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.