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.

The jury’s still out on whether the procedural part of So Help Me Todd will ever be a strong part of the show. But the chemistry between Harden and Astin, along with the deep story possibilities that the Wright family could generate, more than makes up for the lack of procedural heft.

It’s not supposed to be a program that looks expertly crafted, or even consistent in terms of the quality of comedy. But we were surprised at how much we enjoyed most of the videos shown, and we were shocked at how much we actually laughed.

Matthew Macfadyen is quite good as the somewhat vapid, wholly incompetent John Stonehouse. The rest of Stonehouse feels like it’s a bit light and trivial, but it wisely puts Macfadyen front and center in just about every scene.

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.

The Serpent Queen has just enough irreverence to make what could have been a boring period story a lot more interesting, emphasizing Catherine de’ Medici’s cunning over being prim and proper.

When MaryLand concentrates on Becca and Rosaline re-bonding while seeking answers about their mother, the series works the best, thanks the performances from Jones and Best. The rest of the stories surrounding the sisters feel like filler that won’t really have much to do with the general direction of the series.

While the near-future shown in Tomorrow + I might be a little dystopian, it’s far from bleak, and that little sliver of hope is always welcome in a show like this.

The Lake is a coming-of-age show that isn’t trying to be for kids, but is also trying to tell a multi-layered story with smart, character-driven jokes, which it succeeds to do most of the time.

Like its parent show, The Rookie: Feds is watchable because of its star and very little else. But Nash-Betts is just so damn watchable that you’ll enjoy the series despite any reservations you may have.

While the beginning of The Sandman‘s final season is a bit of a exposition-crammed slog, it does show Dream entering a story that feels like it’ll have a lot of possibilities.

NCIS: Origins is a solid NCIS prequel that promises some backstory for Gibbs while introducing us to how the agency operated when even other government agencies had no idea it existed.

At least trying to offer a glimmer of humanity beyond all of the government agency carrying on and mysterious international evildoing.

Claim To Fame isn’t high art, but it’s fun to guess along with the housemates, even if you can Google your guesses and find out who the housemates are before they’re revealed on the show.

This new version of A League Of Their Own explores territory that the original movie didn’t even attempt to explore. Whether that makes the series a coherent whole is yet to be seen. But it certainly is off to a good start.

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.

While there are a lot of absurd elements in The Gardener, the elements are grounded enough in reality to make them seem plausible. And the more plausible this show seems, the better it will be.

No one is going to mistake Ransom Canyon for prestige television. But it’s certainly a soapy, guilty pleasure, anchored by performances from Duhamel and Kelly that make you want to see both of their characters get what they want, which is each other.

While 4400 may need to smooth down some of its more noticeable tone hiccups, it has set up a very interesting mystery with undertones of issues that are very relevant to 2021.

All the Sharks has the potential to bring David Attenborough fans and competitive reality TV connoisseurs together for the first time in history.

Shallcross brings an endearing, almost wholesome approachability to the series that makes you want to see how things turn out for him and his group.

While the mystery in C.B. Strike: The Ink Black Heart is a bit slowly-paced, we do appreciate the elbow room the writers have to explore the lives and relationships of Strike, Robin and the other series regulars.