The Captain is broad enough to entertain anyone, but it’s an absolute must-stream for baseball fans.

Stream it, but only if you really loved Season 1 of Carnival Row. The first episode of its final season is a big mess storywise, and doesn’t help viewers catch up from a first season that seems like it debuted eons ago.

We’ll give the show a tentative recommendation. But this show is the rare case where the first episode just doesn’t give viewers enough to figure out whether the show is worth watching, and what we did see didn’t get us all that excited about what’s to come.

The episodes we watched did fine during the funny parts, not as fine during the serious ones. ... But what we appreciated was the sophisticated nature of the humor we saw in each 16-22-minute episode. ... It’s also refreshing to not hear those [“remember when we did this?”] lines, and just have stories about how the humans relate to each other has so utterly changed because of COVID. Let’s hope the rest of the episodes follow suit.

Special Ops: Lioness isn’t a mess, but it’s strangely inessential and inert, given its cast and Sheridan’s involvement. There are better, similar shows out there.

Despite a riveting performance from Britt Lower, I Will Find You is one of the more ridiculous Coben adaptations we’ve seen, and that’s saying a lot.

His thoughts are shallow and ugly. Sometimes they’re afterthoughts. The second episode devotes a full parody to Steven Seagal. It’s neither nostalgic nor revealing.

Instead of making Diane Dunbrowski a walking Chicago joke machine, the creators of Chicago Party Aunt have actually given her a heart and a rudimentary moral code. And that will be how the show will be able to sustain itself for multiple seasons.

007: Road to a Million is in many other ways just a conventional challenge-based reality show. But it makes the right moves to establish its Bond branding as a frame, and rejects much of the superficiality common to the genre.

Fire Country has more story and stronger characters at the outset than a CBS procedural like this usually has, and that’ll carry the show when the fires start looking all the same as each other.

Though optimism for its worthy cause is infused in every scene, there’s an underlying sadness to Hollywood.

Clarice, the character, has been turned into a quivering mess, and Clarice, the show, makes the fatal mistake of thinking that Clarice’s trauma is the most interesting thing about her. ... The real problem with CBS’s version of Clarice stems from the writing. ... While Episodes 2 and 3 show promising signs of Clarice using her investigative skills, that’s all undermined by scenes where supporting characters can get her to unravel with a few mundane questions.

Mainly because Sophia Bush and Jason Isaacs are compelling to watch — individually and together — Good Sam rises slightly above the run-of-the-mill network medical procedural. But the relationships and characters will have to evolve to keep us tuning in.

Missing You is a solid thriller that may have you shaking your head at some of its twists. But good performances and an intriguing premise will make some of those silly twists easier to take.

Avatar: The Last Airbender accomplishes a rare feat for a live-action adaptation of an animates series: It brings new people into its world while giving fans of the original more than enough to keep them watching.

Gutsy reveals enough insight about the Clintons and the people they talk to make it watchable, even enjoyable. We just wish there was more depth to the episodes.

The performances of Ashford and Quaid, and the wry tone of Happy Face are what makes us want to keep watching.

The show comes off more like an exhausting parody than anything else. ... There were distractions beyond Zellweger’s fat suit. Doing a fictionalized take on the absurdity of a true crime story lends itself to too many stylistic flourishes that aren’t necessary. ... There also seems to be very little in the way of subtlety or shading to the story.

A fine lead performance from Justin Theroux, in addition to a story that’s been rejiggered just enough to make it more modern than its source material gives this new version of The Mosquito Coast a real chance to be the next talked-about series.

Tell Me Your Secrets is a bleak show that withholds information in order to ramp up the mystery, but to the detriment of a coherent story.

Twisted Metal is noisy and violent, with some decent performances, but that’s about it.

There is no need to watch Ashley Madison: Sex, Lies & Scandal if you already watched The Ashley Madison Affair. But if you haven’t, it’s an entertaining — if cringe-inducing — docuseries about the dating site and how its users got exposed when its weak security was breached.

Snowpiercer‘s middling pilot is saved by its leads. We’re intrigued to see what Manson can do with the characters and story he inherited from episode 2 on.

There are funny moments in Frank Of Ireland, but Frank is so cartoonishly awful that we wonder how he ever got friends or a girlfriend to begin with. Either way, we’re not intrerested in finding out.

The story is what’s going to keep viewers watching, because there aren’t really any compelling characters to latch onto.

Life On Our Planet is a fascinating look at how life evolved on Earth, with stunning visual effects that show how long-extinct species might have lived.

Fool Me Once has enough potential for some intriguing plot twists, and more than enough solid performances, to make up for some awkward dialogue and plot points that feel like they’re going to unnecessarily complicate things.

Ten Pound Poms works because its characters are easy to root for as they try to make new lives for themselves in Australia. And the fact that the show is working towards a conclusion ensures that the stories will stay focused.