“Alien: Earth” is a lavish production – more so than any of the films in the canon – but just as claustrophobic and, easily, as memorable.

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.

“Back to the Frontier” may not be as titillating as “Naked and Afraid,” but it’s one reality show that certainly shows what happens when the shine is off the rose. It’s a keeper.

Go into "The Bear" with the right mindset and you'll discover it's the best drama on television.

“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.

If there’s a disappointment, it’s that Reubens doesn’t open up more about his feelings during the scandalous times. .... What “Pee-wee as Himself” does provide is a look at the building blocks that made the quirky character.

It's bursting with ideas initially but once it leans into to specifics it becomes the series you may just want to embrace. Barinholtz and Wonders are great support; O'Hara may well have found her new "Schitt's Creek." Rogen, though, needs a chill pill.

"Etoile" (which means "star" in French) wants to be more high-brow than it should. The dances are beautiful, but the characters shouldn't have to walk in others' toe shoes. We've seen the petulance, the bickering, the histrionics before. .... And the cast? It's too large for something that's already unwieldy. Eliminating the side stories (did we need Jack's sister in this?) could put the focus where it needs to be: creating art in a bankrupt society.

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

While “Mid-Century Modern” has plenty of laughs (and takes you away from contemporary troubles), there’s something a bit off with a series this specific. Finding that relevance (as “Will & Grace” did) may take time, even if that clock is barely ticking.

While “Gemstones” doesn’t bite the religious hand quite the way it did in previous seasons, it does conclude without a big sermon. Aimee-Leigh might have delivered the message in song. But the way Jesse, Judy and Kelvin do it is quite good – and just the farewell we need until they return with a big “Gemstones” movie.

Although she [Jennifer Coolidge] lit up two seasons of the quirky Mike White drama, she has a kindred spirit in Parker Posey, who takes the third season to her own offbeat heights. .... “The White Lotus,” season three, is a bit more lush than the previous two and stuffed with phrases you’ll be hearing for months to come.

While “The Pitt” hits familiar notes (overcrowding is still a problem; understaffing is a given), it benefits from the “24” approach to storytelling. After one episode, it’s impossible to leave the “day in the life.” Binging is a likely diagnosis.

“SNL50: Beyond Saturday Night” is a fascinating dissection of the series’ later years. .... “More Cowbell” makes a little too much out of the sketch (particularly when there are others that deserve the micro-surgery) but it shows how that defining moment can be the difference between success and failure.

“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.

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.

Leaning into the community (what are Oregon’s strengths, for example) and showing Joyce out in it, would give “St. Denis” the specificity it needs. It’s a fun half-hour. It just needs to uncover situations everyone can identify.

The new series has enough hallmarks of the old to please O.G. viewers and snag new ones. Key to much of the new fun is how exacting Thiele is at suggesting the younger Henrie. He’s a dead ringer for the dad and a fine comedian. Brown has hints of Gomez but she’s blazing her own trail, particularly since we’re not sure where she’s from or why she’s here.

The key to making this work (even though 10 episodes are more than plenty) is Josh Rivera as Hernandez.

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.

“English Teacher” takes a while to heat up. But when you get to episode six of the new FX comedy, you’ll be hooked. There, Linda Harrison (Jenn Lyon) enters the picture and demonstrates what kind of challenges teachers face today. .... It’s a great addition to cable’s curriculum and a chance for the oh-so-talented Alvarez to show the breadth of his resume. But Jenn Lyon? She’s one to watch.

While it’s too early to determine where this is going (even they admit “we’ve been very lucky with people dying in our building”), it could unravel in interesting ways.

While “Hacks” isn’t as ruthless as it was in its infancy, it does have moments where Smart can bear her claws. .... When Deborah gets a guest spot, “Hacks” hits its apex and puts everyone on alert. It’s the season’s best episode and yet another reason Smart is the best female in a comedy series, hands-down.

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.

Shephard (and others) muddy the waters with detail that isn’t necessary. Gladstone gets her own family disconnects and has a tie to Reena that makes the case important. But Godfrey’s approach doesn’t always emerge as acceptable. To fully understand what’s at play, “Under the Bridge” needed footnotes that didn’t require whole episodes of backstory.

While Patricia Highsmith’s novel, “The Talented Mr. Ripley,” and the film it spawned were engrossing, “Ripley” takes the skill to a different level. .... A technicolor Italy is certainly attractive, but a black-and-white one demands attention. Zaillian doesn’t waste the conceit. He gets high drama from crashing waves and a performance from Scott that embraces more than 50 shades of gray.

This “Feud” is like a phone tree, adding strength as it pushes out. Hollander knows how to get under Capote's skin. He just never makes him likable enough to justify the women’s attention even in the good days. Where “Feud” succeeds is in recreating the world they inhabited.

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.

Created by Noah Hawley, the new season is among the series’ best, using wild characters and round-about storytelling to pull you in. By the second episode, you will be hooked.

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.

While the series finds its own rhythm, it’s not the one you’re expecting. It’s a lesson – but from a class you didn’t consider taking.

Because it looks at the selling of a superhero (come on, there’s even a class in branding), “Gen V” is pulling out a different rug than “The Boys.” Both are fairly subversive (and violent) but this one has an easier way in.

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]

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.

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.

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.

How Harjo will end the series is anyone’s guess. Easily, the town could continue on with other stories, other protagonists. The four friends, however, were the lure that brought us in. No doubt, their exit will be emotional. If there’s a lesson to be learned from the journey, it’s this: Great stories are everywhere. It just requires someone to give them light.

So “inside baseball,” the new season fits the stars better than previous outings. It hints at retracing steps, but the over-the-top production numbers make it more of an original than even “Schmigadoon.”

In addition to some of the stars of the original “High School Musical,” this year’s farewell brings back characters from three previous seasons. Much of the show’s fun is seeing how they work their way in.

That loopy quality is what makes “WWDITS” so fun. Just when you think it’s headed down a familiar path, it pivots and finds a new vein.

The series isn’t a fluke. It’s as good as we thought it was last year and, maybe, even a little bit better. When you see the fulcrum at home, you’ll understand what pokes “The Bear.” In a word, it’s phenomenal. And the series is, too. It proves “every second counts.”

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 “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.

Based on Gene Luen Yang’s award-winning graphic novel, “ABC” expands his concept and uses its panels as storyboards for something much greater. It works.

It’s a funny special, but it’s also a brutally honest one.

The series may have been a dandy offering during the pandemic (if you didn’t binge it then, you should now), but it’s a good digestif for the world we’re in now.

The last season is stuffed – and remarkably so. It gives newcomers like Reid Scott and Jason Ralph a good foothold in the series and suggests there’s much more that could be mined. ... Season Five wasn’t just business as usual. “Marvelous” is only one word to describe it.

“Dave,” season three, is as raunchy as you remember but also a bit telling. As he makes his way around the country, look for his world view to change. Sometimes, the more you see, the less you know.

While the season takes time (and some close listening) to take off, it’s in play by episode two and ripe with possibilities for spin-off series, should “Ted Lasso” end its run after this season.

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.

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.

“Will Trent” borrows plenty from the past (the Carpenters, for example) and dabbles in the present (the pronoun debate) before settling in a world so remote from Cabot Cove you couldn’t classify the series as similar. ... The series could erupt.

Caplan’s narration guides the journey and makes the trip rewarding. When she and Brody get a minute to size up their friend, “Fleishman” does more to capture the value of friendship than any number of episodes of “Friends.”

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.

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.

As easily digested as gelato, this season has action that hinges on those two young women (Beatrice Granno and Simona Tabasco) making visitors feel welcome. That means the stakes are high and the room service bills even higher. Coolidge continues her winning ways (Emmy No. 2? It’s possible) and DiMarco has just enough innocence to make you wonder what his future will be. “The White Lotus” still ranks among television’s best.

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.

While “Tell Me Lies” isn’t as complex as “Normal People,” a fascinating look at similar changes, it does hold interest, particularly since all of the students have plenty of time to dabble in things that don’t require a paper at the end of the term.

It’s mainstream fantasy, blessed with sumptuous costumes, compelling settings and those “Avatar”-like swooping dragons. Dragons, in fact, turn up just when the plot needs them most. When the house seems like it’s going to fall, they’re there to shore it up. ... It’s good; it still has time to be great.

“She-Hulk,” in fact, is probably the most network-like series Marvel has produced. It goes for the quick laughs, embraces a cavalcade of bizarre guest stars and lets Maslany play both sides of her Priscilla Presley hairdo.

This “League” is like someone took the original concept and found a new playbook. It works, but it’s also more adult than you could imagine. ... Because there are so many players to consider, they’re often reduced to their personality traits or positions. They all get playing time. Some, however, are more prominent than others.

Sure, it’s billed as a comedy but there are so many touching moments it could easily top the shows that are billed as dramas. ... You’ll also see why there are many rites of passage in a teenager’s life. Some come with guidance; others require a little on-the-job experience. All should be preserved as beautifully as these.

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.

“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.

What gets lost, though, is the camaraderie of the dissidents. It’s still around, but so much time is spent showing Homelander railing at everyone, it doesn’t give them their due – at least not in the early episodes. ... But the beauty of “The Boys” is you just never know where it’s headed.

While “Hacks” will definitely be in the hunt for more Emmys (it won for Smart and its writing and directing), look for Metcalf to join their ranks. The second season’s third episode is about as good as these things get.

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]

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.

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.

Clever asides here and there suggest this is a more PBS version of the romance novel; scant bedroom scenes confirm it. Season Two gets its heat from Anthony’s no-nonsense way of going about his matrimonial business. ... Bailey plays this oh-so-smoothly and raises the bar on “Bridgerton’s” elegance.

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.

“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.

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.

Filled with outrageous supporting characters and a quirkiness that befits the subjects, “Pam & Tommy” thrives on the performances of its two leads.

Family Ties is the heir apparent to All in the Family. Equally relevant, it captures '80s home life better than anything else on television. [24 Sep 1982, p.B3]

While Brunson has the format for a good series, she doesn’t have all the elements. Sometimes, the comedy is forced. ... This is a start but it's like Brunson's character -- a little naive. To be the show we need, "Abbott Elementary" needs to do more than dance around the obvious.

Fun to watch. ... Even though it goes too far with its secret rooms and hostage situations, it makes you want others to be kept in the dark. “You” started with a bang and, thankfully, it’s still firing solid kill shots.

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.

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.

A series that scores inning after inning. “What We Do in the Shadows” is a clear comedy league leader.

Harjo and Waititi take their time painting the picture. They introduce outsiders (who stereotype residents) and give us a strong sense of what it’s like on the inside. ... “Reservation Dogs” is the comedy you never expected but may just need. It’s powerful dive into a world that’s oh-so deep.

[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.

Directed by Brian Volk-Weiss, the often irreverent documentary moves as quickly as a roller coaster and excites twice as much.

Sudeikis continues to inspire in untenable situations. Season Two throws out plenty of them and lets the fish out of water swim more than sink. A big chunk of the supporting cast earned Emmy nominations and it’s easy to see why – particularly when they’re made the focus of entire episodes.

White uses sly humor throughout the series and gets his best results from Bartlett, who unravels in unusual ways. He captures the manager’s approach beautifully and has plenty of fun getting even.

Thanks to some inspired choreography by Christopher Gattelli, “Schmigadoon!” is as excitable as its exclamation point and just as worthy.

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

More confident than the first season, this “Dave” shows a side of the fictional Burd that’s more believable. ... While “Dave” embraces too many guest stars, it doesn’t shortchange GaTa (the show’s stealth weapon) or Burd. Burd, in fact, is a much better actor this time out. ... “Dave” really soars on the backs of its unexpected stars.

“Hacks” is her [Jean Smart's] master class – a series that showcases just how much she can add to anyone’s work. ... “Hacks” nicely fills the void left by “VEEP.” It, too, is acerbic and on point. ... While “Hacks” may be a harsh title for something this deliciously good, it captures the price some are willing to pay for celebrity.

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.

Running seven hours, “Mare of Easttown” often exchanges action for atmosphere. A few more cases could have pushed this along, but it does engage. Winslet never falters, making “Easttown” seem like the place she was born, raised and disappointed. Peters and Smart are great sparring partners but Mare is the deserving main attraction. Winslet is the reason.

“TF&TWS” feels right now, even though it was originally scheduled to come before “WandaVision.” After that ground-breaking series cleansed the palate, it’s good to have something this lavish popping on home screens. Mackie and Stan deserve the attention. We saw that in earlier films when they got to banter. Now, they’re in the drivers’ seats.

[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.

Easily one of the best new shows in years, “WandaVision” accomplishes the impossible: it pulls us back in just when we thought we were out.

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.

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.

Considering the money that must have been spent on it, “Bridgerton” should be better. It has all the trappings of a 1980s network miniseries but none of its sizzle. More humor -- and an appearance by Andrews -- would help immensely.

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