With too many new characters and not enough family togetherness, Hulu's "Malcolm in the Middle" revival can't recreate the anarchic thrill of the original.

Yes, it gets a little soapy at times, but it's still a satisfying watch because there's an emotional authenticity at its core.

Those seeking a fast-paced Western akin to Taylor Sheridan's previous offerings might prefer to fly over "The Madison," but those willing to wade through the show's slow-moving waters will come out the other side with few regrets — and an even deeper appreciation for Michelle Pfeiffer.

Netflix's "Vladimir" promises a steamy forbidden romance, but it fails to deliver, bogged down by curdled cynicism and tired clichés.

Die-hard "30 Rock" fanatics — like me — will find a lot to love about the show right away.

A visual treat with genuine heart, "Marshals" is enough of a crime procedural to appeal to viewers who enjoy a complete story told in 60 minutes, while also remaining prestigious enough to satisfy "Yellowstone" fans who might not typically watch a show like, say, "S.W.A.T." or "NCIS."

This is a revival with real purpose — and, for the most part, the one fans have been hoping for ever since Lazlo Bane's "Superman" last kicked off an episode of "Scrubs." Yes, the original theme song is back. But more importantly, so is the heart.

"A Knight of the Seven Kingdoms" offers a refreshing antidote to "Game of Thrones" fatigue, with crude humor and humble humanity.

"Star Trek" tries to get a fresh start with "Starfleet Academy," but it's dogged by the same pitfalls that have hampered recent "Trek."

Despite the darkness, "Will Trent" remains one of television's funniest hours, anchored in the premiere by welcome bursts of levity involving desk-bound Ormewood and Det. Franklin, with newly promoted series regular Kevin Daniels once again proving what an asset he is to the ensemble.

Though it sometimes clings a little too tightly to sensibilities of seasons past, "Stranger Things" Season 5A is a rewarding, tightly paced showing that's worth the extra-long wait.

Vince Gilligan aims high with his sci-fi series "Pluribus," and it mostly works, anchored by Rhea Seehorn's dazzling performance.

Rachel Sennott's "I Love LA" feels like a mash-up of earlier HBO comedies about young people, but it never quite finds a voice of its own.

The Lowdown, I should note, does threaten to disappear into its own quirk at times. It moseys along at a deliberate pace, and the meandering narrative tends to wander around like Lee after one too many hits of his vape pen. But that’s OK: This show dances to its own beat. It’s not trying too hard to impress us, and that’s endearing, in a way. It’s worth checking out just to bask in Hawke’s greatness.

Jude Law and Jason Bateman make Netflix’s grim crime drama Black Rabbit worth watching, even when the story crumbles around them.

A lot of his [Nate Bargatze's] jokes felt weirdly dismissive of the very industry the Emmys are supposed to be honoring. I’m all for taking the hot air out of a self-important awards show, but this actually ruined the vibe of the whole show. .... But the ceremony also threw in a few quick nostalgia hits to keep us entertained, like Gilmore Girls stars Lauren Graham and Alexis Bledel reuniting on their Stars Hollow porch. These kind of moments are what the Emmys do best.

Mare of Easttown’s creator has crafted another riveting HBO crime drama in Task, packed with emotional complexity and powerhouse performances.

USA’s The Rainmaker is a tepid, muddled retelling of the classic John Grisham legal thriller that falls short, despite John Slattery’s charms.

Alien: Earth still feels at times like an eight-hour movie, slowly building to a chaotic climax, and it’s hard to see at this point how the story could continue for multiple seasons. Hawley has earned our trust by now, though… and once again, with a seemingly unadaptable franchise, he has delivered.

Hulu’s King of the Hill revival brings back the comfortingly low-key vibe of the original, along with a few smart updates.

Lena Dunham’s Netflix rom-com Too Much has a certain charm and a great lead performance, but its central romance is too shaky to sustain it.

If The Bear’s previous season was a letdown, Season 4 is a triumphant return to form, with raw emotion and beautiful performances.

It doesn’t always hit on all cylinders, but it delivers the fireworks we’re looking for from a show like this. It’s like a battering ram slamming through a screen door: not very subtle, but undeniably effective.

An uninspired soap with laughably bad dialogue, The Waterfront is trying to be the new Yellowstone, but it doesn’t come close.

FX’s Gen Z sitcom Adults is a welcome shot in the arm to TV comedy, with a cast of talented newcomers and a bold style that delivers huge laughs.

Sirens tries to follow in The White Lotus’ footsteps with soapy drama in a luxury setting, but the satire falls flat, and the tone is hopelessly jumbled.

Tina Fey’s The Four Seasons is less zany than her previous TV work, but still delivers solid laughs, beautiful locations and a fantastic cast.

Overwritten and underbaked, Your Friends & Neighbors borrows from other, better shows — notably star Jon Hamm’s Mad Men — but falls short by comparison.