Doubts are raised, and convincing ones, but none are fatal blows, while the program is forced to concede at the end--in an on-screen bumper--that "post-conviction DNA testing has so far come back inconclusive."

It's maybe easy, too easy, to write off "B Positive" as just another sitcom with a few setup jokes, along with the usual, predictable beats. But there's something else here, something potentially even good. Which would be? Call it comfort food, well-served.

The first two parts of "Tell Me Your Secrets" are certainly engaging in a potboiler sense, but it's not at all clear that its makers can keep it up for 10 episodes.

"Maisel" is still that charming, or irritating (your call) embrace of ethnic stereotypes, and filled with that dazzling, or grating, patter of quips, wisecracks, put-downs and zingers. It remains more about presentation, less about plot or character development.

Not a lot of laughs — as if — but the payoff succeeds and so does Winslet.

As good as Weaver and her Nuri are, the best scenes belong to Victor and her Angela Brown. ... Never bet against a show created by Mara Brock Akil, but feel-good "Love Is __" could use a little more edge and a lot more dramatic tension.

Good Pacino, skillful pulp, but an impossible balancing act.

While an Emmy may not be forthcoming, Clinton acquits herself well in this fifth-season launch of a hit that wants--and occasionally has--some of that ol' "West Wing" mojo.

While the middle episodes slump, "Life & Beth" starts strong, ends strong, and features a lead with genuine dramatic chops.

Occasionally flat, sporadically gruesome, Mindhunter is also potentially absorbing.

We want to know what happens to Helly and Mark — all four of them. We care about the others along with their "outie" doubles. And goats aside, the abiding mystery still hints at something consequential. Perhaps "Severance" will get around to a genuinely profound insight into our own fraught life and times. Perhaps. If only this second season weren't so self-serious about the whole process.

Updated, sharply written, socially conscious, this new version wants to improve on the original and often does. But what’s missing is a compelling reason for a reboot in the first place.

"House of Guinness" is always entertaining, but there's a hollowness to it that's hard to shake.

Neither slop, nor the obverse (a masterpiece), "Grand Hotel" resides squarely and benignly in the middle: A pleasant summer diversion with a good and absurdly telegenic cast .

Like the original, this "GG" can be pithy and clever (that Forster line tells you as much) but unlike the original, at times glum and muddled too. It's a sibling-rivalry drama set in the age of Instagram and COVID, where social media is the true villain. That part may be accurate — just not quite as much fun.

Don't come for a fresh perspective or revisionist history or faithful recounting. Do come for the laughs. "Plumbers" probably gets that part right anyway. ... Amusing, inconsequential.

To Wisdom’s credit--so far anyway--this doesn’t look like the typical gruesome network cop drama arrayed with female victims and their predatory killers (even though there are two such victims in the pilot). It does look like a good idea in search of genuine high-tech bona fides.

While this is the In Memoriam tribute that Williams so richly deserves and fans need, the title is misleading because that mind remains out of reach.

Compulsively watchable, as usual, but also on the reverential side. This "Crown" has no teeth.

Mostly solid material that yokes the old Schumer with the new.

Exhaustive, admiring, comprehensive and richly documented, Bobby Kennedy for President nevertheless doesn't feel especially revelatory.

A beauty to behold but an ice cube to hold, this Howards End never quite thaws.

"Rachel, Jack and Ashley Too" is essentially a dystopian Disney Channel movie, or perhaps some "Very Special" episode of "Hannah Montana." ... "Striking Vipers" is better. ... The standout of the three, however, is "Smithereens." Like the most effective "Black Mirror" episodes, you're left on your own, following a story that offers no bearings, fewer clues. A gifted actor, Scott sells the episode in every scene, raging against an unseen enemy

Solid thriller, good twists, too violent.

"Emergence" is a "Stranger Things" thing. There's nothing wrong, necessarily, with being a "Stranger Things" thing, because "Stranger Things" was itself once the thing of a half-dozen '80s landmarks, like "The Goonies." But the tangents, or less kindly appropriations, here are inescapable. ... What's best about "Emergence," however, is the cast, including Faison. ... Decent "Stranger Things"-loving pilot.

After a bumbling 4th — especially with regards to race — "Outlander" is back on track. A familiar one.

Platt is mostly excellent, but he's not a comic actor, which is fine because "The Politician" is not exactly a comedy either. Never one to be bound by labels or genres anyway, Murphy has created a dramedy, satire, tragedy, romance, coming-of-age story and political parody, all of which contribute to viewer whiplash if not exactly ennui.