While the idea of hearing the story of Pablo Escobar’s son is intriguing, Dear Killer Nannies just doesn’t go deep enough into Juan Pablo Escobar’s life to make things interesting.

We’re giving Atomic a mild recommendation because there might be enough chasing through various Northern African locations to make the show a visual treat, and we’re curious about the dynamic between Max and JJ. But it also feels like show that might repeat itself too much as the two men run around with those satchels of plutonium.

Torres remains a unique and special voice not just in comedy, but in the performing arts, and we could use more voices like his.

Even though House Of David will likely appeal to faith-based audiences, it still hasn’t been able to make its Biblical characters into people 21st century audiences can connect with.

The Feud On Shelbury Drive does a fine job of spinning what seems to be a small dispute into a thriller that anyone who has an issue with their neighbors can relate to.

For All Mankind remains ever ambitious with its fifth season, where the series makes the reflection off its alternate history mirror even stronger as the lives of everyday people get squeezed between the politicians of Mars fighting with the politicians of Earth.

Jo Nesbø’s Detective Hole isn’t reinventing the “troubled detective” or Nordic noir genres, but good performances by Santelmann and Kinnaman make the show very watchable.

Camila Morrone’s compelling performance in Something Very Bad Is Going To Happen isn’t enough for us to get past the cartoonish supporting characters, the foreboding with little payoff, and a plot that just seems to consist of little more than tense moments.

Bait is a mostly-funny show about a guy that finds out what it’s like when he makes himself go viral in order to advance his career, with a funny performance by Riz Ahmed.

While Daredevil: Born Again continues to be a watchable Marvel series with good performances, your enjoyment of the show may depend on how close you feel Fisk’s New York is to what is going on in real life.

Mystery Road: Origin continues to give viewers compelling mysteries combined with Jay Swan’s determination to make his work speak for itself despite the racism that he faces on a daily basis.

The second season of Deadloch continues to be a darkly funny series with a fun pair of mismatched detectives who strangely work very well together.

With a tried-and-true formula, SNL UK‘s cast most likely will find their voices and establish themselves as a separate entity, albeit with the same plusses and minuses that the American show has. Some sketches and performances will become legendary; but most, forgettable. Unless SNL UK can break out of this formula and determine what makes them special, the show may never match the heights of Monty Python, or even the Canadian alternatives from SCTV through Kids in the Hall.

The final season of The Comeback is as funny and self-aware as the first two seasons, mainly because Kudrow continues to make Valerie Cherish one of the least self-aware characters on television.

The Forsytes might be a little bit more sudsy than classic takes on the Saga, but it’s still incredibly well-acted and gorgeous to behold.

The Faithful: Women Of The Bible spins a compelling view of the book of Genesis that hasn’t been explored to this point, with performances that humanize the figures being featured, overcoming some clumsy writing.

Even though it may not touch the heights of the original Jury Duty, Jury Duty Presents: Company Retreat is a pretty funny workplace sitcom wrapped around the conceit that one of the people there have no idea he’s in a sitcom, and he’s buying into all of it.

There’s an inherent charm to bowling. Born to Bowl capably channels that charm, and it’s a fun watch.

This City is Ours features a few wrinkles in its setting and approach that set it apart from the many, many similarly sprawling family crime dramas. We’ll stick with it and see what an impressively deep cast can bring to the story, which features a lot of other elements that strike us as pretty familiar.

If you’re a pre-existing fan of this series, then you’re likely to enjoy this latest installment that continues to faithfully adapt the overall hilarity, tone, and excitement of Hirohiko Araki’s beloved manga series. But even first-time viewers are likely to get swept away by the colorful characters, fast-moving plot, and absurd humor.

The Lady makes a compelling true crime story into a compelling drama through the performances by both McKenna-Bruce and Dormer, who try hard to make their famous characters nuanced and real.

Invincible continues to give viewers one of the more nuanced superhero stories we’ve ever seen, and while the show finds itself in a dark place in Season 4, it’s still a compelling show to watch.

While we’re skeptical that the twists and turns of Imperfect Women are really going to surprise us, we are curious enough about those twists and turns to keep watching.

The seventh season of Virgin River isn’t doing much more than keeping the story moving at the pace it set back in its first season in 2019. But that’s what fans want, which is why the show will go as long as Netflix and the producers want it to go.

We were happy to take in the contemplative pace of The Madison as well as watching Pfeiffer’s performance. But we’re also concerned that Sheridan’s penchant for leaden dialogue and sketchy portrayals of female characters are going to ultimately drag this show down.

Like the original series, Mystery Road: Origin layers lots of stories into a slow-burn story involving Jay Swan’s very complicated life.

While not hilarious, Sunny Nights works because of Carden’s performance, the premise’s clash of sensibilities, and its ability to give viewers a glimpse at Sydney’s seedier side.

Age Of Attraction seems to have a positive message about love knowing no age, but we’re wondering how the show is going to separate itself from other dating shows once it leaves the retreat.