"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.