The show itself is a charmer--full of color and vitality, while the craftsmen and women clearly have the talent and skills to make something worth looking at. The actual crafts part, however, is rushed. You hardly ever see the detailed process of making something but instead the finished product.

Starts slow and gets better--while an excellent cast (and lead, in Holland) front a story that's a little more psychological than supernatural in the early going.

This passionless, pallid reboot is missing the key element that made the first one--tacky and tawdry as it was--succeed: Nimoy himself.

A summer pleasure. ... Kristin Chenoweth knows it's a mad, mad world out there but has the chops to make us forget about that for a little while.

Fans who hated the fifth season should mostly love the sixth, which is a return to normal, or as "normal" as "OITNB" ever gets. But the end does feel a little bit closer.

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.

Other than the discovery of a murder victim and a major reveal in the closing seconds of the seventh episode, almost nothing happens in Sharp Objects. ... The narrative creep notwithstanding, there are pleasures in Objects. Adams' performance is one of them.

Mostly for the die-hard Seinfeld (and "Comedians") fan, these are more often about the guy who picks up the check than about his guests. But at their best, they're--what else?--funny.

A sharp, incisive and (above all) funny script and direction to match. ... Whishaw's brilliant here, and almost effortlessly steals the entire miniseries.

Too much canvas with wild splashes of paint deployed to fill it. Compared with the first, the second is a disappointment, but far from a failure. Best experienced in small bites instead of huge indigestible chunks.

Light as air, not much more substance, "Take Two" is a genial "Castle" redo.

Fist-clenching may be a novel approach, also a self-negating one, and Yellowstone--good writing, solid cast, nice views aside--can also be a bummer at times. Nicely done series that can also, from a viewer perspective, be depleting.

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.

[The contestants] range in age from 25 to 41, aren't all model-pretty as often found on "The Bachelor," and include black, white and Hispanic women with a variety of jobs from executive assistant to neuropsychologist and a span of body types from va-voom to fuller figures. ... Also commendable is host Jesse Palmer, the sportscaster, former NFL quarterback and season-five star of "The Bachelor" who manages to project sincerity despite the remarkable premise. ... But otherwise vapid and regressive show.

New stories, new perspectives and new vistas might just do wonders for The Affair. At least they beat the alternative. Still entertaining, The Affair makes an attempt to get better by adding some diversity to the mix.

Strange Angel refuses to yield its secrets readily, or quickly, but instead methodically. Given the science (difficult) and the cult (abstruse) that's a reasonable approach to the story, just not a gripping one. And over the first three episodes, "Angel" often loses its grip.

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."

American Woman's timing may be the only thing right here. All else is wan, muddled, tired and bland.

It's all packed with inside jokes and callbacks of inside jokes. This one's for the fans.

Unbreakable Kimmy Schmidt has still got it. Kimmy mixes it up with #MeToo, with stellar results.

Often funny, engaging, and not nearly as complicated as it sounds, Dietland does grow progressively darker. This is a revenge fantasy, and with Marti Noxon at the helm, both “dark” and “funny” come with the territory.

At first engaging, then slowly, inexorably, Succession turns into work.

This certainly isn't bad TV--Murphy isn't about to leave his longtime home with a turkey--but it's often bland TV, and oddly enough, stock TV.

A reverent portrait, if not necessarily a penetrating one.

13 takes the heat off itself with an over-packed second season that doesn't quite walk back the controversies of the first, but attempts to talk them back.

A disappointing adaptation that offers a new ending, when the old one worked just fine.

This reboot of a cartoon classic does well by the original. But what's missing is its cultural cachet and wit.

Brilliant performance by a great actor in a desperately grim story.