Mob War: Philadelphia Vs. The Mafia presents its story without a lot of narrative trickery, and just lets the many-layered drama of mob business do the talking.

Breeders’ stark reality of what it’s like to parent young kids these days hits us right in our exhausted funny bones.

There is enough that’s interesting about Irreverent to keep watching for a few episodes. We hope we see more town and Paulo’s nemesis Mack than the tired stuff about Paulo trying to keep from getting killed by the mob.

While The Jinx – Part Two is still worth watching, it feels not nearly as essential and compelling as the original series was, and some of its more meta moments left us scratching our heads.

Man Vs. Baby is the kind of show that you can put on and just laugh without thinking too hard, which is likely the exact reaction Atkinson and Davies wanted the audience to have.

The format of How To Become A Cult Leader isn’t quite as grating as its predecessor, How To Become A Tyrant, and that leaves room for the show to provide a lot of information about how the cult leaders it’s profiling managed to wield so much influence.

Midnight Family comes off as a bit soapy at times, but we get to see an aspect of how the medical field works in a place like Mexico City, along with a bunch of rescues that might be thrilling, tragic, silly or all three.

While, like most anthologies, the stories are uneven, Creepshow still has good stories that combine creepy, scary and funny in the right proportions.

Patience shows that its title character’s autism is an asset rather than a problem, and while there are time when Bea is a little flummoxed by Patience’s habits and routines, the show more often than not shows what a neurodivergent person can bring to a complex job like policing.

Season 17 may not be the best season of the long-running comedy as it will always have its formative years, filled with now potentially cancelable jokes and bits, to look back on, but as far as modern Sunny seasons go, this is one of the funniest. .... When it’s good, it’s really good. When it struggles, you can tell they may have hit a brick wall.

Pat’s psychiatric facility, with its generically inky green light, screaming patients strapped to gurneys, and generally depressing air is pretty over the top, and a house creaking in its joints and beckoning people through suddenly open doors doesn’t really grab us. It’s almost like Shining Vale needs to go for the horror jugular first, before it integrates its solid jokes and noteworthy themes.

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.

While the structure of Rage is sometimes dizzying, the performances by the show’s cast make it compelling to watch, as are the connections they all have with each other.

There’s a vague sense that we’re listening in on a group of people chatting about these issues over wine, beer and food in a fashion that feels above the fray and a bit disconnected. That was likely not Luna’s intention, but that’s how it comes off. ... Luna is a very curious dinner host, egging on the discussions on Pan y Circo with knowing and educated questions. We just hope that all the discussions are as passionate and animated as the one about femicide was.

After dozens of adventurous movies and the visionary WandaVision, I feel confident that The Falcon and the Winter Soldier is going to take flight and soar—but right now we’re still on the runway.

Jungle has an arresting visual style, and its rap and drill soundtrack layers in more interesting elements. We’ll see how well those layers play together as the stories get more complicated.

While the evacuation aspect of Families Like Us makes us almost as queasy as one of the characters became while hearing that news, it does set up an interesting circumstance to explore family bonds and how they change in extreme situations.

As long as you know what you’re getting yourself into, STREAM IT to see what Sherman is like outside of the constraints of NBC and 30 Rock. Just note it might not be a great idea to eat or think about eating while watching this!

The ensemble on Family Law is appealing enough that we get the feeling that, once Nielsen and her writers tweak Saite’s character a bit, the show will be a funny, light law drama that’s entertainingly quirky.

The challenges themselves are all standard-grade challenges, some more sophisticated than others, and Khare is a fine host. ... Karma’s contestants are a group of diverse, intelligent, and kind kids who will quickly realize that the kinder they are to each other, the farther they’ll go.

The Peripheral does a good job at setting up two future worlds that are relatable to a wide audience, and Moretz is great as Flynne.

How much do you love Barbie? Because that will determine if you want to watch this show. For every scene that emphasizes design and construction, there’s a scene that explains the history and legacy of Barbie, so you really need to care about this iconic doll to get the most out of the show. If that appeals to you, I say go ahead and STREAM IT!

Fit For TV: The Reality Of The Biggest Loser doesn’t reveal anything new to people who were fans of the reality competition series. But it definitely does a good job of showing exactly why it was popular and why it was a dangerous show for its contestants.

Although Our Flag Means Death isn’t laugh-a-minute, it’s got a good-enough story to set up a unique workplace comedy. It may take a few episodes, but the funny stuff will come once the ensemble is well-established.

The Cost of Winning is more feature-profile than hard journalism. But it’s at least a thoughtful, well-made and engaging feature-profile.

The storytelling chaos that Loki sews can cause headaches. But this series remains worthwhile and entertaining because its cast is so great. Tom Hiddleston, Wunmi Mosaku, Gugu Mbatha-Raw, Owen Wilson, and Sophia Di Martino keep us in this thing even as the premise sometimes skids along the edge of a deep, unknowable chasm.

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.

While the show isn’t consistently funny, Kitty Flanagan makes Fisk an appealing-enough workplace comedy.