This ultimately feels like a hollow exercise with high production values, a celebrity vehicle with no script but a lot of flashy graphics. .... I’m sure Tom Brady owns lots of other things, too. Maybe a yacht or a golf course. I don’t need to watch documentaries on those, either.

Strong performances and an interesting story drive Dope Girls. The first episode was well-paced and explained the main characters’ situations well enough to make us want to watch the rest of the story.

The only reason why we’re recommending Irish Blood is that we like Silverstone and the rest of the cast. But the first episode has some tone and story problems that definitely give us pause about the rest of the first season.

Demascus is funny in the right spots and weird in all the right ways, but it’s also an interesting take on Black identity, whether it’s in the current world or the technology-enhanced version of it that’s in the series.

While we’re still not fully on board with the relationship at the center of Platonic, we can see where it might be going in the second season, and it’s a direction that makes a whole lot more sense for Will and Sylvia as their lives shift and change.

Wednesday continues to be a funny, scary delight because of Ortega’s performance and because Burton has gone all in with the nightmarish imagery written by Gough, Millar and the show’s writers.

[Noah Hawley] excels at taking existing IP and contorting it in new ways to reveal what really sets those universes apart. He does that once more in Alien: Earth. .... I very much dug the incredible performances of Alien: Earth‘s ensemble cast. .... The cinematography is lush, the production design sumptuous, and the kills are horrifying.

I was skeptical going in, but Running With the Wolves cares enough about the actual sport to make you care, too.

The makers of The Yogurt Shop Murders are not just curious about the case but how deeply the case affected Austin and the people who were intimately involved with it over the past three decades, an approach that we wish we saw more often in true crime docs.

Fifteen years after we last saw the Hills, King Of The Hill basically picks up where it left off by doing what it does best: Telling funny and warm stories about the Hills and the people in Arlen.

Maron’s at the top of his game, and we’re all the better for it.

We felt instantly immersed in this 18th century Pacific island world, before contact by Westerners, where omens and prophecies are all powerful and the stars above are as important a guide as what the land and sea can give.

Eyes Of Wakanda can definitely drag at times, but the lively action sequences, well-done animation, and the moral dilemmas faced by the stories’ antagonists make the anthology worth watching.

Summertide is a show that you need to be in for the long haul, because the storytelling isn’t going to move that quickly. What should carry you, though, is the South African scenery, the warm multigenerational drama, and the occasional penguin spotting.

Twisted Metal has improved because it remembered that character development is as important as anything else, and it makes the show a lot less mentally tiring to watch.

Like most Chuck Lorre sitcoms, Leanne needs to find its way for awhile, and there are moments during the first handful of episodes that feel as cliched and “sitcommy” as it gets. But the cast starts clicking pretty quickly, especially Morgan and Johnston, and that goes a long way to upping number of genuine laughs each episode has.

It has the all-consuming romance, gritty action, gorgeous costumes, shocking melodrama, mystical magic, feudal politics, and enchanting Celtic backdrop that made Outlander such an intoxicating hit over a decade ago. Outlander: Blood of My Blood is going to be your new favorite escapist obsession.

Watching Conversations With A Killer: The Son Of Sam Tapes is a bit of a frustrating experience because you just want to hear from Berkowitz, not get a rehash of a case that has been in media and pop culture for close to a half-century. But the interview with Berkowitz is fascinating enough to keep us watching despite the frustration.

This is a slightly more colorful version of the Wikipedia summation of what happened, albeit with a level of frustrating imprecision in terms of detailed storytelling. Par for most of the Trainwreck course, Storm Area 51 is flimsy and dissatisfying.

I thoroughly enjoyed WWE: Unreal, but your mileage may vary based on your expectations.

While the show isn’t consistently funny, Kitty Flanagan makes Fisk an appealing-enough workplace comedy.

We’re on board with Hitmakers because of the music that’s being produced in these camps. The interpersonal stuff may drive the drama, but it’s much less interesting to us in this context.

Justice On Trial is an interesting idea but so poorly executed, [it] becomes really hard to watch.

For the most part, though each episode makes a good attempt at showing exactly what the various first responders and trauma teams need to do and exactly how critical the injuries of the patients they’re treating really are.

It’s definitely a story that’s worth following, even as it goes back and forth in time, thanks to the fine performances by Kingsley and Karanja as the older and younger Washington Black. It’s surprising how much continuity there is between the two performances.

Kaiju No. 8: Season 2 appears to have the vibrant visuals, exciting characters, and twisting plot to keep viewers hooked from start to finish. At the very least, it certainly knows how to pull you in and keep you wanting more. This genre might not be everyone’s cup of tea, but if you liked Kaiju No. 8: Season 1 or similar anime series, then you should enjoy this too.

The Hunting Wives is a show you know is going to be ridiculous going in, and it doesn’t try to hide its sexy, at times campy personality under the sheen of a prestige drama. Such brazenness is pretty refreshing these days.

Questions spring out of the narrative about child manipulation and the ethics of media frenzies, fringe thematics that might take deeper root in a documentary series that’s more concerned with journalistic integrity than Trainwreck’s pursuit of amusement. But Balloon Boy, in making us wonder if the entire Heene family colluded on this stunt and stuck to it for 15 years despite the fact that Occam’s Razor tells us they’re most likely cuckoo fakers, has all the moral ambiguity a quest-for-a-likely-unattainable-truth doc needs.