Overall it feels like one of those shows that’s hard to judge from the first episode. What we’ve seen so far we like, but we don’t know enough about where the show is going to get excited over what’s next.

Even though we don’t know the case, we could see where the show was going, and were dreading spending the five additional episodes it was going to take to get there. ... Despite good performances from Fox, Addy and Graham, The Murders At White House Farm feels like it wants to tell a deeper story about these notorious murders from the ’80s but just can’t bring itself to do it.

While Agents of Chaos may not come to any concrete conclusions about Russian interference in the 2016 election, it makes a pretty damning case that the Russians definitely had some influence, and that US intelligence officials were slow on the uptake in fighting it.

Even with the lofty stories it’s woven throughout the years there’s nothing quite as ambitious, intense, or grand as Fargo Season 4. Whether or not that’s a good thing will depend on what draws you to Fargo in the first place.

We’re keeping our fingers crossed that Cosmos: Possible Worlds transcends its muddled first episode. But we’re wondering if the concept has reached its limit for now, and maybe we should wait another decade or two before seeing another version.

Filthy Rich isn’t exactly high art, but it’s satisfyingly soapy, with some decent performances and a couple of chuckles that show us that it’s not taking itself at all seriously.

We’re on board for the thrill of the trip and the stunning visuals we’ll see on Long Way Up, plus seeing McGregor and Boorman renew their friendship will be fun. But the privilege shown on this trip is staggering and detracts from our enjoyment of the show.

I was astonished by how much I liked Keeping Faith. Sometimes it feels like we’ve seen it all in the British crime drama genre, and it’s true, Keeping Faith does share a lot in common with some other shows. The good news, though, is that it’s specifically like Big Little Lies crossed with Broadchurch.

Jurassic World Camp Cretaceous so far seems more appealing to tween audiences, who won’t mind too much if it coasts on franchise fumes. Maybe it’ll reach its potential after another episode or two.

There’s lots about Departure that’s really silly, but Panjabi and Plummer carry the series into the realm of respectability.

This latest installment is a return to Archer’s raunchy, ridiculous form and it feels as cozy as crawling into your bed after a long car ride.

Like its international counterparts, Sing On! is light and fun and a show that you can easily binge if you just want to enjoy watching people singing for prizes.

Where the series shines is in the little details, especially when it discussed the lives of the other six crew members who died along with McAuliffe.

The conceit is executed well; we don’t feel manipulated by Barrett, Kelly and their writers deliberately hiding things or throwing us red herrings. But we’re not 100 percent engaged by Sam’s story, either. ... The performances of Law and Waterson, as well as the chemistry between Watson and Considine as the weirdly gruff and cheery Martins are keeping us interested.

Guadagnino concentrates so much on the teenagers that the adults might get the short end of the character stick. ... The first episode of We Are Who We Are takes its time to get to where it wants to go, but the ride is pleasant because we’re so intrigued by Fraser and his various relationships.

The drama (all eight episodes were provided for review) never seems to settle on whether this corrupt and eccentric woman is the hero or the villain of her own story, the aggressor or the victim. Watching Sarah Paulson navigate those extremes is chilling. ... These inconsistencies work together to make Nurse Ratched more terrifying in her unpredictability. ... But where Ratched really shines is through its stylized love of gore.

Coastal Elites offers enough talent, laughs, pathos and outright venting to warrant watching it.

When these situations are clearly forced for comedy reasons, we start to turn away from a show. However, Ryan has created a show for herself that fits her quite well, so as things go along her character might ease up into someone we’ll actually like.

Julie is full of great performances, peppy pop songs, and a solid storyline we’re excited to dig into.

Just in the first episode, the guest voices all stole the show, but there was definitely enough going on with Keef, Clovis and even Gunther to keep us watching. We just hope that as Keef gets more “woke,” his character becomes more well-rounded.

There’s a ton of stuff going on in the first episode of Power Book II: Ghost. But Power garnered big audiences because, despite being a bit soapy and unbelievable at times, it carried lots of fine performances and more than enough quality writing to overcome its flaws. That trend continues with the first sequel.

This is a marginal recommendation because we’re hoping The Sounds gets better as the mystery progresses. But in the slow first episode, not a lot happens, which makes us even more annoyed when information is purposely held back from viewers.

There is enough going on in Young Wallander, especially the immigration storyline, that will keep viewers watching. But we just wish Wallander himself was a more interesting character.

Transplant feels like two different shows: A gritty one about Bash’s experiences as a doctor in war-torn Syria, and how he brings his life experience to his job; and a standard medical drama with pretty people solving medical mysteries every week. And the two really don’t mix.

Love Fraud gets off to an interesting start, and only promises to get weirder and more interesting from there.

The new series is incredibly watchable, but flails when it comes to knowing what to focus on.

The issues Patel examines in the series are some pretty big ones, and he does a good job of taking these huge concepts down to a personal level while keeping the themes universal. ... As usual with these CNN-produced documentaries, the photography is top-notch and really brings you into the destination that’s being profiled, closer to the actual culture of the town than most travelogues are able to do.

Raised by Wolves has the potential to be the first great sci-fi show of the ’20s. Visually stunning, technically marvelous, and trippy as hell, it feels like both a callback to the golden era of sci-fi and a template for what the genre could be in this century. Raised by Wolves is a must-watch for sci-fi devotees and a return to early career form for Sir Ridley Scott.