Matthew Fox being his usual charming, gritty self (eventually).

Stanley Tucci isn’t exactly the most relatable or warm presence as a travel host, but he is thorough, and Tucci In Italy is a good continuation of the journey through the country that he started on CNN in 2021.

While the first episode of We Were The Lucky Ones is a bit confusing and the show has too many characters to keep track of, King’s and Lerman’s performances anchor the series and make it worth watching, even if the rest of the characters won’t get as well-explored.

Land Of Women is a pleasant-enough show that has a story that will go down easy, with good performances sprinkled throughout.

It’s an enjoyably ludicrous premise which sits somewhere between Agatha Christie classic And Then There Were None, recent aristocratic horror comedy Ready or Not and mid-‘00s one-season wonder Harper’s Island. The acting, on the other hand, is more daytime soap opera. ... By taking aim at the privilege of the 1%, the most satisfying [chapter], too. But we’d still prefer Cronenberg to take the director’s chair for season five.

Your level of engagement with the series will depend entirely on how easily you get queasy.

It’s breezy and fun, and you won’t need your brain too much.

Its amazingly crafty kids and Great British Bake-Off positive vibe makes for a fun way to pass 40 or so minutes.

There seems to be a disparity between the warm relationship between these siblings and the funny lines that are supposed to come out of this relationship. But the relationship is so well-established so early, we’re rooting for it to get funnier.

The Undeclared War sports good lead performances, some creative storytelling and a plot that steadily builds tension. And we don’t have to look at that much code, which is a plus.

The gameplay in Million Dollar Secret moves along at a good clip, and the playfully arch Serafinowicz really adds some fun to a format that we’ve been seeing a lot of lately.

Taken on its own merits, there are definitely interesting story prospects for the final season of The Handmaid’s Tale. .... While it might be cathartic to watch June, Moira and others try to bring the government down, the show now might be too close to reality for our comfort.

While it took a bit of time to get our bearings with regards to what’s going on in the Heavenly Realm, we still enjoyed the first episode of American Born Chinese because of the earthly part of the story, as well as the well-done action sequences.

Despite the first episode’s draggy pace, the aftermath of the Gardner Museum robbery is what will keep us watching.

The final season of Atlanta has a sense of the surreal that makes the delivery of its message a whole lot easier to take than the show’s third season, which felt like more of a take-your-medicine exercise at times.

Bad Monkey has a bit of a shaggy feel to it, with potential to fly off in a lot of different directions and a lot of characters to keep track of. But if anyone can keep a show like this on point, it’s Lawrence and his crew.

While this new version of Kung Fu has been CW-ified to its detriment, there’s more than enough to like about it to recommend it, hoping that the stupids that infiltrated the pilot get smoothed over in subsequent episodes.

The Genetic Detective succeeds because Moore is charming as hell and the process she uses to solve these cases are fascinating.

Dead Still‘s mystery is just in its beginning stages in the first episode, but the chemistry between the three leads is readily apparent, and that will fuel the rest of the first season.

3 Body Problem may fail to inspire true awe, but there’s enough fun, shock, and horror to keep sci-fi fans engaged. It is a completely competent season of television.

Martin acknowledges at one point they’re perhaps preaching to the choir in the theater, but perhaps more than a few viewers unfamiliar with Martin will happen upon their special and learn a thing or two, too.

The Come Up doesn’t look like it’s going to be a particularly deep show, and anyone who’s older than the cast members have seen this kind of show many times. But it’s fun to see how the “youngs” in 2022 see the big city.