Us manages to be funny and heartfelt despite documenting what looks to be the end of a long marriage. Even if the story isn’t for you, though, you may just watch so you can start planning your next big vacation.

Kevin Can F**k Himself quickly moves past its high concept to show the picture of a woman in crisis, and we’re excited to see how she tries to improve things through the first season.

It’s through Byrne’s cutting insults and screams buried under her pained smile that Physical truly finds its voice. ... Shelia and her near-constant self-flagellation become Physical’s driving force. It’s a positioning that’s pointedly brilliant.

STREAM IT If you grew up watching iCarly and are happy to see most of the old gang again. SKIP IT if you’re expecting the grown-up Carly and her friends to give you a more grown-up sitcom.

With the requisite beautiful photography and a funny but warm narration from Oswalt, Penguin Town is definitely something you can either binge or dip in and out of, especially if you’ve bought into the penguins as something akin to sitcom characters.

Dave is nothing if not a show for a very specific taste. It’s too smart to be labeled sophomoric, and while it’s packed with really great acting and a lot of heart, it’s also entirely common and accurate to use the word “weird” to describe it. But, like Dave himself, that’s part of its charm.

Just as rambling, hyper-specific, and brilliantly dumb as this series always has been. ... If you love the show for its weirdo characters, Mr. Nimbus will leave you quoting and thrusting to his every line. If sci-fi insanity is more your speed, there’s a time-altering B-plot that is so perfectly Rick and Morty you’ll be shocked the show hasn’t done it before.

The Republic of Sarah has its charms, but the premise is unsustainable and it’s larded down with too much “CW stuff” to give that premise a chance to make itself sustainable.

While there are a ton of head-scratching aspects of Blindspotting, there’s more than enough to recommend, especially the performances of Cephas Jones and Barron.

Ultimately, Starstruck is a romantic comedy that understands, respects, appreciates, and celebrates the genre, all while still carving out its own unique place in the category.

Loki is a surrealist, kafkaesque mashup of True Detective and The Office—and it is a sight to behold. ... The show should not work, but it does. Loki (the series) was burdened with glorious purpose from the start and, unlike Loki (the character), you can consider that purpose fulfilled.

Little Birds just tries to do too much, leading to an unfocused and hard-to-watch first episode.

Season 2 of Why Women Kill surpasses the first season by concentrating on one story and one set of interconnected characters, boosted by an excellent cast.

While acting and visuals in the first episode are excellent, and we have some hope that Lisey’s Story will go beyond just imagery and symbolism and give us an actual story, it feels like it will ultimately end up being a bit too frustrating to follow week-to-week.

We were surprised how engaged we were with Sweet Tooth, even though it’s a show about a virus that wipes out most of humanity; it’s not something you want to contemplate as the real pandemic we’re suffering through winds to a close. But good performances and an adaptation that grounds things into some sort of reality saves the show from eye-rolling preciousness.

Easily the best comedy special of the pandemic, if not the best “content” of any kind from the pandemic that you’ll see, putting everything we’ve felt over the past year and a half, and still feel, as each of us figure out what comes next.

In its second season Tuca & Bertie is unafraid to get deep, and we’re all better for it.

Howery keeps things moving and loose, and he pokes just enough fun at the contestants to help allay their nervousness. But the practices are so lacking in tension that they slow the game action down. ... If the producers can tighten the show’s pacing in subsequent episodes, it should make for a fun summer series.

Like a lot of the animated programs Fox has put out in the past 15 years, this one needs some patience. Perhaps the rapid-fire jokes we see in group will give way to these individual stories that will mine laughs from the characters. But right now, the show is so overpopulated it doesn’t give any of these characters room to explore.

There’s a lot about Panic that makes us roll our eyes. But we’ll give it a recommendation because we were actually rooting for its main character by the end of the first episode, and we were surprised that we were doing so. That’s a good sign for the rest of the season.

Crime Scene Kitchen is enjoyable because of Joel McHale, full stop. Everything else on the show is fungible, except for the guessing game you will have once you see the evidence left in that crime scene. Either way, it’ll make you hungry, which is always a good sign of a cooking show.

High On The Hog is not only informative, but makes a real emotional connection between food and the history behind it, and a lot of that is thanks to the “relaxed intensity” of Satterfield.

Friends: The Reunion completely redefines how we should view sitcom reunions moving forward, and it sets the bar so high that I truly don’t know if any other get together can ever top it.

Archival footage is the hero here, everything from tear gas canisters arcing into the students at Kent State and those lying bleeding after the National Guard shootings, to a raw live performance of “Ohio” by Crosby, Stills & Nash that leaps off the screen with nervy energy. Audio interviews accompany the montages, and are lent particular power in their juxtaposition.

There’s lots to like about Kerry Godliman as Pearl, and it does seem like the chemistry between Godliman and Howard Charles is good enough to sustain Whitstable Pearl, but the mysteries need to get a lot stronger before this show can compete with other hit British mystery series.

We want to see more of both of these guy’s worlds, like the obvious attraction Dan has for Jess and his interest in Zayna’s education, or what Kevin is building with Jasmine. The situations both get in might be funny, or (like in the premiere) they might not. But the more they’re steeped in the relationship between the two friends and their worlds, the better the show will be.

By shifting its focus from Dev to Denise, Master Of None gives us a third season that’s fresh and poignant and makes us want to see more after its first episode. Does it trip over its own pretentiousness at times? Sure. But that’s not a deterrent for us.

In Treatment is saved by the performances by Aduba and the people playing her patients. But this is a show that feels like it’s from another time, despite the up-to-date references throughout.