We just have no F’s to give when it comes to any of the characters in Wreck. Well, maybe we root for the killer duck to show up, but that’s not a good thing.

Even with an occasionally clunky script, Inventing Anna is ridiculously watchable, aided in part by another scene-stealing performance from Julia Garner and a top-notch ensemble.

Luke Grimes is up to the challenge of leading a Yellowstone spin-off as Kayce Dutton, as Marshals inserts his character and all that family lore into an action-procedural, very familiar CBS-type series.

While Glamorous has a pretty standard fish out of water story at its core, Miss Benny’s lead performance is so magnetic that they command a viewer’s attention.

Agatha Christie’s Murder Is Easy modernizes an 85-year-old text simply by changing the nationality of its main character, and it makes the story a whole lot less creaky as a result.

The new Quantum Leap could end up being decent, but it needs to elevate itself above being a standard dark NBC procedural and take itself a lot less seriously.

The cast of Rebel is the biggest reason to tune in (and we do mean tune in, because it’s on ABC). With Vernoff at the helm, the show should even out its rapid-fire pace and become an entertainingly rollicking and sprawling network drama.

Despite the performances by the miniseries’ leads, Death And Nightingales is just too boring and inaccessible to really get into; by the end of the first episode, we were even more in the dark about the story than we were at the beginning.

All of which just makes it seem as though Oswalt didn’t write enough material in lockdown, but wanted to or felt he was obligated to deliver another special this year, so here we are. ... Skip it. Unless you’re a die-hard Patton Oswalt fan, in which case you’ll stream it, lovingly enjoy the best parts and forgive the rest anyhow.

The world doesn’t necessarily need one from Coleen Rooney’s POV in order for us to understand the situation better. If you’re a fan of football or WAG culture, you’ll certainly appreciate the level of access this series gives to the Rooneys and their inner circle, but general audiences can safely SKIP IT.

We like Clarke’s strong, stoic presence as DCI Ellis in Inspector Ellis, which is why we’re recommending the show. But we hope the series has less-confusing and more-engaging mysteries in the other two episodes.

There’s nothing revolutionary or even unique about Every Year After. But the cast is charming enough and the setting is pictureseque enough to make the show a pleasant distraction for fans of romantic dramas.

While there are good performances and some interesting characters in We Were Liars, we were pretty bored with the nondescript teenage characters at the show’s center, and wanted to scream every time we heard Candence’s narration.

It’s not hard to imagine this dystopian future, and DMZ offers a compelling story at the heart of the show.

Latifah’s empathetic performance makes The Equalizer extremely watchable, as does the rest of the cast. We just hope that the cases Robyn McCall gets get better as the season goes on.

Zukerman is no Tom Hanks, but he’s sufficiently charming as Langdon to make us believe he’s the young version of Brown’s signature character. ... The more we buy into Langdon’s prolific skills and the more twisty the story is, the better. But we’re not sure if Dworkin, Beattie and their writers will be able to pull it off.

After watching the first three episodes of Euphoria Season 3, it’s unclear whether there’s hope for Rue and her friends, but there’s definitely a chance this polarizing HBO show might end its run on an incandescent high note.

Season 2 is a delightful improvement over the first season. If you loved to hate And Just Like That... Season 1, there are still enough bonkers moments to fuel your hate-tweets. And if you’re a SATC diehard, you’ll find yourself swooning (and screaming) over where the decades-long saga takes Carrie, Charlotte, and Miranda next.

It’s one thing to say that the new Frasier is missing the chemistry between the cast members that made the original series so special. But it also tries way too hard to parallel the original in the most crucial spots, making it painful to watch at times, and not nearly as funny as it could be.

It feels like Painkiller wants to say something profound bout how the opioid crisis was started, but does so in a way that feels completely tone-deaf.

By keeping the stories simple, Roar is able to send its messages without hammering it over viewers’ heads. Could some of the episodes stick their landings better? Sure. But the storytelling in the series mostly solid.

It’s a bleak look at the ways in which power corrupts, seduces, and seesaws that will leave you howling in laughter and twitching in discomfort in the same breath. .... The Regime is a twisted triumph.

Wilderness isn't one of those shows that's going to challenge you with a plot full of moral dilemmas and high drama. It's a show that’s more than a bit mordant and campy, but that and the performances of Coleman and Jackson-Cohen add to its appeal.

Overall it feels like one of those shows that’s hard to judge from the first episode. What we’ve seen so far we like, but we don’t know enough about where the show is going to get excited over what’s next.

This new version of The Stand is off to an intriguing start, whether you’re a fan of the book or not.

Devil In Ohio is a perfectly serviceable show that should keep audiences entertained for eight episodes. But at times it feels like something that’s a bit too slick and a bit too uncomplicated for a show that’s about a cult victim that ruins lives, especially a show for Netflix.

Harry & Meghan feels like a genuine and honest story of what it’s like behind palace doors.

If you’re looking for a lot of teen angst and conflict, Finding Her Edge is probably not for you. But the performances are good enough that you’ll have no problem sitting down and watching this mostly easygoing show with your entire family.