Gunther’s Millions presents an unbelievable story that goes from ridiculous to insane, but in a way that keeps the audience on its toes.

Brooker and his writing staff seem to be able to expertly balance the idea that, in the broad sense, what Cunk is saying as a presenter is correct, but her notions and opinions on those facts are completely bonkers. It’s that tension that makes Cunk On Earth work. ... Cunk On Earth is funny without straining for laughs.

The first episode of The Watchful Eye just shows characters being grafted onto lots and lots of plot, with no storytelling to speak of. It may get better, but we’re not going to be around to see if it does.

Boys In Blue isn’t an easy watch by any means, but it’s an important story worth telling, and the filmmakers walk a careful tightrope in telling it right.

Lockwood & Co. is a lively adaptation of the book series, helped along by good chemistry between its leads.

Nothing about Wolf Pack works for us, and there’s not nearly enough of Sarah Michelle Gellar to redeem everything else that’s wrong.

Whether you’ve read Hannah-Jones’ work or are coming to it for the first time, The 1619 Project is a fascinating look at the Black population’s significant contributions to the building of the U.S., with a nuanced approach that was never in our U.S. History books.

The first episode of Extraordinary sets up a pretty funny premise; we just hope that the joke that everyone in the world has powers except Jen doesn’t quickly wear out when the novelty of it does.

To put it simply, Poker Face is a triumph — for Johnson and Lyonne, for modern-day TV, for the mystery genre in general, and — crucially — for Peacock.

The first episode, where the group is in the middle of the Hydra rolling crisis, doesn’t exactly reestablish what each person’s role is in the company, but definitely goes a long way of reestablishing their characters, just by showing how they’re reacting to the ever-escalating crisis. ... The second episode shows that the storytelling is still a little inconsistent.

The biggest flaw in How I Met Your Father, even two seasons in, is that I still don’t care how it ends.

Shallcross brings an endearing, almost wholesome approachability to the series that makes you want to see how things turn out for him and his group.

Who’s winning here? Not the viewers, not the queens, and not even any of the Real Friends™. This show could have been a Reel.

A worthy and interesting follow-up. Vox Machina, as powerful as each of its members are, can’t tackle everything on its own. And while it might seem like a somewhat lazy premise to saddle the Vox Machina with fetch quests, there’s nothing quick or simple about finding the Vestiges.

Because Accused manages to tell the story of how the accused in each episode finds themselves in that position, and does so without a lot of gaps, makes the series worth a look.

If the show does start to lose you, it won’t be for long. (Unless, perhaps, you’re a real therapist.) Breezy episodes and clever writing ripe with undeniable jokes and razor-sharp relatability help anchor Shrinking‘s effective execution. But its greatest strength lies in a charming cast with excellent chemistry and characters you can’t help but root for.

If you put global politics aside Fauda is still a pulse-pounding show that is never boring to watch.

MILF Manor is cringe TV at its worst, and the cringe factor isn’t balanced by a cast with any remotely interesting personalities.

We think there will be enough of the original cast on screen to make watching That ’90s Show worthwhile. But we’re not sure if audiences are going to want to sit through the broad scenes featuring the teens to get to the good stuff.

If you want to see a pretty straightforward series about two best friends going down different paths, then the gentle drama of The Makanai: Cooking For The Maiko House should fill the bill.

Matthew Macfadyen is quite good as the somewhat vapid, wholly incompetent John Stonehouse. The rest of Stonehouse feels like it’s a bit light and trivial, but it wisely puts Macfadyen front and center in just about every scene.

The grim goings-on and generally sour worldview that Mayor of Kingstown established with its first season have not abated with the arrival of its second. But nor has the fine acting and character work that exists in its many one-on-one moments.

The new version has more than enough to like about it, and it gives us hope that as the writers figure out the supporting characters, the show will take off, just like the original one did.

If you go into The Price Of Glee with the right mindset, you’ll get some good information about just how much pressure the stars and crew of Glee were under. You have to basically ignore the producers’ attempts to link two of the stars’ deaths directly to the show itself, and definitely ignore their attempts to get any of the interviewees to call the show cursed.

A Frankensteined pilot. ... While there’s a lot to like about Alert: Missing Persons Unit, the generic cases of the week plus the logic leaps of some of the show’s storytelling lead us to believe that the show is going to contain more bad than good.

With a little bit less Cranston, a whole lot of confusing storytelling and characters that haven’t gotten any deeper than in Season 1, Your Honor‘s final season feels like an idea that was best left as just that: an idea.

Between Cumming’s scenery-chewing and the whole dynamic between the reality stars and the civilians make The Traitors fun to watch.

SKIP IT, unless you’re really into watching people climb rocks. Yes, The Climb looks spectacular, and yes, you get glimpses of Mamoa in each episode. But if you’re not into what’s going on during the contest, it’s going to get old fast.