Watching Jerry Before Seinfeld may feel more comforting in this moment than watching 23 Hours To Kill. But whether you think he’s great or he sucks, well, you’re not far off from the truth, either way.

Stream it, but only for Ormond’s fine performance and vulnerability. The rest of Gold Digger has yet to show us that it’s going to be anything more than Dirty John for Brits.

It helps that Favreau is heavily involved in this series, because it was his initial vision that brought this series to fruition, and his acting chops help him move the interviews along with a funny line or keen observation. The first episode is also helped by the fact that the season’s directors are such a dynamic bunch.

We’d love to see Lanigan search for props from films that aren’t in the vast Disney library, but Prop Culture is on Disney+, so we have to live with the show we get. And his enthusiasm and knowledge of these props shows through in every scene of the first episode.

Daniels has succeeded to make the afterlife look like hell in Upload, even if it’s a hell with colorful foliage. And that’s just the kind of show we want to see right about now. But we also know he knows how to build a funny ensemble we’ll care about, and he’s on the way to doing that after the first episode.

The story is fairly coherent from beginning to end, even if you make some choices that mean you don’t get to the “winning” solution. But as with the series it came from, we just wish some of the jokes whizzing by our heads were a wee bit funnier instead of just thrown out there to see what lands.

As with most docuseries of this type, your enjoyment of Trial By Media will vary from episode to episode, but will also vary with how much you know and remember about a particular episode’s case. But what Toobin and Brill are trying to accomplish is noble.

I Know This Much Is True is an emotionally harrowing tale, but Ruffalo’s performance is so remarkable that you’ll find hope in the relationship between the Birdsey brothers.

Too much of this hour, though, covers territory any comedian, Asian-American or otherwise, could crack wise about. ... Yang is no Thomas Middleditch or Kumail Nanjiani or even T.J. Miller.

Yes, Bad Mothers feels like a bit of a rehash of the first season of Desperate Housewives, including a murder mystery. But the sharp dialogue and excellent cast make the show a fun watch, despite the fact that it doesn’t quite feel fresh.

Solar Opposites is weird enough in its own unique way to separate it from all the other animated comedies out there, and its anarchic vibe might be just the ridiculous distraction you’re looking for right now.

There’s naturalistic acting, and then there’s mumbling. And the first episode had a lot of mumbling, especially from André Holland. The Eddy is a pretentious mess of a show, and even the expert music that is interspersed through the first episode isn’t enough to save it. In fact, it makes things worse.

It feels that Trying is going to try (pun intended) to get the emotional wringer of the adoption process right instead of falling back on TV cliches about it. It also helps that Smith and Spall play a couple that are great together and you want to see get what they’ve been hoping for.

The improvised scenes are where the show crackles with energy, even if old farts like us can’t understand 100% of the skaters’ lingo. ... Also, the energy among the five stars is palpable, given the history that they’ve had in the past few years. When the group splits up, things get more stilted.

Oswalt’s comedy will put you at ease for an hour.

Dead Still‘s mystery is just in its beginning stages in the first episode, but the chemistry between the three leads is readily apparent, and that will fuel the rest of the first season.

There’s nothing glaringly wrong with it, just as there’s nothing so intriguing about it that you want to watch it week-to-week or even binge it once Starz has aired all the episodes.

Snowpiercer‘s middling pilot is saved by its leads. We’re intrigued to see what Manson can do with the characters and story he inherited from episode 2 on.

The drama has everything to keep viewers invested, turned on, and watching, potentially even in one sitting. It’s a fun, steamy escape and who would dare pass up one of those?

The Great tries to be irreverent and funny but fails on both accounts. In fact, some of what passes for jokes on this show is downright painful to watch because it’s so dark and mean-spirited.

The mystery of Blood & Water is interesting enough to keep us watching, but the performances of Qamata and Ngema just make the show that much better.

If you’re in the mood for a lighthearted giggle, this is not the special for that and Netflix is packed with dozens of others that do provide this service. It didn’t make me laugh and I believe the intention was to do so, even more than her previous special.

Despite the fact that there are laughs to be had on Don’t, the game play is far too confusing and it feels like it’s being treated like a secondary aspect of what’s supposed to be a game show.

This show honors them and their hard work and you can’t help but feel it in your heart.

Michaela Coel is a riveting actor, and talented writer and both come to the fore in I May Destroy You. We’re looking forward to seeing how she deals with the issues of consent and sexual assault on the series, all the while doing so with a sardonic bent that this topic usually doesn’t receive. The balance she tries to achieve will be fascinating to watch.

The most memorable bits all take place onstage.

There’s enough action in Trackers to keep you interested. But the first episode is disjointed and confusing, and you may not have the patience to stay with the show as the stories start to come together.

Anyone, from kids to senior citizens, could benefit from hearing more messages right now like Brillon’s.