Alice & Jack sometimes feels like one of the most interesting love stories we’ve seen in ages, and at others it’s infuriatingly annoying. But Gleeson and Riseborough have undeniable chemistry, which is enough for us to want to see this decade-and-a-half romance play out.

I was entertained by The Creep Tapes. It all pretty much depends on Duplass to make us laugh and creep us out, and he delivers.

The Letter for the King will scratch an itch or three for fantasy mavens although The Witcher seems prime to scratch harder.

This is a SKIP IT to all but the diehard Santa Clause fans out there. If you rewatch the entire Santa Clause trilogy every year, of course you’re going to want to see what happens next. The rest of us are fine sticking to the first film — or just rewatching Elf.

Professor T doesn’t tread new ground. But the writing is solid and Miller and the rest of the cast do a good job of making the obsessive detective trope entertaining to watch.

Hey, this thing is creepy. Teacup thrusts us into the everyday life of a family who must navigate their own internal problems as the world around them becomes increasingly unsettling. And weird! And probably morebloody!

While Mayor Of Kingstown boasts fine performances, it’s confusing at times and incredibly depressing at others. If we wanted to watch a show that’s relentlessly grim, there are much better choices out there.

While Intelligence’s first episode could have been a skosh funnier, Mohammed, Schwimmer and the rest of the cast do such a strong job of embodying their characters that we’re eager to see where things go.

There’s a lot about Panic that makes us roll our eyes. But we’ll give it a recommendation because we were actually rooting for its main character by the end of the first episode, and we were surprised that we were doing so. That’s a good sign for the rest of the season.

In another producers hands, The Watcher could have been a taut, tense thriller. But with Murphy and Brennan at the helm, it becomes more campy than tense, and even a stellar cast can’t save the show from itself.

The Couple Next Door really leans on the stupidest parts of a plot that should just depend on the sexual chemistry among its four stars.

The first episode of The Swarm suggests that there will be a lot of throat clearing and not a whole heck of a lot of actual thrills.

Nightsleeper has the potential to be a tense six-episode thrill ride or it could be a predictable bore. The first episode makes us think it might be the latter, but there are enough good elements in the first episode to keep us watching.

Despite the excellent cast, there were lines and situations that were so clunky and predictable that we shook our heads that they made it to the final cut. But there is an interesting twist at the end of the episode that leads us to believe that some of the clunkiness will eventually be ironed out.

Seeing Rock open his performance with jokes about “woke traps” and Elon Musk’s sperm count and OJ Simpson (in 2023!) left me feeling weary for what was to come. ... Much like he did in Tamborine, Rock shifts his focus in the second half of his special from observations about the world to look inward at himself and how he’s reacting to the world now that he’s single again in his 50s.

Exploding Kittens has a surprising amount of heart for a show about a cat who thinks he’s God because, well, he is God.

Love Life' is pretty good show that has fine performances, starting with an Emmy-worthy turn from Anna Kendrick.

We have no confidence that this mix-and-match episode format is anything more than a gimmick and will just lead to confused viewers.

The Larkins is a good-natured bit of British comfort TV that is a great antidote to the heaviness of most current dramas.

What role Bronte plays in all this, whether she becomes an intellectual or even a physical love interest for Joe, is yet to be seen. It seems that Joe is attracted to her because she provides something Kate doesn’t, even though he loves Kate as much as anyone he’s ever met. That complex dance is going to be interesting to watch.

The Feud On Shelbury Drive does a fine job of spinning what seems to be a small dispute into a thriller that anyone who has an issue with their neighbors can relate to.

This so-called origin story is off to a horrible start, and the few cheap laughs that you’ll find in the first episode don’t necessarily make it worth hanging around for 10 long, awful installments.

An ensemble that both highlights these characters’ strengths and humanizes their weaknesses. Leading the charge is Nicole Kidman in a role practically designed for her. ... The result is a show that’s as addicting and delightfully soapy as HBO’s summer hit The White Lotus.

Foodtopia, developed by the same team minus Hill but adding Conrad Vernon, is quite a bit darker. And it’s also quite a bit less funny.

Part of Emily in Paris’ charm is that the show never takes itself too seriously. That charming tactic is implemented again in Season 3, but the writers make [a] refreshing, effective effort to give characters, storylines, and relationship dynamics some added depth this time around.

The way that Lightfoot has led the viewers down this path is intriguing.

The only thing that keeps Apples Never Fall from being yet another eye-rolling show about wealthy people being terrible is Annette Bening’s performance as a woman who is still looking for something, even in retirement.

Don’t get us wrong; the acting is top-notch across the board, but this just feels like one of those shows where the characters will really find minds of their own a la Westworld or it’ll continue to be antiseptic and dull. We’re thinking it’s going to be the latter.