For fans of amply endowed eye candy and anatomy-centered gags of the PG-13 variety, it's Nirvana. [14 March 2000]

Wacky is probably the best word for You, Me and the Apocalypse, created by Iain Hollands. But give the series credit, each episode keeps upping the weirdness, comedy and, surprisingly, the dramatic ante. It’s unexpectedly good.

It’s Ritter that gives Jessica Jones its punch. ... This season’s story--at least in the five episodes available for review--builds to a deeper secret, and its buttressed by strong supporting players. Carrie-Ann Moss returns as Jessica’s attorney, who is fighting her own demons.

Only three episodes were available for viewing. Outcast is, at best, serviceable for a late Friday night horror tale, but I’m not anxious to hang around.

There is an old axiom that says you should not confuse sex with love. The fourth season of Masters of Sex lands squarely and entertainingly right in the middle of that potential mess.

What benefits the series most is its strong cast to take on these intricate roles, which might fall flat otherwise. Paul, Monaghan and Dancy are outstanding as very flawed people, whose fate you can care about; they aren’t evil but at times susceptible to their own demons and blinded by their faith.

In Future Man, it bounces amusingly along for a while and suddenly becomes weirdly sci-fi serious. In the third episode, “A Riphole in Time,” there’s a plot twist that makes you wonder what you signed up for. Still, Future Man is intriguing enough to keep you going, but I wouldn’t call it one to binge.

Although a bit over-frenetic at times, the series seems to take inspiration from a man-on-the run Hitchcock thriller.... So far it’s one of the most-promising new shows, and Chopra is someone worth keeping an eye on.

It is never as compelling nor as dark as that series [Mr. Robot], but after three episodes Colony zigs and zags often and has enough action to keep your interest.

During the first two years, Halt and Catch Fire has smoldered, sometimes frustratingly so, but has always been engaging, often thanks to the performances of Bishé and Davis. Judging by five episodes of season three, it looks like the show is finally catching fire.

Trollhunters has a nice vibe to it. There is an ’80s “Goonies” flair, but it is also has intelligence and flashes of wit, such as when a creature hums “In the Hall of the Mountain King” by Edvard Grieg as it goes in for a kill, or when Toby finds out Juliet dies in “Romeo and Juliet.” Otherwise Trollhunters follows the formula for these sorts of stories, uncomfortable teen by day and superhero at night.

The fantasy-dramedy is cute enough, though it doesn’t have the endearing daffiness of “Jane.” Tori Anderson and Joshua Sasse, who play Evie and Xavier, have a nice chemistry.

For the most part, Pitch is an engaging drama about a woman negotiating a man's world with the added glitz of big-time sports. Bunbury has the charisma needed for the role.

The series has an impressive feel and period look to it. The first episode directed by Kevin Macdonald (“The Last King of Scotland”) deftly opens up mysteries and invites you into the strangeness. Adapted by Bridget Carpenter, 11.22.63 isn’t for everyone. You have to like what-if fantasy stories. But like many of King’s stories, once you’re in, you’re in. Enjoy the trip.

It’s [the] weird but human moments that propel Patriot, created by Steven Conrad (“The Secret Life of Walter Mitty”), even as it keeps the spy-thriller plot simmering.

The most impressive quality "The 4400" boasts is the fact that, after tonight's episode, there are any number of directions the drama could head. There hasn't been anything this wide-open unpredictable on TV in years, and for that reason alone, it's worth overlooking the premise's flaws and following this wherever it may head. [11 July 2004]

Seven Seconds can be a bit obvious at times--a shot of blood in the snow with the Statue of Liberty seen off in the distance--but ultimately it settles into a worthwhile character-driven crime thriller.

Whereas Netflix’s “Black Mirror” deals with near-future technology angst, the Amazon series is more speculative. Each episode differs not only in look but in tone. So in this binge climate, it is nice having something worth binging that you can also take your time with, and “Philip K. Dick’s Electric Dreams” is that.

The problem is that series seems to take itself a bit too seriously. It could use a side of humor or an over-the-top quality. But these teens are mostly awkward, and while that could be charming, here it isn’t. Runaways doesn’t necessarily make you want to run away. It’s watchable enough, though not compelling.

The humor is mushy, mostly based on the characters’ being neurotic. Unlike “Silicon Valley,” there is little at stake in many of the situations in Loaded, which undercuts it further. The series is kind of like a cat-game app. It might amuse you for a while, but it’s still a cat-game app.

Britannia doesn’t slow down long enough to be as engaging as the HBO show, but ultimately, it has enough going for it that if you like such fare--not everyone is a “GOT” fan--you can get into the Amazon show.

There are few funny moments. Give the cast credit for throwing themselves into it--especially Martin--but the proud mama bit gets old fast.

I can’t think of another show like Comrade Detective on the TV landscape, and while it’s a strange trip, it’s often a delightfully odd one.

Midway through the first episode of the 11th season of “The X-Files,” FBI agent Dana Scully (Gillian Anderson) clutches her head and moans, “What’s going on here?” We can sympathize. Up until then, the episode had played like a frenetic trailer, filled with crazy action and angst. In subsequent episodes, the Chris Carter series settles down to familiar entertaining territory, but there is a danger you might turn it off before then.

While it struts and frets and boasts some top-notch actors, I’m not sure it has anything in mind other than being weirdly entertaining.

It’s great to see Lithgow, who won a Golden Globe earlier this year for playing Winston Churchill in Netflix’s series “The Crown,” but there’s not much challenge here for him and too few laughs.

The film is a bit too long. Wizard of Lies has some worthwhile moments, but it never seems sure at what it’s trying to be.

The good news is that Ozark isn’t all that predictable and develops its own quirky rhythm. ... Even when the series seems to be drifting, it keeps luring you in.