Jaguar has great action sequences and doesn’t try to overthink its premise. For once, we’re almost happy that we don’t get backstory for every single main character, because it made room for a more exciting first episode.

Alter Ego is silly, sure, but on a network that airs The Masked Singer, it feels downright dignified. And the contestants’ stories are worth watching.

The new version of The Wonder Years doesn’t try to be like the original, and that’s a good thing. It doesn’t have the impact the original one had, but we’re confident that it’ll follow its own comedic path and become one of the better network comedies.

Star Wars: Visions has something for every Star Wars fan.

Maid is not a cozy weekend binge nor is it a crackling murder mystery. That said, it does deserve to be your next Netflix watch. The series tells a haunting, but ultimately inspiring, human story and features a next level performance from Margaret Qualley. It might also change the way you think about poverty.

Our Kind Of People is a frothy show with a more serious underlying message about wealth, racism and women supporting each other. If you miss Empire, it should fill that hole in your schedule quite nicely.

We don’t fault any of the acting on Ordinary Joe for this show’s issues; the actors are doing the best they can, but are stuck in a premise with a limited shelf life and already signs that it might collapse under its own weight or get too clever for its own good.

STREAM IT if you’re an NCIS fan. NCIS: Hawai’i will give you more of the same stuff you love, with the Aloha state as a beautiful backdrop. If you’re expecting anything deeper than that, though, you should SKIP IT.

The Big Leap has a lot of funny, feel-good moments, and the show-within-the-show story gives it enough narrative momentum to last an entire network-length season. How the show will adapt and change once everyone dances Swan Lake, however, is anyone’s guess.

If you give Flanagan’s new miniseries the time and respect it deserves, you’ll be treated to a soulful and gorgeously acted novel about what faith, religious or otherwise, means that concludes with a truly spectacular finale. Seen in its entirety, Midnight Mass is haunting, one of those shows that threatens to lurk in the corners of your mind and question your long-held beliefs long after you finish the last episode. But if three hours of buildup seems like too much, you may be better off rewatching The Haunting of Hill House.

Even though Muhammad Ali is getting the “Ken Burns treatment,” the docuseries Muhammad Ali is reverent but unafraid of digging into what made Ali tick and the people who influenced the most.

Instead of making Diane Dunbrowski a walking Chicago joke machine, the creators of Chicago Party Aunt have actually given her a heart and a rudimentary moral code. And that will be how the show will be able to sustain itself for multiple seasons.

The Morning Show Season 2 is a thrilling melange of ridiculous drama. There are hookups that had me gasping, plot developments that gave me whiplash, and a few moments where I had second-hand embarrassment for all involved. ... The Morning Show will never be a perfect show. It’s too boldly outspoken, too shockingly self-indulgent, and too obsessed with speaking first about a moment in time instead of speaking wisely. Still, I can’t help but find its brand of backstabbing elites terribly fun to watch.

What this version of He-Man And The Masters Of The Universe lacks in nostalgia it more than makes up for with smart dialogue, good CGI, and its ability to start building the world of Eternia from scratch with a compelling story.

The Harper House has plenty of curb appeal: Goofy characters, real-life sentiment, a mildly acidic tone. It probably won’t be the best house on the block, but it’s funny enough to warrant taking in a few more episodes.

Zukerman is no Tom Hanks, but he’s sufficiently charming as Langdon to make us believe he’s the young version of Brown’s signature character. ... The more we buy into Langdon’s prolific skills and the more twisty the story is, the better. But we’re not sure if Dworkin, Beattie and their writers will be able to pull it off.

Even though the first episode of The Premise was uneven, there was enough there to make us want to watch the other episodes. Mainly we want to see if the big swings Novak takes in each episode connect, or if they’re admirable strike outs.

Little Ellen is a vibrant, funny show for the PreK set that gives fun lessons in being adaptable and resilient, and viewers should be able to enjoy it, whether they’re fans of DeGeneres or not.

Finding Alice strikes the right balance between drama and comedy, sadness and laughter, with a fine performance by Keeley Hawes at its center.

The fact that they [the Stidhams] did sit down to talk to the filmmakers makes the docuseries 200% better. And that’s mostly due to the magnetic and somewhat unhinged personality of DeAnn Stidham.

HBO’s new spin on the story is so gorgeously acted, though, you can’t stop thinking about the theatrics of it. The very thing that will hook you — Isaac and Chastain’s full-throttle performances — might also take you out of it.

Kin starts a bit muddled but the performances and story setup give us a good feeling that the tension will ratchet up as the series goes along.

It’s a series with a whole that is far more fascinating than its slow-paced parts. If you give it the space of a few episodes, this new drama promises great things.

Doogie Kamealoha, M.D. is a delightful remake of a well-loved ’80s show that immediately distinguishes itself from the original by its setting and the well-thought-out cast of characters.

On The Verge is so disjointed in its storytelling and so surface with its character development that it actually made us not want to see another episode.

If you want to know about the mission and the crew, read up on it and skip the first two episodes of Countdown: Inspiration4 Mission To Space. We’re hoping that once Hehir turns to the mission itself, the docuseries will get more interesting and less of a butt-kissing exercise.

Something feels vaguely unsettling about The D’Amelio Show. What made us squinchy wasn’t Charli D’Amelio herself; she seems to have her head screwed on straight. ... We’re not sure about the rest of the D’Amelios. ... It doesn’t really give much insight into teens and sudden social media fame, except for the fact that commenters really, really suuuuuuck.

Q-Force feels like a missed opportunity to present LGBTQ characters in a light that doesn’t necessarily point to their queerness with such a big, 1990’s-style arrow. But we’re holding out hope that the show gets better during the first season.