It’s watchable but it’s not unforgettable and, oddly, it could be.

The performances were solid and the in-your-face direction was what something like this needed. ... While Fox’s “RENT” was a bit too sanitized for its own good, it had the right people in the key roles, particularly Jordan Fisher, who, as Mark, served as the tour guide through the past, the heartache and, most of all, the brilliance of writer Jonathan Larson.

“Million Dollar Beach House,” an airy addition to the summer schedule, doesn’t really have the drama of “Million Dollar Listings” or “Selling Sunset,” but there is enough here to savor. ... Had the producers shown us more of the Hamptons in the process, “MDBH” might have set itself apart from other, similar shows.

While none of the jokes land with the same precision as "Veep's", they do play in the same pool. If Kudrow had been given more screen time, she just might have made this zing as well as "The Comeback."

Occasionally, it reaches its potential but, all too often, its delivery falls short of our expectations.

While “FUBAR” gets the ‘80s superstar back in the saddle, it should have been attached to a different horse – one that hadn’t already been put out to pasture. This takes too much time to get up to speed.

The fish-out-of-water aspect intrigues but it also frustrates.

Frequently, the mixed signals cross and Rogue seems unhinged. Stick with it, though, and you'll be rewarded with some nice moments that justify an unwieldy script.

An uneven peek at the men and women who make headliners look good night after night after night.

While Here and Now isn’t as engaging as “Six Feet Under,” it has an intriguing quality that invites you to snoop around.

It’s a noble drama, but it’s not all that original. Smits’ accent is a eye-opener.

Modern Dads has an opportunity to enlighten. Now, in a half-hour format, the show barely flips a switch.

In the eight-episode Netflix series, there’s plenty of action but all of it isn’t that interesting.

Filled with predictable jokes, stereotypical characters and situations that wouldn’t have been fresh two decades ago, the new comedy wastes its premise and all but deserts star Patrick Warburton, the only one who appears to be making an effort.

Sedgwick breezes through the scenes as if she has been playing something like this for years but Lizer doesn’t give much motivation for her characters’ moves. ... Throwing in a few more Iowa references (we’ve got plenty of them) would help “Mother” distinguish itself from dozens of similar comedies. “Bless This Mess” took its “Green Acres” plot, infused it with a big helping of Nebraska and found a way to thrive. “Call Your Mother” could do the same thing.

Because “Monarch” (which is the name of the family company) doesn’t really dig beneath its “Dallas”/”Dynasty” trappings, there are plenty of moments that ring false. When the performers are on stage, they seem real. When they’re insulting each other at home, they look phony.

If you fly often enough, this might hold your interest--but only if you’re strapped in a seat and unable to pay for a movie because you forgot to bring a credit card.

Robinson is still appealing, but he’s surrounded by a gaggle of sitcom stereotypes.

Because this series doesn't tell us anything about the character we didn't know (a Mr. G spinoff might have been much better), it's often like spending time in purgatory. The laughs are there. Ja'mie's just not easy to take.

This is an odd, odd show.

What is a given is the surprise element. The costumes are quite elaborate and they, alone, would be worth an episode. ... Ken Jeong seems like the wild card, since no one has associated him with music. (At least Jenny McCarthy’s husband is one of the New Kids on the Block.) He tries to be funny but, often, it’s Scherzinger’s surprised looks that get the laughs.

Fuller House is like a grilled cheese sandwich served with a cup of tomato soup. It’s not exactly amazing, but it’s certainly comforting.

The show's producers don't veer too far from the reality mold in crafting their series. They get a lot of plot and character in the first hour but if they're counting on a revelation every week, they could be forcing the story.

Jonah from Tonga, a new miniseries from the talented Chris Lilley that doesn’t have enough heft in each episode to prompt weekly return visits. If the episodes were shown in bulk, the whole would have an amazing impact.

The Jim Gaffigan Show works best when it’s housebound and forced to deal with a man who lives in boxer shorts and never seems too far from an all-you-can-eat home buffet.

More attention to the construction of his set and less to the spontaneity and it might actually be fun. Saturday’s offering suffers from attention deficit.

Episodes isn’t made for mass viewing. Its world is too insular (even for the biggest television fan); its take on success is limited. But LeBlanc is a good sport and Mangan and Greig are too good to be limited to British series.

If you’ve never seen Casual, start from the beginning, don’t jump into next week’s conclusion. Alex’s arrested development doesn’t make sense without the fun he derives in the first season. Similarly, Laura seems cold at the start of the fourth season, not the product of an environment. Streaming from the beginning (and, really, there aren’t that many episodes) will give you an appreciation for what the creative team has accomplished.

Yes, The Mayo Clinic does get bogged down in classic photos moving in and out (a Burns hallmark). But its success stories help drive home those very lessons William Mayo wanted to impress upon his peers. It’s a great elevator speech for a business that doesn’t really need one.

In the fifth episode of the season, Crashing hits a peak, particularly since it lets Audrie Neenan offer her own take on his work--and his choice in women. She’s a jewel as mom and a perfect foil for Wise and Holmes. ... If there’s a drawback to this season, it’s the length. Easily, Crashing could have stretched a couple more episodes and shown the aftermath of life in the big leagues.

“It’s so surreal,” Underwood says of the process. True, but there have been worse opening nights. ... While the new bachelor is described as “better looking than Brad Pitt,” he is more personable than some of the recent titleholders.

It’s likely this could have a good long run, particularly since Scott is so smart and approachable and Reynolds is so deliciously low. ... It’s easily one of those shows that could go the distance. It’s far better than some of the network’s retreads and it’s much more interesting with the producer’s well-written asides. This “Don’t” is a big do.

This is a dandy companion piece – for hardcore fans. The idea that Disney would do similar documentaries on other animated features is overkill. Sometimes there’s more magic in not knowing how the sausage is made.

[Anna Shay's] a fun one to watch and, easily, a forgiving friend. The others don’t get the same pass. ... It’s one more reality show that gives rich people a chance to build brands and foster careers without having to do any heavy lifting. It’s an escape. But without Anna, it’s not an escape we’d want to take.

When Federle brings in the North High cast (also competing for the big “Menkie” award for school productions), “HSMTMTS” becomes much more complex than any of its predecessors. ... “HSMTMTS” may have the longest title of any series on television, but it earns each of its consonants.

“HSM:TM:TS” has great adult appeal. It also boasts a lot of solo numbers, presumably because COVID concerns limited the number of big song-and-dance routines. Bassett, one of the best in a very excellent bunch, gets a rousing “breaking free” anthem that he sings. ... It isn’t a huge twist on the summer formula, but it does have enough variety to suggest this season could produce a couple more breakout stars.

Williams, who’s a great actor, should be used more, offering up reactions we haven’t seen. He's a keeper. At times, "Wonder Years 2.0" is, too.

While “Dinner with the Parents” doesn’t seem like it will last 10 years, it could surprise in ways we haven’t imagined. As long as the entrée is good, you can serve it every time guests come over.

Director Kimmy Gatewood makes sure the first episodes have force and takes full advantage of the spackling Martindale can do. Fewer bromides might make this a better series but it takes the Hallmark model and turns it ever so slightly so newcomers can find a handle. Like “Desperate Housewives,” “Chicken Sisters” delights in its ability to shock and thaw.