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.

The entire time I was watching the premiere, I was thinking that the show should have been called Avengers: Nazi Hunters.

We just wish a bit more thought was put into the story’s logic. At times it feels like there’s not enough material for the 90-minute runtime, and at others it feels like details have been left out. The first episode was scarier than the second, but the second was more fun than the first. It was mostly an entertaining episode, just inconsistent.

Watson jams Holmesian mythology, quirky doctors, and complex medical mysteries into stories that can’t really handle all three at once, and it shows in how none of it feels well thought-out.

We’d rather see a bioseries about Mike Tyson where Tyson is intimately involved, because we’re pretty sure it will have a lot of subtleties about Tyson’s life that Mike lacks. His life deserves better than a series that treats him like a curiosity more than anything else.

We would be happier if Scarpetta was a period piece with its main characters’ younger versions instead of its current time-jumping format, but we’re hoping that the present-day storyline comes around as Kay and company revisit the serial killer case from the ’90s.

Filthy Rich isn’t exactly high art, but it’s satisfyingly soapy, with some decent performances and a couple of chuckles that show us that it’s not taking itself at all seriously.

Mr. Mayor has some very funny moments, and a growing chemistry among its ensemble. But it also has two ace stars in Danson and Hunter. We can’t wait to see how their characters’ relationship grows over the season.

Only because Snipes plays such a dynamic role as Carlton, and his chemistry with Hart is fun to watch. The rest of True Story feels manufactured, and Hart’s role is too close to reality to separate the Kid from Hart, especially when he’s complaining about being rich and famous.

While we’re skeptical that the twists and turns of Imperfect Women are really going to surprise us, we are curious enough about those twists and turns to keep watching.

The supernatural aspect of Harlan Coben’s Lazarus makes the series a bit different than most Coben mysteries. But at its heart it’s still a solid Coben murder mystery, with undertones about family history and relationships.

The Continental feels like it’s more for John Wick completists than fans of well-plotted action series.

Whether The Last Frontier can maintain this pace for the next nine hours is unlikely. But it’s a good start more than a rocky one (and note, future episodes reportedly stray from some of the core drama as Frank and co. track down loose escapees). Give it another ep or two before you move on.

While there doesn’t seem to be anything new about DMV, the cast has potential and the first episode had enough funny moments to give the show a chance.

The songs and videos of We The People are entertaining, but they also do a good job of connecting with their intended audience and making the concepts that are sung about stick in young brains.

City Of God: The Fight Rages On is a touch confusing to those who didn’t watch the original 2002 film, but has potential to be a tense thriller of a series after the first episode, which introduces us to characters both old and new.

Packed with humor, heart, and some of the coolest action scenes of the year, it’s a show that will leaving you alternatively screaming at and cheering for your television. Resident Evil is simply a great time.

Our Kind Of People is a frothy show with a more serious underlying message about wealth, racism and women supporting each other. If you miss Empire, it should fill that hole in your schedule quite nicely.

We’re not 100 percent sold on Chad Powers yet, but if it concentrates on the redemption arcs and steps away from the goofiness, it should be a satisfying show to watch.

It shows so much proficiency in creating these deeply-imagined addendums to established worlds, all we want is more.

Stranger Things: Tales From ’85 is good enough that franchise completists aren’t going to cringe while watching it, and it may be a good way to introduce younger kids to the franchise. But we just wish it was a little scarier, and the character animation a little less weird.

The show touches on so many topics that can make for really compelling drama, but there seems to be a penchant for the show to default to action scenes and “scary cartel” tropes more often than not. ... We’re OK with a more action-oriented, good guy-bad guy show because Yung and the rest of the cast do a good job with the material they’re given.

Come for the celebrity jokes and encounters, stay for the kinder, gentler message, and use the Notes app to write a note to self to look into a flip phone.