As her late father might’ve written: “Tell ’em Schleppy sent you.”

Despite some interesting elements and the steadying presence of Vaughn, the sillier elements of Tyler Perry’s She The People overwhelm what could have been a funny story about messy families and racial politics.

Sirens works because it leans into the absurdity of the story and the awfulness of most of the characters, making the show a dark comedy that’s truly comedic.

We’re still largely “meh” about Nine Perfect Strangers, but the show’s second season is marginally better than its first.

Does Motorheads sound like a very mid show? Sure. But it’s a well-done mid show, which is all we’re asking for as far as teen shows are concerned.

Stanley Tucci isn’t exactly the most relatable or warm presence as a travel host, but he is thorough, and Tucci In Italy is a good continuation of the journey through the country that he started on CNN in 2021.

Murderbot is certainly a quirky show, but it has a good combination of fun and human moments, punctuated by a surprisingly funny performance by Alexander Skarsgård.

Welcome To Wrexham continues to show how the rise of Wrexham AFC has affected the fans and the city of Wrexham, while still having a good sense of humor around the fact that Reynolds and McIlhenney are the team’s owners.

Rotten Legacy is a sometimes-funny, mostly dramatic story about a mogul who acknowledges he might have been a rotten dad, but that his kids are a whole lot more rotten than he is, and he’s going to extremes to let them know about that.

Secrets We Keep is a thriller that doesn’t try to distract viewers by sending them down too many dead ends, and tells a story about class, race and wealth in the process.

Volume 4 of Love, Death & Robots again makes tremendous use of its anthology form, allowing space for left-field thematic choices and story adaptations, a rich palette of animation styles, and a streak of mischievousness that keeps the whole thing consistently interesting.

Duster knows exactly what it mainly is, which is a terrific vehicle for Josh Holloway. Rachel Hilson’s chemistry with Holloway is also a win, and sets up a wily criminals-and-cops yarn that delights in period references and music cues and exalts in the kind of car-as-character hero shots that defined a previous TV age.

Overcompensating‘s first episode has a few funny moments, but tries to[o] hard in other spots. But the friendship between Benny and Carmen is worth following, as long as Benny starts making his way out of the closet quickly.

Believe it or not, The Secret Lives of Mormon Wives Season 2 might be even better than Season 1.

Fred And Rose West: A British Horror Story does a good job of utilizing the audio and video recordings that are the docuseries’ centerpiece, while not getting in the weeds of what is a very complex story about the Wests and their victims.

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.

Long Way Home has an ambling quality about it that suits a travel-centric show, all of the scenic shots you’d expect – from the Scottish highlands to Scandinavian fjords and onward through Europe – and a level of bff banter between Ewan McGregor and Charley Boorman that’s enjoyable as we become their companions for their latest two-wheeled adventure.

Octopus! is watchable not only because it doesn’t take itself too seriously but because it ditches a lot of the conventions that make nature documentaries all feel the same after awhile.

Forever takes its time to tell its story of first love, with all the ups and downs that teens who are discovering love and sex in the social media era have to deal with. It’s a vibe that we love, aided by the chemistry between the show’s stars.

Poker Face sometimes indulges itself in the cult of personality of its guest murderers and Charlie’s BS detector skills at the sacrifice of making a more intricate case for her to solve. But Lyonne always puts in a winning performance and the guest killers are fun to watch, which is why mystery nerds like us don’t get frustrated watching the series.

While the stories in Star Wars: Tales Of The Underground are a little skimpy, they help to deepen the characters of two well-known franchise villains.

While it may take you awhile to figure out how everyone in Miss Austen is connected to each other, the performances of Hawes as the older Cassandra and Ferran as the young Jane will keep you interested in the story.

Despite some languid pacing and a surprising lack of laughs, the chemistry among the cast of The Four Seasons saves the show from being a pale remake of a film that was well-regarded 44 years ago.

Turning Point: The Vietnam War is a thoughtful, meticulous and considered examination of the U.S.’s involvement in Vietnam and how it changed how we saw our government.

The creepiness of the unknown enemy in The Eternaut is what drives this show, even as Salvo and other survivors get together to try to fight whoever it is they’re fighting, and we’re here for it.

Carême is compelling enough to recommend, especially given the show’s lavish look and Voisin’s charismatic performance. But the storytelling needs to become a bit more robust after the first episode in order to keep viewers’ attention.

Yes, Chef! may just be a bigger-budget version of Top Chef, but the show has gotten together a group of 12 excellent chefs and two cooking show experts as hosts/judges. It may not break new ground, but the season should be entertaining.

What Not To Wear's Clinton Kelly and Stacy London are reunited in a series where they help clients discover their own style.