“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.

“Tales from the Loop” is so low-key it stands out simply by not standing out. There are no mega-explosions apparent, no eye-popping special effects or gore celebrations. It offers meditations on man in a modern world beyond easy control. Which hardly seems like science fiction.

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.

It’s all a bit fuzzy, but then it’s all in good fun. Television has plenty of room for strong female characters.

Strained at times, wandering at others, “Perry Mason” finds its footing eventually and by its end you may want to watch a second season even as you hope it’s better than the first.

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.

The show certainly has plenty of diverse star power--Chris Rock, Amy Poehler and Michael Cera also appear along the way--but its shaggy approach wears thin until Cyrus shows up. Then again, save the best gift for last.

Lush, often surreal, filled with contradictory characters and backstabbing intrigue, The Young Pope is one of the more remarkable television shows in memory.

Murder in the First” isn’t outright bad. It’s just an extremely derivative police procedural.

Gaffigan offers some nice ugly tourist notes, but as the show goes on he leaves Spain behind. At the end he’s riffing on American rodeos and talking about the Toledo Zoo. Not surprisingly, he’s funnier on home ground.

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.

There are a lot of characters and talent involved here--Mary Elizabeth Winstead notably plays the bride who was left behind--but The Returned is very much a show propelled forward by its story and the questions it raises.

“Okay” suffers from the same bloat as far too many streaming shows; its 140 minutes contain at most 90 minutes worth of material. Which is too bad because Lillis is an oddly arresting actress and the use of super-powers as a metaphor for teen angst and raging hormones is at least time-tested.

It’s a rich mix of intrigues with the occasional bout of brutal violence as Delaney tries to build his own empire and assumedly reclaim his one true illicit love.

A sprawling look at the gay liberation movement in the U.S. during the past five decades, spread over eight hours, featuring an abundance of talent, occasionally too earnest, at times heartbreaking, and pretty much always eminently watchable.

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.

The highly watchable second season does a good job examining questions of family, trust and friendship while offering up plenty of shootouts, fights and dicey situations to keep things moving. Unfortunately the writing here can get pretty lazy in those dicey situations.

The violence factor is as high as the candy-colored production values, Kate Walsh returns as the dripping-evil top villain, and Ritu Arya adds snap as a sharp-talking wild card. Race and LGBTQ issues provide ballast, but for the most part “The Umbrella Academy” is just inspired bloody silliness the second time around.

"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.

The gore level is playful, not scary, and the idea that true love conquers all, even a craving for human flesh, permeates the show. Sheila, Joel and Abby can still live the American dream, it will just taste a bit odd.

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.

"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.

It’s all technically impressive. And it’s all a monumental bummer.

As a six-episode project, you’d expect precision, compactness and speed; instead it basically, at least for the first four episodes, wanders toward the inevitable.

The slow burn approach actually works nicely, assuming you can calm your appetite for immediate destruction.

Things go bad quickly, which is to be expected. The challenge with this show will be to keep it appropriately Crazy Town without letting it get Loony Bin bad.

“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.

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.