From the get-go, Defending Jacob grabs and holds your attention, hour after hour, as you try to figure out whether the kid did it, and if the parents are going to make it through the trial without imploding. .... It’s the best Apple original series yet, and proof that like fine wine, some stories just need time to age and breathe a little.

68 Whiskey moves confidently into the small but mighty clique of military comedies that balance the absurdist tragedy of war with the intense emotional bonds and improvised code of ethics on the front lines. ... Chalk up another win for the new kid on cable's block.

Parton’s Madea-like role in the “Jolene” episode is a big part of its appeal. ... Heartstrings does not suck. Know what would make it suck even less? More Dolly.

Space is more of a backdrop for Away’s actual drama, which is about smart, ambitious people getting in each other’s way, and their own, and whether keeping your feet on the ground might not be the better decision.

Like the year 2020 itself, this special starts out pretty great. Then it goes a little wobbly. And then it collapses and has to be rushed to the ER … only to find that the ER is full and there’s nothing that can be done to save the patient. ... I did tune in thinking that maybe I could laugh 2020 out of the room and out of my life. But I couldn’t.

A bigger problem with The Comey Rule is that it tells a complex historical event from the point of view of one person. ... Ray tries his best to pull in other voices, but the word Comey is in the title and the reality is that this story is much bigger than him.

I thought it was great. Lively writing in an entertaining, network-quality serial thriller about artificial intelligence running amok. John Slattery — pitch-perfect casting.

The parents reek of entitlement and self-centeredness. The kids are various degrees of wack. The show celebrates/normalizes black families and race relations while undermining them with humor that cuts close to the bone.

The stories are relatable and the dialogue, if predictably TV-ish at times, gets at big issues about loss and what really matters in life — topics I think we can all relate to a little more closely these days. ... The casting, the dialogue, the pacing, the relentless Windham Hill-quality soundtrack — Council of Dads feels like a fly trap designed to capture as many This Is Us viewers as possible.

Creator Joshua Safran has assembled a good crew of writers to weave all the threads together. The dialogue of Sam and Nellie’s first date crackles.

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.