“Adults” is very adult and may take some time to warm to, particularly since it’s impossible to get a bead on Samir, Billie, Paul Baker, Issa and Anton.

Considering he [Walton Goggins] has played some of the most offbeat characters on TV, this is a switch and, at times, a heartwarming journey.

It has to discharge a few clichés and run the brotherhood thing through a few more paces. But the pilot shows there’s worth and, yes, maybe even a pat on the head.

That’s the thrust of the fourth season – people making bold moves. After two years of life without the Maisels it’s a welcome change.

The loopy plotting may be hard to embrace initially, but it straightens out before the last few episodes and gives Aniston one of the best acting showcases in her career. .... When the third season gets to its oh-so-good last episode, you can see the grand contributions producers Mimi Leder and Charlotte Stoudt have been able to make.

By the time the first episode ends, “The Leftovers” has planted enough interest to make you want to stick around. By the time the third installment unfolds, the action really heats up.

It's a safe bet he’ll get his legs here in a matter of weeks. Now, though, it’s very much a shake-down cruise. The boat is loaded. It just needs to get up to speed.

The variety--particularly if you watch them consecutively--shines through. Because it’s such a confined space, directors like Smith have to focus on the acting. The episodes are like little workshops. ... It's like any motel--hit and miss.

Enjoy hearing the pitch. Bayer sells it with gusto. Shannon embraces it with heart. And Lewis kills it will excellence. Just when you thought you didn’t need another addictive series, “I Love That For You” steps in and tells you supplies are limited.

There’s a fairy tale quality to a story that constantly twists and turns. Like Victor LaValle’s novel, it manages to touch on a number of issues and secrets. When it ties this story to other, classic books, “The Changeling” really shines. Stanfield, too, is the best man to play the game.

Once director Vanessa Caswill boils away the innocence, Little Women becomes a more substantial drama. ... While the four roles could have been played by stronger actresses, they’re fairly well-matched. Watson and Lansbury are left to carry the subtlety. Both do it well, making us long for “Older Women,” a version that views the high-strung March girls from another perspective.

While the parallels between this high school musical and the other one aren’t hard to spot, it does have a more adult vibe and a snarkiness factor that should pull in a non-Disney crowd.

This one doesn’t bother teaching any great lessons. It looks for the laughs, makes its points and gets out.

The laughs aren’t as rapid-fire as they were in “Veep,” but they are plentiful. Gad perfects that smarmy billionaire; Suzy Nakamura is ideal as his common law assistant. ... Laurie is ideal at the helm – even when the story seems like it’s rudderless. He plays captain in a way you wouldn’t think and handles disaster like Jean-Luc Picard never would. Make it so? “Avenue 5” does.

Aptly named, Genius is kinetic.

What surprises are the women who populate “Uncoupled.” Tisha Campbell – as a fellow real estate agent – is a gem, commenting better than Kim Cattrall at a martini party. ... Harris is too strong to play the pitiable bachelor. ([Tuc] Watkins would be a better choice). ... In the sixth episode, Harris finds a groove that’s better fitted for long-term success. It leans into the Campbell/Harden/Harris triangle and actually brings laughs.

The opening episode has plenty of what fans love most – revenge, romance and remorse. ... Even though there’s plenty of “Dallas” maneuvering, you can see why the Paramount Network series is so popular. These characters don’t really care what others think. They press on and leave plenty in their wake.

While Vicious plots don’t stick, they do entertain.

It’s an interesting premise that shows just how intense high school can be. ... While the series doesn’t give full back stories, it does let you know what happened to the students and how theater affected their lives.

The new TNT miniseries (it's on just three weeks in December) has plenty of in-your-face drama and heaps of atmosphere.

All too often, though, this looks like a “Saturday Night Live” skit that doesn’t quite land.

Co-creators Bill Prady and Bob Kushell have given the gang the right setting. Now, they just need to figure out how they fit in a selfie-driven world. Newer Muppets like Pepe the King Prawn do better than veteran ones.

All very simple, “Leanne’ puts into play what Morgan describes on stage. The anecdotes wear well with others sharing the comedy but, too often, the star is left to reflect others’ glory.

While Rauch was the one who got the laughs on “The Big Bang Theory,” she’s largely the set-up person here. ... Larroquette, however, isn’t just stunt casting. He delivers. ... De Beaufort and Talwalkar are largely window dressing in the opener but they become active participants as the series unfolds. ... Lacretta, though, has the ability to steal every scene she’s in.

Watch those supporting actors. They’re Tony winners and highly skilled.

With a little elbow grease, some long hours and good support from Willis (who should have been in a series long before this) Moonlighting could well go into overtime. [01 Mar 1985, p.B13]

Like the comedians, the scripts try too hard. Once the stage is set (and those conceits are out of the way), I’m Dying starts to breathe and draw us in.

Pennette’s mission, though, is to keep Ashford in the fold no matter what it takes. She’s the A+ in this fairly middling comedy.

Part Greek tragedy, part “Silence of the Lambs” offspring, The Following has an intriguing premise that almost rises above its layered plotting.

It's an unabashed, out-there, boldface teen drama that makes the stuff in Washington look like "The Wonder Years." [30 Jan 1998, p.C1]

Written by Dan Fogelman, Alan Menken and Glenn Slater, the new musical miniseries on ABC has so many clever bits and witty songs you’ll think someone wrote a sequel to “Spamalot.”

The sharpness of Season One gives way to the moodiness of Season Two. And, thus far (three episodes were made available), it’s hard to get a bead on where this is headed.

While “On Pointe” forgets some characters from episode to episode, it details the shared experience nicely. Ballet is not easy, we learn.

Rich and company show the gears, the ingredients and the packaging. More mystery, as Radcliffe knows, is always a good thing.

It's a hit-and-miss proposition that works every time Kerri Kenney-Silver is on screen.

Heaton brings a giddy charm to the “what if” role and gets great support from a cast just waiting to break out.

Or, “My Dad’s a Serial Killer.”

“Defending Jacob” is fairly straightforward. It has a murder. It has a suspect. It has a trial. And then it starts sprinkling in reasonable doubt. If there’s a greater lesson to be learned, we missed it. ... Thanks to a great score and lingering cinematography, “Defending Jacob” is good. It just seems supersized to justify a film star showing up on television.

BrainDead comments better than a Sunday morning pundit, moves faster than a New York to D.C. train and never pauses to filibuster.

Because the creators have been able to take a headline-grabbing situation and make it relevant for those on the outside, “The Morning Show” bears watching. It’s one of those shows you didn't know you needed to watch.

Switching back and forth in time, “Impeachment” doesn’t light often enough to give us anything really substantial. ... Paulson and Feldstein are spectacular when they’re together. But when this splits them apart, it loses its intention.

While Adams and McDorman dominate, they’re not the only ones to watch. The other five get their moments; their families do, too.

While the first two episodes of season two are too enamored with getting players in place (particularly since season one ended with a house cleaning), “The Morning Show” does pick up steam and gets everything from the Iowa Caucuses to a visit to Wuhan in the picture. ... Crudup, though, is the heart of this world. As corrupt as he may be, he’s worth following.

Far more formulaic than you’d expect from Executive Producer Ryan Murphy, 9-1-1 sparks to life when it’s dealing with the oddest cases.

[Johnny Carson is] such a presence, it’s hard to concentrate on what happens to those in his employ. Had Reiser and Green made him less vital to the story (even to the point of eliminating the clips), “There’s Johnny” might be a better look at those who worked so hard to win his favor. Now it’s just another journey down “42nd Street” and all the potholes it has to offer.

Better than “Goliath," “Landman” lets Thornton convey the emotions that color a “cigarettes and Dr Pepper” kind of guy. The role fits better than a well-worn pair of jeans and, like his trusty boots, never lets him down. He’s one of the best actors of the season in a show that could be one of the best of this or any year.

Pre-pandemic, this might have been a juicy potboiler. Now, it’s just a slap away from being dated. ... Unlike the 1994 one, there’s not enough of the snide humor that made it so deliciously evil. Kruger gives it a Sharon Stone vibe, but she isn’t given enough lines that would make her seem smarter than others in the room.

Both actors [Al Pacino and Helen Mirren] could thrive with this story (Pacino's a ringer for Spector) but Mamet speculates a bit too much. Had he eliminated the title character entirely, it might have been more intriguing.

While the first episodes are fun to watch – particularly with all of the devices the production designers have created – it’s never clear where it’s headed. ... “Hello Tomorrow” takes a while to show its hand and, then, it’s likely bluffing. With Crudup at the helm, this could go anywhere.

Astronaut Wives moves as fast as a beach novel, covers more territory than a history book. But it’s history channeled through a distinct lens. The first episode was slow to launch, but the series could take off once we figure out who’s McSteamy and who’s McDreamy.

It’s looser--and smarter--and it could just make believers out of those who never joined the conversation in the first place.

Intriguing and thought-provoking, “Your Honor” should get families to consider how far they’d go to protect a loved one.

Rise isn’t as heartbreaking as “Friday Night Lights” or as complex as “Parenthood” but it’s in an embryonic stage and has the potential to become the next big must-see entry on NBC’s schedule. Gillespie and Cravalho hold our interest, but it’s Perez who bears watching.

The show’s writing is sharp and smart; its acting is clever and curt. Toss in that casino wild card and you’ve got a season that’s just as remarkable as the first.

The joy, though, is listening to Roberts’ Chanel Oberlin bark at her minions and security officer Denise Hemphill (a brilliant Niecy Nash) savor the show’s writing. They’re funny in a fresh, interesting way that fits nicely with Murphy’s social commentary.

Very 1980s in his approach to storytelling. .... O’Malley has a bunch of balls in the air (we still can’t figure out why the washer/dryer combo is in the kitchen) and a nimble cast to juggle them. Spencer is the real surprise, able to volley jokes just as well as Faison and Cryer. The kids are pretty sharp, too.

Rose is perfectly cast. The show has a lot to offer, too.

Straley, Holmes and Scott bear watching. But Feig and Bicks might want to make some changes before rolling out the welcome mat. In “Welcome to Flatch,” it’s often difficult to focus.

This isn’t connect-the-dots storytelling. It’s a blast from the past that reminds us when cop shows succeeded because they were built on great writing.

Little by little, Hello Ladies grows on you.

Many of the opening episodes blend, particularly when the cases hover in the same ball park. When it strays, we learn a bit more about the relationships established before Warren stepped in. That interests. The cases? Not so much.

Director Jeffrey Reiner gives this a ‘90s soap patina that works--to a point. The intelligence that Britton and Bana provide gets shoved aside in favor of scenes that look like they couldn’t possibly be true (but are). When “Dirty John” begins to unravel, we lose interest and feel as duped as Debra.

It’s better than an unadvertised special and more fun than a deep discount on Black Friday.

Moments in the first episode suggest Defiance could be filled with the kind of minutiae "Star Trek" and "Star Wars" fans love. But its plot is so thin it could float away.

Sweet, in a “Mike & Molly” way.

Two siblings steal the show.

While Pardo is a super lure into the world of the Mayans, it’s the fringe characters who make us want to see more. ... “Sons” fans will view this as a similar ride, only in a different gear. Where the potholes and speedbumps exist remains to be seen. For now, though, the road is open. Mayans M.C. appears to be on track and ready for a long, long ride.

When the second bananas nudge the top ones, The Comedians has laughs. When it leaves the two to play out a tired game of “The Sunshine Boys,” they vanish.

“Coastal Elites” is a powerful 90 minutes with five actors who know how to make each moment count. You may not agree with the political points some espouse, but you will respect the heart that’s behind them.

While Grammer slips into the role like its an expensive pair of loafers, he’s surrounded by a closet full of sneakers. They’ll need some breaking in.

Vice Principals is as profane and outrageous as HBO comedies get. Once you realize where this is headed, you’ll want to stay after school just to see how it all plays out.

It’s sexy, sizzling and silly, all at one time.

It’s cute. But “Monsters at Work” might need a little more retooling on the scripts. They’re a laugh-a-10 minutes.

The attempt to make this a story about two men grates. It’s as if someone wanted to elevate Oswald in order to humanize Kennedy. It doesn’t work--nor does the Oswald funeral scene.

Cute, initially, the bull-in-a-china-shop premise wears a little thin until you realize there are others in the family capable of embarrassing dad, too.

“The Thing About Pam” is entertaining. Zellweger, Duhamel and Judy Greer (as the Lincoln County prosecutor) land their laughs and make you wonder how stuff like this happens. ... But it takes on a different feel when you see Betsy’s children and husband caught up in the big gulp world of Pam Hupp. While your eyes widen, your heart also sinks.

It’s gritty in a new way and, yes, lots of fun.

Directed by Steve Shill, Dracula intrigues but it may not have staying power. It doesn’t look as elegant as it should; it isn’t necessarily cast with an eye toward immortality.

Dull, sluggish and frequently lost, Walken had none of the spark you’d expect from the “swiniest swine in the world.”... Allison William’s Peter Pan was more successful but only because she took a very straightforward approach to a role that should have been bubbling with life.

Director Jason Winer gets the series off to a fun start, bringing Allen back to his old ways. But he also finds a way to make the former Scott Calvin look a little hip. (A Santa with abs? It’s possible.) He also fleshes out the workshop and finds enough ways to lampoon tradition without appearing ungrateful. ... The latest iteration may not be as snarky as earlier ones, but there's plenty of fun to ensure this isn't going to be a "lump of coal" year.

How this will ultimately play out depends on “The Swarm’s” ability to embrace a disaster film vibe. So far, it’s a lot of seeking, but little to destroy.

“Brave New World” looks like something NBC might have programmed in the 1980s. The sex and swearing are a stretch, of course, but there’s a lot of “Stepford Wives” to this that doesn’t really work.

[Paris Jackson and Kaia Gerber] hew closely to “Scream Queens” and push the envelope with scenes that explore their sexuality. Their acting abilities may be similar to their parents’ at the same age, but they pair well with McCormick, who seems more mature than anyone in the house. Bomer and Creel, oddly, don’t seem to fit in this setting. They embrace the humor but can’t quite promote the terror. ... Tveit does a much better job of straddling the “AHS” worlds.

Too traditional for its own good, it needs to mix things up on a grand scale.

Danson does a bit of the goofiness we saw to better effect in “The Good Place” and Hunter is so stern it’s surprising someone didn’t pull her aside and point out this is a comedy. Stray bits of information (like a straw ban in Los Angeles) bring a smile; direct steals (how to spell “syzygy” was a plot point in “The 25th Annual Putnam County Spelling Bee”) suggest someone didn’t do due diligence.

Ford and Regalbuto aren’t given enough new things to do and Charles Kimbrough (who played Jim Dial) checks in long enough to let you know he’s still around. The mother/son angle is the show’s best. ... But it’s English’s smart writing that will keep them [viewers] around.

Spacey did a great job explaining why he was host (using riffs on the nominated musicals to make his point), but he was playing to a home crowd. If you didn’t know anything about “Dear Evan Hansen” (and you should), you wouldn’t understand why he had a cast on his arm (and, later, on his leg).

It’s the kind of premise Andy Griffith might have considered years ago, but it’s not quite in tune with NBC’s other comedies.

On first blush, Deception is smart, stylish and involving. In time, it could drift. But, for now, enjoy the kind of storytelling that gives its core cast something interesting--and watchable--to do.

The sets and costumes are great. Now, the mysteries need to rise to the occasion.

It’s not about a “bad” teacher, just a slightly irreverent one.

Showing how [Houdini] got the bug, learned his craft and went from sideshow oddity to world-wide celebrity, the film holds interest and makes you want to know more. Then, it pulls back the curtain and shows the locks, keys and stunts he uses to open all those seemingly inescapable devices. It’s a bit like knowing a gift before you unwrap it.

“Shifting Gears” plays into the hands of audiences who loved its two stars. Neither goes too far afield from the personalities they helped create. While Dennings often seems like she’s on an uphill climb, Allen seems to be idling.

Clearly, there's a new camp experience to be mined. Early on, though, Camp doesn't do much digging.

With a different cast, it might actually work. Because she’s so immediately likable, it’s hard to buy Garner as woman with misplaced sympathies. ... Only Lewis (who’s outrageously good) and Arturo De Puerto as her new beau Miguel seem ideal. They cause much of the drama and don’t really care what the others think. When they’re around, Camping is more fun than fireside ghost stories. ... Gems drip out, but they don’t come often enough.

It’s a 1960s medical drama in a 2020 world. ... “Nurses” isn’t the medical series you’ve been longing to see. It’s just the one that happens to be here.

While it isn’t as much of a surprise as the first Sharknado, this one manages to up the ante and take advantage of its pop culture standing.

Because it’s like some 1950s melodrama, “Ratched” is quite attractive initially. ... Instead, it's just a shirttail relative of "American Horror Story," another series that isn't always sure what it wants to do.