Sunnyside is a work in progress. As we saw with The Good Place and Parks & Rec in their first seasons, Schur has the confidence to put what he has on the screen and work with it as the show goes along.

The problem here is material, not money. The pilot suggested that Stewart would be shining a light on a major problem each episode, with a targeted solution that he was in a unique position to address. But how many problems are there actually like that? Judging by the glacially boring second episode, not that many. ... He drips with sanctimony toward anyone who doesn’t share his point of view.

One of the craziest true-crime docuseries you will ever watch. At less than three hours, it’s a no-brainer if you’re a fan of the genre, are a Narcos addict or just want to brush up on your '80s history.

An uneven, at times suffocating set of sanctimony from screenwriter and novelist Paul Rudnick.

The storyline of North and South Korea reunifying as a "Joint Economic Area" is intriguing, and there are all kinds of little variations to point out (the masks, for instance, are not Salvador Dali-inspired). Director Kim and writer Ryu say that their version of the iconic characters reflect Korean idiosyncracies, but these may be too subtle for non-Korean viewers to detect.

With its small cast and heavy reliance on CGI, Brave New World has the look and feel of a modestly-priced Syfy miniseries. It will appeal strongly to some but not to most.

To be sure, there is solid acting on the dark side by Dylan Baker, who plays a former concentration-camp guard, and Greg Austin as a next-gen Nazi who’s a linchpin in the Fourth Reich conspiracy that’s led by a female “colonel” (Lena Olin). But the Nazi side of Hunters is driven by a creative decision that I find questionable and which, along with the relentless thrum of torture and bloodshed, finally drove me away from this show.

Based on what [series creator Karin Gist] showed in the first two episodes, I doubt this series will devolve into the kind of soapy debauch seen on other Black-headlined dramas. She seems more interested in building a world, one where Black people run successful companies, hobnob in elite clubs of their own making and act as though the rest of us don't even exist.

McKinnon embodies a down-to-earth but quirky version of Baskin, totally selling the idea that a woman this committed to saving tigers could find herself involved in a bizarre death match with the likes of Joe Exotic. Mitchell is equally convincing.

It doesn’t help that the writing has all the subtlety of a cab ride down Ninth Avenue. Still, despite these shortcomings it’s a tidy hour with just enough strong performances and compelling scenes to keep things moving. The cops side of the hour is stronger than the courts side.

If you’re someone who doesn’t mind substandard dialogue or visual gimmicks — and be warned, most episodes end with cheesy effects that make you think you’ve switched to a disaster flick — and you just want a decent page-turner that you don’t feel compelled to binge in one night, this fits the bill.

Scott Prendergast's script ably sets up the mother-son dynamic that is the lifeblood of the show. Harden and Astin do the rest, alternately annoying and looking out for each other. As they bicker, they find a pleasant rhythm that carries us through the case at hand.

It’s nicely written, with the kind of diversity you find in Commonwealth shows.

In general West has wisely borrowed a page from British thrillers that don't try to do too much and focus instead on giving discerning audiences what they tuned in for. The only criticism after watching the first three episodes is that Surface already feels one episode too long.

It’s better than most other recent Netflix sitcoms (Country Comfort comes to mind), and that I admire how it incorporates racial issues that are on the minds of everyone who will be watching this show in 2021. And the season is blessedly short, with just eight 22-minute episodes to get through — seven if you skip the less-than-stellar pilot. Give it a go.

The good news is that this is not the worst space parody ever. In fact, it rockets off the pad with a fall-down-funny pilot episode. From there, though, it hits turbulence. ... The best thing about Space Force is Carell and Kudrow. ... Unfortunately, because of the absurdity of their situation, Carell and Kudrow get precious little screen time together. That leaves this show at the mercy of John Malkovich, who is determined to give us one of those peculiar Malkovichian characters.

Not only its most promising show to date but one that could serve as a template for future Apple TV+ shows. It’s a good-verging-on-great anthology series with storylines, writing, and casting that could be replicated again and again, allowing Apple to widen its lane while shrinking HBO’s. ... [Octavia Spencer and Aaron Paul] alone are worth the investment of eight hours of your time.

Freeform is airing four episodes of The Come Up tonight. That and the show's curious late-summer timing suggests a lack of faith on the part of the network. Despite excellent casting, that lack of faith seems justified.

You might want to have the closed captions switched on for Bulletproof, as some of the accents are Yankee-proof. Then again, if you miss out on the dialogue on this show you’re not missing much. That’s because, thanks to director Nick Love, each episode of Bulletproof is chockablock with car chases, foot pursuits and other Hollywood octane movie tropes. Another thing it’s loaded with: gunfire. Lots and lots of gunfire.

Another musical rom-com seemingly designed to cherry-pick the Crazy Ex audience. ... The songs are bright and clever, and the visuals reflect the show’s slightly bigger production budget, e.g., a simple animation that turns the office copier into a flip book.

Even if you see only one episode, you’ll come away understanding how dramatically the country’s immigration policies have changed under this president. You’ll feel in your gut the human toll that change has exacted. ... It’s powerful — too powerful, so powerful it overloads our emotional circuits.

Unlike anything that’s ever been seen before… because bears. Real live bears. ... I enjoyed the hell out of it. As a competition it’s pretty lame. But as a specific kind of reality subgenre — the one where humans of mediocre talent are goaded by TV producers into taking on a challenge way above their heads and failing spectacularly — Man Vs. Bear is more than… well, bearable.

Perhaps owing to the nearly six-year gap between Seasons 6 and 7, this final lap is basically self-encapsulated and requires almost no effort to get up to speed (narrator extraordinaire Tom Kane will help with that part). ... Bottom line: If you loved The Mandalorian, you just might like Star Wars: Clone Wars.

Welcome, if long-overdue, tribute.

This show feels very on-brand for Apple in that it emulates the glossy production values and reverence for the brilliant and famous that have been hallmarks of Apple’s advertising campaigns over the years. I’m not really into half-hour commercials, but if you really, really like the people profiled in Dear… it likely won't feel like a commercial to you.

Pursuit of Happiness doesn’t just go wider, it goes deeper. Ravi Patel has a way with words, and can draw surprisingly meaningful nuggets from his own life.

Race isn’t just an engrossing and surprisingly suspenseful docuseries about an elite athlete trying to get to the top tier of his sport. It’s also a great intro to racing and NASCAR, including a clear-eyed look at its rebel-flag-waving past.

It’s the opposite of Nailed It! since these folks can really bake, but it borrows a key ingredient from that Netflix hit: the generous, fun-loving tone. So come for the delectable doppelgängers, but stay for the good-natured banter between contestants and Day’s amusing patter.