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.

There’s so much detail here that even “Piano Man” – which is easily one of the most overexposed, wrung-dry songs on the planet – sounds new again. That’s a real feat for a doc, and proof that the giant-sized run-time of So It Goes is more than warranted.

The kind of show you might turn on as a distraction instead of a show that requires close watching. But it’s an entertaining distraction, with just enough story to keep things moving.

Thus far, it skews a bit younger – teens and tweens – and toward the middle of the road, and even if it doesn’t inspire too many superlatives, it’s squarely watchable, maybe watchable-plus. The promise of higher-drama action and star-crossed romance seem likely to keep us on the hook to see how the story plays out.

Jaws @ 50 can be formulaic, and it doesn’t break the mold of making-of docs. Even if it’s not quite a must-see, it’s nevertheless a fun watch for fans who appreciate a little rehash and newbs who want insight into a true cinematic benchmark.

With its vocals only, visuals denied structure, Building the Band could be a novel concept in a crowded field of reality-style singing competitions. Who knows if any of the bands these singers form will coalesce.

While the structure of Rage is sometimes dizzying, the performances by the show’s cast make it compelling to watch, as are the connections they all have with each other.

This is more of a hopeful recommendation than a wholehearted one. There are lots of good elements to The Institute that just don’t seem to come together well in the first episode. But the hope is that they will coalesce as the series goes along. But there’s just as good a chance that the show will devolve into a mess of untied narrative threads.

We don’t think even Dexter loyalists will get why Dexter: Resurrection exists, and the first episode doesn’t give us any indication that the season’s story will be at all interesting.

STREAM IT, if you’re a fan of sci fi, an Asimov fan or someone who caught the first two seasons of Foundation and want to see how the story proceeds. But, like we said in Season 1, casual sci fi watchers are not this show’s target demo. We suggest they SKIP IT.

This doc sets itself apart by honoring and respecting the victims of the incident while never losing its gripping true crime charm. .... The constant back-and-forth of the investigation with each new piece of evidence brought to light gets you to wonder what truly happened, even if you already know.

Even if you didn’t catch Renée Ballard working with Harry Bosch in the Legacy finale, Ballard’s arrival feels fully formed. Maggie Q brings her serious-minded, action-oriented capacity to the lead role.

The Real Project X is informative and “entertaining” on a superficial level, but the series routinely leaves a bad taste in our mouths with its point-and-gasp/laugh methodology.

It’s hard not to say that Netflix has another Nobody Wants This, albeit a quirkier and more unconventional one, on their hands. Thanks to Stalter and Dunham, Too Much is a winning comedy that will remind you to adjust your expectations for finding a match, but keep your heart open.