The twisted, distorted, decadent fun of "The Curse" is how much you'll recognize but won't like what you see.

He's not really stretching here, he's adding to the bank of Pete Davidson characterizations he's already done. It's gotten him this far, sure. But with "Bupkis," the well has run dry.

Yeun and Wong are both excellent, meeting the material and consistently finding new wrinkles, new layers, in their characters.

"Swarm" plays with form the way "Atlanta" was able to completely switch styles from one episode to the next, and it finds freedom in its narrative looseness. If only it had more going on underneath its hood. ... But at least with Fishback in the driver's seat, the ride is never dull.

"Poker Face" pays homage to the shows that came before it by following in their tradition and honoring their path. And it's done in the right spirit, so that it never has to call bulls--- on itself.

The high production values and the series' ability to pivot its storytelling — the third episode is a lovely and quite moving distraction from the main plot — keep it fresh, even as the show's familiarities and the rudimentary bickering between characters ("you sure do ask a lot of questions!" Joel crankily remarks to Ellie, as he'd rather walk in silence) ring all sorts of bells.

This is a Tim Burton production, so it looks great. But looks wouldn't matter if Jenna Ortega's deadpan wasn’t just as elastic as it needed to be — she consistently pushes outside the caricature enough to keep things lively.

"The White Lotus" is still a buzz of capitalist hypocrisy, absurd indulgence, clueless privilege and mordant wit. The beautiful people have changed for the most part, but the abundant anxieties and kinks beneath their shiny surfaces are apparently universal.

There’s tons of pseudo-scientific cyberpunk gobbledygook, of course, but Smith keeps things moving and pretense falls to the wayside. ... “The Peripheral” is dead center fun.

Obviously "Shantaram" is your basic sprawling story set in an exotic location with an internationally diverse cast. It repeats itself, occasionally flies in the face of plausibility, and has a tendency to stagger instead of sprint. But Hunnam charges through it all, determined to bring the essentially flawed Lin to life. Ultimately he succeeds.

As the show flies by, the nightly scare stories work more effectively than the lumbering haunted house stuff, and of course all of this is housed in a Young Adult world that may be a bit gory but is essentially wholesome.

There’s no question Hollywood loves to look at itself and a TV show about a TV show is more than a bit indulgent. But audiences also like to look at Hollywood and “Reboot” at least manages to be witty and entertaining.

"Devil" is one of Netflix’s light-horror excursions, nothing too gory or sexy. ... It’s messy TV but, really, you can’t go too wrong with devil worshipers.

It’s all very efficient, well-made television, but just as it’s lacking in fun it’s lacking in fire.

If you make it through the messy early episodes, “League” turns out to be a sweet show and downright wholesome in its own way.

“The Sandman” stands out visually. A parade of fine actors — Joely Richardson, Charles Dance, Stephen Fry — weave in and out, with David Thewlis particularly strong as an escaped mental patient. Still, the show remains comic-book thin on character and plot conveniences are everywhere. “The Sandman” dreams of being more than it is, but it’s still pretty good.

There’s no sense of depth or attachment here, all is obvious and shallow and ultimately contrived. Again: Forgettable.

Hauser doesn’t set out to overwhelm. In fact, his monster is all the more scary because he’s so low key and obviously demented. But he has so much there that all else seems commonplace.

Wooden self-serious streaming content at its most mediocre.

“Chloe” is an intriguing tangle of lies and obsession, a well-made striptease of a show that slowly reveals all over six episodes of cringey psychological suspense. Heads don’t explode, super-heroes don’t save the day and nobody hires a hitman. Instead “Chloe” is that rarest of birds, an adult drama, albeit one stuffed with odd turns and awkward encounters.

“For All Mankind” is simply one of the best things on TV. Aside from being uncomfortably prescient — the Russia/U.S. tensions induce cold shivers of recognition — it balances what might be with what is, mixing the not-all-that-fantastic with well-grounded human drama. Prepare for blast off.

It’s heavily populated, extremely well cast — whoever found the chiseled Antony Starr deserves either a raise or an Emmy — and never boring. The third season has a lot of moving parts but the show wisely keeps its focus on Homelander. There are a lot of jerks here, but it’s the jerk at the top, the jerk with the most apocalyptic power (like that jerk in Russia), who’s scariest.

Unfortunately, the positives are overwhelmed by so many disjointed things going on at once. For the most part it doesn’t matter that these are 20-year-olds playing 14. What matters is there’s simply too much that feels like plot fodder for a show stuffed with too many characters.

The real cement here is two Oscar-winning actors painting a portrait of aging lovers staring down their eventual demise. There is no greater dilemma or darkness. And “Night Sky,” to its credit, knows and shows this.

Stars Rose Leslie and Theo James have an easygoing bicker-banter chemistry that lets this fantasy rom-com slide past its many ridiculous and overtly sentimental moments. No, it’s not a show for the ages, but it works as a ray of empty-headed spring-summer sunny optimism.

Kirby's nobody's girlfriend and even if she is constantly on the verge, she perseveres. Good stuff.

“City” is based on a nonfiction book by Justin Fenton and somewhat weighed down by its solemn intent. It doesn’t have time for humor and it doesn’t have the space for subtlety. Too many scenes are plain explanatory and grim business simply leads to more grim business. Still, Simon has always excelled at capturing specific cultures and their contradictions.

“Outer Range” is a complete mess: Senseless, pretentious, purposely obscure and wasteful.

While still elaborate, feels a bit slight, tepid and drawn-out compared to the first season. For many it won’t matter — look at those gowns! But let’s be frank: Next season, turn up the heat.

verybody apparently abandons their jobs without explanation, little irritants that add up, making for a sloppy and fairly obvious story. What’s odd is that so much talent — the fine young actress Jessica Barden plays an earlier version of Laura — is involved in what is basically this week’s content.

“Winning Time” is an Adam McKay (“Don’t Look Up,” “The Big Short,” “Anchorman”) production and it’s a rowdy mix of quick cuts, famous names, salty scenes and frenetic energy. The casting is just delicious. ... This one’s got a lot of bounce in it. Again, Big fun.

Blessed with a sharp cast that includes John Turturro and Christopher Walken as senior innies, “Severance,” which is produced and mostly directed by Ben Stiller, manages to adeptly juggle the grim and the giggly (melon ball party, anyone?). More importantly, it never fails to entertain. In the end it leaves you begging for more. Always a good sign.

"Pam & Tommy" doesn't make fun of them or their relationship, but shows it for what it is: a match made in the stars. James' physical transformation is astounding (she's aided considerably by prosthetics), and she finds the warmth within Pam, the naïve small town girl with dreams that perhaps outweighed her talents. Stan is clearly going for it in the role of Tommy, and he softens some of the rocker's harder features and less desirable traits; he makes him lovable.

"jeen-yuhs" is a vital document on how we got this far.

Rhimes brings in familiar faces from other Shondaland shows, travels to exotic places, has Anna strut about in all manner of glitzy outfits — Anna loves to shop — and generally offers up solid modern TV entertainment. But a tighter, more succinct work would have lived up to Garner’s performance.

"The Woman in the House..." suffers from pacing issues and is stretched painfully thin at eight episodes (some as brief as 22 minutes), although it might have worked better as a movie, with the absurdity heightened, the fat trimmed and a more clear comic tone.

“The Afterparty” runs in too many directions at once and as a result never gets anywhere in particular.

Baranski is a goddess of acerbic condescension, but that can only go so far, and Coon’s quest to become as big a snob as her neighbors doesn’t exactly qualify as inspirational. Still, it sparkles and is highly watchable.

"Peacemaker" is guilty of taking itself not seriously enough. At least it has a sense of humor, too bad it's limited to the level of limericks scrawled on the inside of bathroom stalls.

"Cheer" depicts the turmoil of high competition and the double-edged sword of fame. And it lays out what makes the world of cheerleading so addictive, both for its participants and for viewers.

Creator Sam Levinson always pushes further than most, shoving the desperation and disillusionment of a young and apparently mostly hopeless generation right in front of the camera. It’s strong stuff. It’s meant to be. “Euphoria” is its own kind of twisted high.

It’s “Veep” at a car company. You could do worse. The cast is strong and the characters become clear in the opening episodes. ... Early episodes are a bit loose, but creator Justin Sptizer knows workplace comedies.

"Yellowstone" has always been the kind of show that it seems like Sam Elliott should be in — in the series, Forrie J. Smith plays a senior ranch hand who looks like he could be Elliott's stunt double — so it's fitting that Sheridan has found a way to weave him into "Yellowstone's" DNA. "1883" is expansive enough to stand on its own, but its ties to the original series give it grounding. We know where it's eventually headed, but that doesn't take away from the journey of getting there.

Cavill remains fine as Geralt, with his absurd physique and long white hair. He has mastered the art of the humorous grunt and it’s still fun to watch him handily slaughter dozens of men at a time or take on some comic-book looking creature. But there was an audacity to this show’s first season that now seems buried beneath plot complications.

Mostly it’s a showcase for Colman, for that endlessly expressive face and her perfect line readings, for the humanity she draws on so easily. Watch it and marvel.

"Get Back" isn't for everyone, nor is it meant to be. But to Beatles obsessives, and they're a group that numbers in the millions and spans generations, "Get Back" is a holy grail, and it delivers.

A quick six-episode arc that’s fittingly preposterous and fully satisfying.

This is all in the name of torch-passing, handing off the role of Hawkeye from Renner to Steinfeld, and it's more exciting, one supposes, than doing it in a press release. But just like Hawkeye himself, nothing here feels essential.

John Cho deserves a better show. Not that “Cowboy Bebop” is awful. It isn’t. It’s just typical. ... It also doesn’t help that the dialogue is uneven and stilted at times. Smooth talking characters need to talk smoothly.

It doesn’t help that any dramatic tension is undercut by the first episode, which essentially gives away the entire plot. “The Shrink Next Door” is the dramatic equivalent of watching someone pull the wings off a fly.

When the dramatic scenes work, especially in the opening episode directed by Duvernay, there’s a real family feel. But later episodes can come off too earnest and scripted, veering toward the afterschool special feel of yore. ... But this series is about spirit and perseverance and cultural chasms and race. It’s the sort of thing that should be shown in schools and probably will be, to the benefit of all.

Maybe all these different storylines are going to meet up, maybe they’re all going to keep wandering around. It will take great patience to find out which.

The third season of “Succession” spends an awful lot of time waiting for something to happen and in the seven episodes (out of nine) offered for review nothing much does.

“Maid” shines a warm, personal light on all this while telling a story that’s enlightening and entertaining. It’s never really heavy-handed but it can be exhausting. It should be.

“Foundation” jumps back and forth in time and from one world to another as it breaks into myriad storylines. It does initially seem a bit too enthralled with bloated world-building but things pick up as they splinter.

“Midnight Mass” moves from slow-burn to absolute fireball. Creepy becomes gory and then goes bonkers. The final two episodes of this seven-episode show are both hard to watch and impossible not to watch.

It takes some soapy turns in season two, and Carell’s character can seem stranded in limbo, but this is big starry television about big starry television that dares you to look away. Tune in.

Obviously all four friends are constantly on the verge of disaster because, well, who isn’t? That Delpy and Landeau spin their stories with a mix of humanity and absurdity is, again, both impressive and righteously French. C’est bon.

It holds together as myriad characters come and go thanks to strong turns by Kazan as a sister driven to find out the truth about her brother, and Gabriel, as a wife who finds her reality in tatters. They are the anchors who keep this dervish series grounded.

Creators Amanda Peet and Annie Wyman keep the show loose enough for cute side storylines — David Duchovny! — but never let things wander aimlessly. With six quick episodes they offer a glimpse at the absurdities of modern academic life and cultural sensitivities, while also dancing on romantic comedy notes. Nice.

"Nine Perfect Strangers" is a clumsy star-driven project that, scene to scene, is never quite sure what it is. ... Hopefully there's an answer tucked into the final episodes, which were not provided for review. Whether or not you care enough to stick around that long, that's another story.

The tone here is David Lynch meets David Cronenberg meets Quentin Tarantino, moody and heightened in the early episodes, then ever more weird and gory. It all hinges on Salazar and treatises may be written on her huge, expressive eyes, which jump between angered, exhausted, erotic and (repeatedly) horrified.

The unexpected moves keep things feeling shinier than they are, and that’s the magic balancing act “Mr. Corman” attempts. Life may be disappointing but it’s also amusing and sweet and wonderfully odd. “Mr. Corman” dares to be honest.

Despite its straightforward plotting and the obvious contrast in cousins, Mortimer lets “The Pursuit of Love” play messy, since that’s how life itself plays.

Welcome back, Ted. ... “Ted Lasso” is ultimately about good-natured perseverance, about being decent in the face of indecency. About a group of disparate people working toward a common if likely unattainable goal.

“Schmigadoon!” manages to both expose and celebrate the formulaic structure of traditional musicals; theater buffs will love the sheer audacity of it all.

“The White Lotus” sneaks essential questions in between the laughs. It is certainly among the year’s best TV offerings.

"I Think You Should Leave" is eccentric, hysterical and hilarious. The stranger it gets, the more it feels at home.

Even though Loki delivers his usual subservience-is-freedom speeches and has bouts of self-analysis, the touch here is pretty light. Hiddleston is a wonderfully physical comic actor, all twitches and muttered asides, and Wilson offers a casual contrast to Loki’s royal airs.

Despite all the talent, this relentlessly serious endeavor toggles between being dramatically inert and outright silly.

What’s even more impressive is the delicate balance between the laughable and the distressing here. “Sweet Tooth” has some serious and timely bite.

Summer is traditionally the time to turn off your brain. “Panic” is for those who’ve disengaged.

It’s intimate stuff and a clear showcase for the actors, who are uniformly fine. The weak spot is Brooke’s weekly episode — she’s struggling with sobriety, a struggle that’s overly familiar.

Mostly this is see Halston go up, then see Halston go down, a far too familiar story. Just because it’s real doesn’t make it interesting. “Halston” never bothers to go beyond the obvious.

Stephen King should get out more. This latest miniseries offering from the too prolific schlock horrormeister may be the week's big TV event, running Sunday, Monday and Thursday, but it plays like a greatest hits collection: Stephen's Best Spooks . Except, like so many such collections, once you get all the songs next to one another, you realize they sound alarmingly similar. [26 Jan 2002]

The proliferation of characters can be disorienting and super-Bibb is criminally underused, but “Jupiter’s Legacy” works for the most part if your idea of entertainment leans that way. Glittering costumes, eyes that shoot laser beams, explosions and destruction galore. That’s entertainment circa 2021.

Complications ensue, super powers are wielded, all as you’d expect. Actors keep straight faces despite the silliness (possibly a real superpower) and the show maintains a young adult sheen. It flows by, which is all it intends to do.

Winslet elevates everything, but “Mare of Easttown” needs some serious elevating out of its dreariness and familiarity. It’s certainly watchable but also predictable. Look elsewhere for light.

This four-part documentary about the theft of 13 works of art from Boston’s Isabella Stewart Gardner Museum in 1990 is a rambling if entertaining search for the possible culprits in a major real-world whodunit.

The first episode is shaky, but the series stabilizes as it progresses. Nothing’s all that startling or original, but it all flows along until you realize you’ve watched four shows in a row and you’re wondering whether life has any meaning.

The balance of action and story is nimble, and in the series' first episode — only one of six episodes was provided for review — seeds are planted for conflict, team building and drama of the personal and global variety.

"Genius" isn't a dud, and it could never be, not with its subject, Vance's commanding performance or the landmark music it's built around. But while it sings, it's not quite worthy of Aretha's crown.

You’d think “The One” would have all sorts of places to go, and yet it goes to few of them. Instead the show revolves around a murder that’s neither mysterious or terribly plausible.

It was before reality TV, so it was before reality TV became all hot tubs and hook ups. It was about young people discussing issues that matter to them in a frank manner, and "Homecoming" is positioned as the same people — now not-so-young — discussing those same issues and how they matter to them today. The idealism of the project then is what makes this concept, and this cast, worth revisiting today.

Surprisingly, it pretty much all works. The dark secrets (there are many) balance with the apparent fluff, making for an engaging, never-dull series. Maybe the Gilmore Girls should have had guns.

Creator Harriet Warner obviously has no lack of imagination, though she does exhibit a serious lack of restraint. The show does have its own mad energy and if you like crazy content measured by the pound it may be for you. If not, you could end up feeling battered by it all.

Unfortunately the pacing here is too slow and many may abandon the train before it gets where it’s going. “Behind Her Eyes” is the perfect example of a six-part series that should have been four. Its stretch marks are unseemly. Less can be more.

Based on the novel by Kristin Hannah, “Firefly Lane” is so efficient it nearly takes the guilt out of guilty pleasure.

It leaves some questions hanging and spins on a bit when it comes to trans history, but “The Lady and the Dale” is undeniably a gas.

Whatever it is, "WandaVision" is the weirdest entry yet into the MCU, and a significant artistic step forward in its storytelling. It's bold and visionary and also a lot of fun, tweaking sitcoms in a knowing, loving way and playing with their format in a way that turns Americana on its ear. Like any great show, we're hooked.

“Pretend It’s a City,” Martin Scorsese’s six-part documentary appreciation of Fran Lebowitz, is more than merely delightful, although it’s certainly that. It’s also something of a historical document. ... It’s easy to see why Scorsese wanted to put her time in a cinematic bottle.

Mostly this is old news repackaged as a classic sports redemption story. It’s efficient and watchable, but hardly a revelation.

“Bridgerton” is a blast, an addictive coiffured period romance that turns downright randy while dancing deftly with racism and misogyny.

It’s consistently inconsistent, purposely tacky and piles cliché upon cliché. It is trash TV. It could be a huge hit. ... The term guilty pleasure seems appropriate here. More guilt than pleasure, though.

It's all wholesome and kid-friendly, an ode to Christmas specials of yore and delivered with a knowing wink and a nod.

“Ozark” still has its crazy nooks and crannies — Ruth’s young cousin Wyatt (Charlie Tahan) takes up with the much older deranged opium grower Darlene (Lisa Emery), things like that — and the troubled, still-loving chemistry between Marty and Wendy remains powerful. Plus gangsters, drug cartels, body counts, all the standard pleasures of crime shows.

At first it seems like Daniels is going to mainly satirize our modern world, which the show does reliably and deliciously. But as “Upload” progresses a conspiracy theory pushes forward and the underlying theme of income inequality becomes clear. Still, “Upload” never forgets to be funny.

It’s an intentionally delicious and messy show, born to be binged, although a lot of the name-dropping – Tallulah Bankhead, Noel Coward -- may float right by some. No matter, its glittery blend of the tacky, corny and controversial, while lacking real weight, is an escapist balm.