Wood is a consummate pro as a stand-up, not afraid of any audience. He even sticks the landing with not only one killer callback, but also an actual call back.

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.

Let’s just say timeline-jumping isn’t the only storytelling method Fogelman borrowed from his most successful series. It certainly sets up some intriguing possibilities, but let’s hope that it’s not the main driver of the story Fogleman and company want to tell. They’ve done a good job of setting up the personal relationships at the center of Paradise, as well as the timeline, and that’s where they should concentrate things.

While the mystery in C.B. Strike: The Ink Black Heart is a bit slowly-paced, we do appreciate the elbow room the writers have to explore the lives and relationships of Strike, Robin and the other series regulars.

With a top-notch host in Alan Cumming, tricky, high-level game play, and a tantalizing cross-section of reality show talent as its players – competitive Survivor styles up against Real Housewives wiles, or reality randos confronting established format schemers – Traitors is taking reality competition to stylishly outrageous new levels.

While we still feel that there’s a bit of a lunkheaded feel to The Night Agent, Basso’s and Buchanan’s characters are established enough in the second season that the improved mission they’re on is something we’re looking forward to watching.

Jansson-Schweizer takes what could have been a very serious Cold War tale and turns it on its ear, making the incident a product of a drunken crew and making the various world leaders involved in the negotiations into the caricatures they were portrayed as at the time. Sometimes it works, sometimes it doesn’t.

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 Couple Next Door really leans on the stupidest parts of a plot that should just depend on the sexual chemistry among its four stars.

SNL50: Beyond Saturday Night takes a refreshing approach to Saturday Night Live’s history, and we hope that we see more episodes going forward, even if they have to change the title to SNL51, SNL52, etc.

This new version of Hollywood Squares isn’t far off from actually being a pretty good take on the original. There is room for funny lines and celebrity hijinks in each episode, as long as Barrymore and the rest of the producers find the right formula that takes advantage of their panels without grinding the gameplay to a halt.

While there seems to be a lot of story to sort through in Season 2, the reason why XO, Kitty continues to work is because of Cathcart’s exuberant charm.

Hard to find what counts as memorable here when so many of the premises and punchlines date back to the previous election cycle of 2020, or even 2016.

I’m feeling an Odd Couple vibe pockmarked with extreme cartoon violence, which leaves me indifferent. Maybe it deserves another episode or two before we dismiss it, but it feels like only fans of the manga will hang on to compare and contrast this with the source material.

Goosebumps: The Vanishing has an interesting, scary mystery at its center, as well as good performances from Schwimmer, McCarthy and Bartels.

Asura doesn’t depict this family’s secrets as melodrama or a bustling mystery to be unraveled, it slowly and methodically lets us get to know these well-drawn characters. The family is not dysfunctional in an unrelatable way, like the Roys on Succession or Yellowstone‘s duplicitous Duttons, what’s so engaging is the fact that their problems, and the emotions that spill out as a result, are entirely possible and could happen to any of us.

On Call has a nice pace to it, and the performances of Bellisario and Larracuente are understated and effective. Sure, it’s a police procedural, but at least its format and subject matter are a little different than what we normally see.

American Primeval is an unsparing look at a segment of the American West in the 1850s that pretty much saw conflict, blood and death every single day. It’s certainly bleak, but it also reflects what it was really like for people heading West at that time, and why survival was probably their greatest achievement.

They Call It Late Night With Jason Kelce had a bit of a rough start. What we hope is that Kelce and the show’s producers and writers take this first episode and tweak things so the show is geared more towards comedy — even football-related comedy — and less towards relatively dry sports talk.

Doc doesn’t fail because it’s full of medical show cliches. It fails because its central premise feels like a house of cards, and there won’t be much to watch when it collapses.

The reason why we’re so hard on Jerry Springer: Fights, Camera, Action is that The Jerry Springer Show, and Jerry himself, are such fascinating topics that we wanted a deeper exploration of the cultural phenomenon that the show was than what we got. It’s one of the few cases where a docuseries needs more episodes, not less.

Severance Season 2 is exemplary.

Lockerbie: A Search For The Truth is carried by Colin Firth, but its concentration on one man’s quest for the truth also keeps the show’s writers and producers from drifting into melodrama around a real-life terrorist act.

The Pitt features clunky dialogue, ridiculous cliffhangers, and overly obvious messaging associated with easy primetime viewing. It also boasts propulsive filmmaking, endearing characters, and one seismic performance from star/EP Noah Wyle. Whatever ingredients The Pitt did or did not poach from E.R. come together to make a slight drama that nevertheless speaks to the existential angst of seeking or providing healthcare in 2025.

The largely unfunny pilot of Going Dutch would normally lead us to give the show a “skip it,” but given the showrunner’s pedigree and the interpersonal potential of the father-daughter story, we’re giving the show a chance to improve.

Cunk On Life is often laugh-out-loud funny, mainly because Diane Morgan plays Philomena Cunk with just the right tone; Cunk is dumb, ignorant about her own stupidity, and confident in that stupidity without being cocky. Combined with Brooker’s dry sense of humor, it’s a formula that Netflix can count on for the next number of years.

Animal Control continues to be a solid workplace comedy that’s in a nice, funny groove as it enters its third season.

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.