This revival may not be great – especially with our outspoken minx missing – but it’s watchable, even when it feels like a trainwreck. I can’t wholeheartedly recommend And Just Like That… to the casual viewer based on this strange mess of a pilot, but for those who still harbor a soft spot for Carrie Bradshaw and her crew, there’s something worth indulging in here.

He can also host a nature show like nobody’s business, bringing a down-to-earth quality to the genre that we don’t often see from the mostly-detached style we see most of the time. ... Amazing shots and a tension-building score add to Smith’s presence, whether it’s the scenes he’s in or just the ones he’s narrating.

Live In Front Of A Studio Audience: The Facts Of Life/Diff’rent Strokes succeeded because it doesn’t even try to come close to the way the original episodes were staged. Everyone had fun with embodying the iconic roles they were given, and it showed.

Abbott Elementary is not only funny, but its pilot sets up a workplace family that can endure for multiple seasons.

While the video essays in Voir sometimes dip too far into pretentiousness, the dreamy visuals and insightful analysis make this a compelling watch for aspiring critics, as well as viewers looking for fresh reasons to watch classic films like Jaws.

Landscapers not only benefits from great performances by Colman and Thewlis, but it’s a dark comedy that’s actually howlingly funny in between all of the darkness. That balance is very difficult to achieve.

Despite the sloppiness by the show’s producers, and some of its repetitiveness, we still appreciate Underwood’s coming out journey enough to make Coming Out Colton a worthwhile watch.

In a lot of ways, the show is a workplace comedy with a lot of gender politics mixed in. If you look at it like that, and appreciate Silverman’s performance as Candy for the low-key seethe it is, Santa Inc. becomes enjoyable.

Harlem may feel like a show that you’ve seen before, but the four stars are more than charming enough, and the writing is clever enough, to make the show stand on its own.

That comedic vibe is really what makes Baking It distinctive from TGBBS. ... If you want a gentle, family-friendly baking show that’s pretty funny, then Baking It is a good choice to watch over the holidays. Rudolph and Samberg are on their A-game here, but the opinionated grannies are the show’s secret weapon.

One Last Time: An Evening With Tony Bennett and Lady Gaga is both a fitting public farewell for a musical legend and a fun throwback to the golden age of live entertainment.

Glória takes the standard Cold War spy drama and places it in a unique setting, which sets up some intriguing scenarios for missions to be executed and/or thwarted.

The Beatles: Get Back is clearly a labor of love for director Peter Jackson, but it plays as one of the clearest forms of fan worship there ever was, letting the band members act and speak for themselves in a natural format true to even the smallest moments of this crucial period in their history.

Only because Snipes plays such a dynamic role as Carlton, and his chemistry with Hart is fun to watch. The rest of True Story feels manufactured, and Hart’s role is too close to reality to separate the Kid from Hart, especially when he’s complaining about being rich and famous.

Hawkeye works because of the chemistry between Renner and Steinfeld, but also because it prioritizes character slightly more than action.

Despite how slow and disjointed the first episode of Hellbound is, it sets up an interesting story that could go just about anywhere.

Sort Of has a laid back, funny vibe, which is mostly driven by Bilal Baig’s performance. Yes, the actor and character are both nonbinary, but that’s only part of the story, which is what makes the show so entertaining.

The Curse Of Von Dutch is one of those docuseries that feels like it would have been better off as a 90-minute documentary film instead of a three-hour series. Even in the first episode, Renzi stretches the story to the point where it’s almost transparent.

Mindy Kaling’s knack for creating three-dimensional characters makes The Sex Lives Of College Girls a funny and addictive show, despite the fact that there’s really no new ground being broken by its premise or characters.

With the crew established and the characters beloved, the series is now taking the time to lead boldly not with surprises, but with tremendous amounts of heart.

We’re just not sure where the show is going to land on the tonal line. Takei and Munn’s characters could go either way. And, given that we don’t know a ton about Bryce, we may learn things about him that bring out Sudeikis’ considerable dramatic acting ability. We don’t need Hit-Monkey to be all serious or all funny. But it’s really hard to get a handle on what it wants to be, much less where it’s headed.

We’re just not sure that this is anything but a money grab by them and Netflix. ... We still recommend it to anyone who watched the first season and wants to find out more. But, it certainly isn’t essential watching to anyone, whether they liked the first season or were repulsed by it.

While Martin’s gritty, skeptical, and brutal look at the genre appealed to an HBO audience, I’m not sure Jordan’s romantic, mystical, and hopeful version will be as ubiquitously embraced. The Wheel of Time can’t be the next Game of Thrones. It’s just not in the source material’s DNA. But Prime Video’s series has the chance to be the first true Wheel of Time, and that excites this all-too-earnest nerd to bits.

One Night Only finds Adele personally refreshed and professionally primed, a place her legions of adoring fans will certainly enjoy hearing about in both performance and interview.

While Mayor Of Kingstown boasts fine performances, it’s confusing at times and incredibly depressing at others. If we wanted to watch a show that’s relentlessly grim, there are much better choices out there.

Yellowjackets does a good job at tackling three genres at once. It’s a thriller, a coming of age story and a survival story, and all of it is presented in a way that makes us want to see more.

All of the good things about Netflix’s Cowboy Bebop are betrayed by poor writing, uninspired action scenes, and a truly baffling obsession with the most annoying characters in the series.

Always Jane shows the life of a 2020s teenager who just happens to be trans, with all the struggles that come with being at that stage of life. What makes it interesting to watch is that her life isn’t being treated as some sort of anomaly, either by the filmmakers or her family.