Night Stalker: The Hunt For A Serial Killer might be to[o] grisly for some viewers. But for true crime fans, it’s a well-paced series that has a different perspective than most series in the genre.

Everyone Is Doing Great is a navel-gazing portrait of two guys who have refused to grow up on top of not embracing the roles that made them successful. We’re not sure who in the current financial, health and political environment are going to find any entertainment with these two sad sack characters.

There are some sitcoms that have first episodes that are so bad, there isn’t even a glimmer that you can identify that will make you think the show can find itself. Call Your Mother is one of those shows.

We’ll give Trickster points for having a mostly Indigenous cast and writing staff. But the show itself has to become a bit less bleak for us to want to keep watching.

You can’t help but feel relaxed while watching The Great Pottery Throw Down, and it’ll be interesting to see how the ante gets upped not only during the first season, but across all of the show’s three seasons.

With fine performances and spectacular cinematography, the new version of All Creatures Great And Small will definitely make fans of Herriot’s books want to go back and revisit them, and it will also bring new fans into the fold.

Few shows are as skilled at sorting through the intricate, hypocritical, and quiet forms of hurt better than this thriller. But just because Servant has gotten more introspective this go round doesn’t mean the chilling drama has lost its edge.

Lupin’s twists and turns, and a fine performance from Omar Sy (who is also the show’s artistic director, helping to establish the series’ lavish look) makes the show eminently watchable.

Lebowitz is hilarious, and Scorsese captures her humor, as well as her love of New York City, very well. You may not want to binge Pretend It’s A City, because one can only take so much “New York humor,” even those of us who know the city well. But it’s certainly worth taking in an episode or two at a time.

Celebrity WoF needs the celebrities to be competitive and play the game the way it’s supposed to be played, and the first set of celebrities do just that. The puzzles are slightly easier than the ones you may see on the regular version, but that’s just to encourage bigger winnings because of the charity angle. But, if you weren’t looking too hard, you wouldn’t really be able to distinguish the celebrity version from the civilian version, which is a good thing.

The premiere episode of this new American version of The Chase didn’t deliver as much tension as we expected, and did drag in parts. But we do see the potential of the format, especially with the three Jeopardy! champions in place as Chasers.

Even if the action doesn’t keep a game show fan on the edge of his or her seat, it should still be engaging enough for the viewer to want to play along. The Hustler, despite the efforts of Ferguson to will the show into something interesting, doesn’t ever get to that level.

There’s something about Coyote, created by David Graziano, Michael Carnes and Josh Gilbert that feels a little bit off. It’s not the performance by Chiklis, which is his usual combination of tough but with seeds of doubt.

This new version of Name That Tune has some clunky aspects to it. But the party vibe in the studio, Krakowski’s strong hosting presence and Jackson’s great band make those clunky aspects less annoying.

Mr. Mayor has some very funny moments, and a growing chemistry among its ensemble. But it also has two ace stars in Danson and Hunter. We can’t wait to see how their characters’ relationship grows over the season.

History Of Swear Words packs a lot of information into each 20 minute segment. And though the segments stray from their respective topics a bit, everyone looks like they’re having a cathartic good time talking about the biggest curse words in the English language.

There’s enough going on during 30 Coins to keep a viewer interested. But at times, there’s too much going on, and it doesn’t give any time to explore the relatively small main cast and what their characters’ motivations are.

The doc succeeds in its pacing, its storytelling, and its genuine capturing of such an only-in-America story: that desperate hunger to be (and remain) one of the most influential athletes and public figures of all time, and the ultimate reminder of how someone can have it all, and yet, never enough.

It’s not that The Watch is a complete mess; some elements of the first episode gave us hope that the show will settle down. But the first episode was so jumbled and so proud of how witty it was, it forgot to establish anything about most of the characters we’ll be seeing for the entire season.

The Great North has some work to do to get to the level of its cousin shows, Bob’s Burgers and Central Park. But with a great voice cast and Bouchard overseeing things, it should get there eventually.

Elizabeth Is Missing is a film that will leave you depressed, especially after the final scene, but happy you were able to watch the great Glenda Jackson put in a great late-in-life performance.

We hate to give Call Me Kat a thumbs down, given all the talent in front of and behind the camera. But the show sacrifices character for gimmicks, and the parts that aren’t gimmicky are mostly hacky and unfunny.

Cobra Kai still has a great combination of character depth and self-referential humor that makes it one of the best shows of the reboot era. We’re just a tad afraid that the story has nowhere to go and will get more ridiculous than the first two seasons, but not in a good way (like those first two seasons).

The novelty of the approach here is worth a viewing, and they do sneak a STREAM IT for me just for keeping me intrigued as to what they were going do to next. It didn’t make me want to stop watching after 20 minutes like Death to 2020 did.

The cast is game — in addition to Milioti and Kudrow, Leslie Jones and Samson Kayo also seem to be invested in their characters — but there’s just not enough funny material for their performances to overcome the special’s structural problems. 2020 has been bad enough; there’s no need to relive it via an unfunny special like Death To 2020.

If you’re a fan of The Masked Singer, this show should be just as fun to watch. ... [Robinson] moves the show along without trying to center the spotlight on himself. Jeong is still at his most annoying, which we hate to say because we’re fans, but there’s also a reason why he’s the only carryover from the original show; he’s divisive like a Simon Cowell, but in a happy sort of way.

Just because a show goes in the direction of a procedural-type show doesn’t mean that it can’t be elevated by a good cast and sharp writing. After the ace performances by Millman and Griffiths, we’re looking forward to seeing what direction Total Control goes in.

It’s the quieter parts that make the show truly special. ... You have an emotional rollercoaster that is evocative in the way few other TV shows can hope to reach; but one that is well worth riding. Emily and Sue aren’t the only stand-out characters this season, which finds every member of the cast struggling with growing up in different ways. ... By season’s end, everything — for Emily, for Sue, for all of the Dickinsons, for America — has changed. But in our world, we at least have these two perfect seasons of television to hold on to.