The first episode of The Good Mothers sets up a powerful story.

A story that’s full of drama and emotion, punctuated with moments of comedy that are truly dark.

With season 3 of Dave, it’s no longer possible to discern any lines between the Lil Dicky of TV, the real life/YouTube Lil Dicky, and Dave Burd – a real, human man who created both personas and is at his best when acting as the Dave behind the Dicky, a person who just wants to feel seen.

The Crossover is a warm family dramedy with just enough of the drama part to keep us interested in following the Bells as they navigate life, school and hoops.

While not as enjoyable as Season 1, Season 2 of Schmigadoon! still has a lot going for it, especially if you’re a theater buff who felt that the 1960s — and especially the 1970s — was when Broadway was at its peak.

For the most part, this is more of the traditional talking-head-and-clips documentary. That format works, though, because of the fact that Shields is so open about all of the fascinating aspects of her life.

It feels like it’s going to be an exhausting show to watch; for every moment that will be interesting and show the real change in the power dynamics between men and women, there might be two others that will feel like we’re barely in one story before we rocket to another.

Even without Rob and John Owen Lowe’s father-son dynamic, Unstable would be an above average workplace sitcom. But they are the main attraction, and their scenes together really make the show fun to watch.

There’s some genuine big laughs and a few story questions that should keep us intrigued.

Emergency: NYC shows compelling cases and healthcare providers who understand the gravity of their jobs. We just wish it took more of a critical look at the healthcare system.

Celeste Barber is funny as Liv. ... We’re hoping that the support around her, from Amy and her husband, Liv’s mom and brother, as well as others, will get a little more character development. ... We’ve got confidence in writers Amy Stewart, Nick Coyle and Romina Accurso that they’ll do just that.

Martin acknowledges at one point they’re perhaps preaching to the choir in the theater, but perhaps more than a few viewers unfamiliar with Martin will happen upon their special and learn a thing or two, too.

This show is deadly serious yet simultaneously frivolous — and that push and pull makes it compelling.

There’s nothing inherently wrong with this new version of Great Expectations, but we’re wondering why someone would seek out this longer, slower adaptation when there are other adaptations that get more to the heart of Dickens’ novel much faster.

The music is great, obviously, but I keep coming back to the stories that My Kind of Country is telling. ... My Kind of Country is the right show for the worst of times.

Up Here certainly has the pedigree to be a good musical rom-com. But Whitman and Valdes elevate what is already good material by just being so damned cute together.

While Yellowjackets has its storytelling issues, it does seem that, with everyone settled into the story, that the stakes will be ramped up in Season 2. That should help keep our minds off the show’s glaring flaws.

Sure, The Night Agent could get better. But the first episode established that it’s a show with a lot of stock characters and a conspiracy that doesn’t start in a particularly interesting way.

Digman misses the mark in essentially every department. Its jokes fall flat, its premise can’t hold up an entire series, and the word “arky” is overused to a maddening degree. Samberg can only entertain with his Nic Cage schtick for 15 minutes at most, and there’s little other reason to tune in.

Waco: American Apocalypse sticks mostly to the nuts and bolts of the Waco siege, making for an effective narrative about an incident that was one of 1993’s top stories.

The first four episodes of Succession‘s final season are absolutely magnificent. Armstrong and his writers’ room finally let the metaphoric dominos they’ve been setting up for three seasons fall. The dialogue is as brutally sharp as ever and the ensemble cast pulls out some of their best, most devastating work yet. ... Succession Season 4 isn’t just good. It’s poised to handily sweep the 2023 Emmys.

While The Glory isn’t quite as dark as we anticipated it to be, there’s still a lot of moments when Dong-eun’s revenge plan is at the forefront of the action, which is where the show is at its best.

Despite the lack of details, The Glory works as a revenge story because you’re immediately drawn to Dong-eun and want to see her get back at those that scarred her for life. But we hope that there will also be more nuance to Yeon-jin and some of the other tormentors, as well.

Marie Antoinette starts slowly but should pick up as Antoinette tries to seduce the reluctant Louie and both become monarchs.

Lucky Hank is a funny show with a fine cast. We hope it keeps its light tone as Hank’s life falls to pieces, at least the way he’s perceiving that it is.

Even though it feels like we have more than enough shows that fall into the “high school girls stranded and trying to survive” category, Class of ’07 is a standout for lightening the tone and providing some solid jokes and excellent performances amid the cataclysm.

John Simm is the main reason why Grace is such a watchable show. The mysteries are sufficiently engaging to keep the show from dragging, but Simm is the real attraction here.

You may tire of the message Scott Burns is trying to get across by the end of Extrapolations‘ eight episodes, but there are moments in there that will be affecting and effective. You just may have to try your luck to find them.