The Responder continues to be a compelling watch, mainly because Martin Freeman is so good at barely containing Chris Carson’s rage.

Exploding Kittens has a surprising amount of heart for a show about a cat who thinks he’s God because, well, he is God.

One of the most interesting points in How Music Got Free, which is the egalitarian nature of an industry-wide disruption which came from below. .... What’s less interesting here is Eminem and Timbaland and 50 Cent and others restating their late 90s grips about file sharing stealing a chunk of their profits.

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.

If you liked Quarterback, then Receiver is a perfect follow-up–and if you didn’t, it’s got a roster far more interesting than the quarterbacks offered. For an avid NFL fan, it’s a great way to kill some time until the fall.

The Boyfriend is a fascinating watch, but not just because it’s a social experiment in same-sex relationships from a company that doesn’t tend to do shows about them. But it’s also a good example of a dating show that can be genuine about how relationships form and are maintained.

Sunny presents an interesting near-future scenario where a woman questions everything she knew about her marriage and life. The mystery she investigates may end up being mundane, but the performances of Jones and Sotomura — and the relatively brief episode run times — make it a fun ride to go on.

We learn their names, we see their handwriting, and in their own words we hear how they interpret their own experiences. It’s very personal, and made more so by Etheridge’s own journey, as both a mom who lost her son and as a cancer survivor.

The Chosen presents the life of the central figure in a major world religion with an unabashed adoration for the teachings of Christ. But it’s also increasingly capable of existing on a level of dramatic storytelling with a historical bent. This balance will only get more important as the chapters and verses of the gospels begin to collide with the realities and demands of episodic television.

Because the series is so one-sided and speculative, The Man With 1000 Kids has to be seen with a bit of jaundiced eye. But that doesn’t keep us from being fascinated at the results of what happens when one man feels the need to donate his sperm everywhere he can.

Down In The Valley finds joy and power among the people who do sex work or sex-adjacent work in the Deep South, and Nicco Annan brings the energy to match that objective.

Star Trek: Prodigy gives Trekkers a real adventure with canonical implications to wrap their minds around while providing action and characters kids can relate to. It’s a combination that we rarely see in kids’ extensions to existing franchises.

The writers and animators of WondLa do a good job of bringing Tony DiTerlizzi’s vision of an evolved Earth to life, and the voice cast is able to make the show funny and accessible to adults as well as kids.

It’s more in that same vein – or in the vein of competing series at Bravo – with a lot of big money looks and lux properties in the mix, and Ryan Serhant’s established reality TV persona at the center of it all.

While there’s a lot about Supacell that we’ve seen before, there’s also enough that’s new to keep us watching, especially given the performances of its main cast.

We’re really reluctant to give “Part 2” of That ’90s Show a recommendation, but what we’re hoping is that the teen characters blossom now that most of the That ’70s Show‘s main cast isn’t going to suck up screen time this season.

The Bear‘s brilliant blend of overstimulating mayhem, precision, and catharsis is a special place onto itself. Season 3 grills, sears, then professionally plates your heartstrings, right before cruelly tossing them in the trash, and no matter what becomes of Carmy’s rising Chicago hot spot in the future, the show will leave an enduring legacy on television.

Land Of Women is a pleasant-enough show that has a story that will go down easy, with good performances sprinkled throughout.

Perfect Wife: The Mysterious Disappearance Of Sherri Papini is informative enough that we would give it a STREAM IT to people who know nothing about the Papini case. But for those who are familiar with the case, the way the show manipulates the sequence of events leads us to say SKIP IT.

While America’s Sweethearts: Dallas Cowboy Cheerleaders isn’t going to get too dark or delve too deeply into real issues, it’s still a good behind the scenes look at how one of the most famous cheerleading squads in the world gets ready for being in the spotlight.

While you may know the story of the Jonestown massacre, Cult Massacre: One Day In Jonestown brings it to life in a new way, with lots of vivid recollections by people who were there.

The Boys continues to build towards a climactic confrontation, but with a story that has reached the point where it’s become personal and intimate. We hope that continues, even if it exists alongside the action and funny moments.

We’re cautiously optimistic that David E. Kelley has taken Presumed Innocent in a direction that’s not only distinctive from the novel and film, but has done so in an watchable way. We might need a few more episodes to know for sure, though.

We would say that Becoming Karl Lagerfeld would be great if you’re a fan of fashion, but we’re not even sure there’s enough conflict to drive the drama for people who are interested in Lagerfeld’s history.

Queenie has some equally funny and dramatic moments in its first episode, and Dionne Brown handles both sides of her character well.

Cannon is a successful moderator because he’s so open about his own struggles with things like anxiety and the loss of his young son, and doesn’t attempt to lighten the mood with many jokes. .... The show is most effective when it tries to make it clear that these vulnerable feelings people have are pretty universal, and when the experts on the show articulate how and why people feel the way they do.

Fantasmas is a good example of a show where viewers just need to buckle in and enjoy the visual and auditory ride, instead of trying to figure out exactly what is going on. The less you try to compare it to any other show you’ve seen, the more you’ll enjoy this journey through Julio Torres’ head.

If you’ve stuck with Sweet Tooth to this point, there is nothing about the final season that would make you stay away from completing the story.