Netflix’s eight-episode black comedy series doesn’t grab you with the audaciousness of “Dead to Me” and it doesn’t always realize the full potential of its characters, but does it ever have one killer cast and an intriguing premise that takes a good twist near the end.

“Butterfly” interjects a wee bit of dark humor that works and features some risky moves in its final episode. If it embraces that dark side more, it would give the series more edge and would give it more kick. As is, it’s a middling watch with a good performance from Kim.

The result is a compelling if not overly deep expose on a series that has run its course, thankfully for the health and well being of all.

Sometimes veers toward the overstated and melodramatic. .... “Love Story” is best at showing how damaging and merciless the scrutiny can get for the rich and famous and those thrown into it all without a life vest.

Throw in grandiose crime scenes with those biblical implications and a bubbling cauldron in the desert and you have another bizarre guilty pleasure that taps into our dark sides and keeps us watching.

An improved second season patches up a few rough edges in Netflix’s enjoyable spy romp, and does so by repositioning its jocular, off-the-cuff spirit in mostly a new setting, South Korea.

“The Brothers Sun” does ramble on, but when Yeoh and Chien bust out those fancy moves and gather around the family table with Song Li, its pure action/drama magic.

While the show’s languid pace in the first few episodes might test your patience, prepare to get drawn in as this hot-potato case reflects the tenor and the racism of the times, and is far more gnarly than originally thought.

The story line could use some tightening, but what works well, and best, about Apple TV+’s easygoing six-part series are its three generation of actors: Eva Longoria (also an executive producer), Carmen Maura and Victoria Bazua.

This six-episode series, while being essentially indistinguishable from so many others of its ilk, goes above its own pay grade when Jamie (Duchovny) starts smelling a rat likely living in his posh London digs now. That’s when the series kicks into high gear and the hunt turns deadly, if predictable.

While I appreciated many elements — particularly the look and surreal vibe — “Cowboy” moseys a little too slow for my tastes. That said, Winding Refn is a true original.

Is this great TV? Oh, no. But it is undemanding, enjoyable, and has potential for further development. It’s easy on the brain and, oh yes, the eyes. Which kind of makes it perfect post Super Bowl viewing.

Fine tells the story well, except when he dumps in video of Pearlman and doctors it up so it appears the late businessman’s reading (a voice actor is used) excerpts from a book he co-authored.

As far as guilty pleasures go, Prime Video’s cockamamie but sexy mystery series serves its purpose. So good on that. But be ready to titter away at its unbelievable twists and turns. They’re ridiculous but fun.

The formula of one death per episode does get belabored eventually, but Martin and Carpenter perk it up with flashbacks that dig into the twisted backgrounds of each motel guest.

While it fails to approach the same comedy and writing heights of those aforementioned series [“Only Murders in the Building” and “Schitt’s Creek”], creators Michael Hoffman and Bob Bob Martin’s champagne-bubbly sendup of the stage world earns positive notices mostly due to its cast.

At seven episodes, the HBO Max series overstays its own welcome but its two aces in the hole are Elizabeth Olsen as the to-the-point Montgomery, who has it all but desires to spice up her life, and Tom Pelphrey as flashy attorney/church member Don Crowder.

The new streaming series starring Eddie Redmayne as an illusive assassin known as the Jackal is not as good as the original 1973 movies but makes for fun viewing.

It makes for a breezy and tart eight-episode romp even though it encounters a few pacing bumps along the road for both Morgan and executive producer J.J. Abrams.

Even though it telegraphs its “surprises” way too often, it’s always entertaining — even as it gets tied up into plot knots by its end. As a bonus, Martha Plimpton co-stars and Stephen Rea appears in a smaller role. They get to chew a bit of the scenery, and it’s a welcome addition to this passable thriller that’s elevated by its lead star.

Like its predecessor, “Hijack” is a fun escapist thrill-ride, though it does go off the rails and sticks too closely to the same playbook as Season 1 — trading air passengers for Berlin train commuters.

Their back-and-forth gives the series the pluck it lacks elsewhere. Should there should be a second season of “Seven Dials, it would be best to dial up more of that Bundle-Battle repartee and formulate a better, more convincing mystery that’s not overly reliant on coincidences and preposterous.

These rich folk are hiding scandalous secrets – some that don’t make much sense upon closer inspection. That illogic is part of the guilty fun of “All Her Fault,” which provides a decent enough diversion along the lines of Netflix’s equally star-studded bit of domestic thriller ridiculousness “The Perfect Couple.”

That Oscar winner [Martin McDonagh] juggles humor and tragedy expertly, while this Higher Grounds Production (the Obamas production company) drops the ball occasionally on both. You won’t care since it’s the three central characters and the actors who portray them that pick them up and put them back up in the air and keep us engaged.

Although it tags a few familiar bases — an unreliable main character who’s overmedicating, a less than bereaved husband — it’s always engrossing even when the actions of the characters get more and more infuriating.

Eight episodes is too much for a thin premise like this, and “Four Seasons” sometimes feels as if its overstayed its welcome. Fey’s potshots at Forte become so repetitive, for instance, that you want this couple to just go away already. Still, the veteran cast and Erika Henningsen, as a radiant late arrival to the tightly knit group, often sparkle and an Alda cameo certainly warms the heart.

Nothing here could exactly be called a critical revelation (perhaps Frey’s interview comes close). So after viewing this very watchable, thankfully un-sensational series composed of video clips and interviews with investigators and reporters and so on, you’ll likely be left with one impression:that justice was indeed served.

With improved writing and better comedic timing, this easygoing bit of action fluff would have succeeded better.

Coleman and Jackson-Cohen give compelling performances, but they can’t overcome the listless plotting of “Wilderness,” which curiously steamrolls right through its final pivotal 10 minutes.

True, “Extrapolations” has its heart in the right place but its pedantic volume rises just like the sea level and all but overwhelms the characters and the drama itself, spinning the whole enterprise sadly right off its storytelling axis.

Creator Annie Weisman does know how to keep the pot boiling, but the material, based on a novel, seems obvious and struggles to figure out what it wants to accomplish.

While there are surprising turns, and the series does improve as it progresses, “Witches” never grabs you with the power that “Interview” did. Stick to the books instead.

Jackson and Caplan tackle the iconic roles with passion and put their own stamp on them, but the pacing and the lack of sparks make this fizzle. I lasted through five episodes and walked away with the clear feeling it needed tightening.

The series’ main plot conceit is indeed a mirage, a fake-out trick that crumbles upon closer inspection and isn’t developed enough. It’s hard to get behind this show and equally difficult to get beyond it.

The premise promises more than what ultimately gets delivered in this disjointed, semi-compelling six-part series.

Anderson and Headey give it their full commitment but their characters are painfully one note.

The first four episodes sew with the same pattern, and while that’s comforting, the seams are starting to fray.

As a storyteller, Doerr is a master at weaving all these threads and elements together while giving us more nuanced characters, but in this well-intentioned production the stitching and seams that we can see all too often.

Billy Crudup does a lot of heavy lifting in this, but it’s a wasted effort; I didn’t buy into much of “Hello Tomorrow!” except I was sold on its knockout production details.

Not having a strong central character sets the series adrift with nothing for the audience to cling to. “Palm Royale” never comes together, and that’s a shame, given the tone-rich performances by Burnett and Martin.

“Apples Never Fall” is definitely watchable, but its plot jumps off the deep end and there are so many implausible moments you’ll feel like you were duped of your time.