It’s hard not to root for the Codys to get busted--or worse. And that seems like it could be a big problem for the series going forward.

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.

It’s a lot of money spent in service of a show that’s not very good. It’s well-intentioned, but Mad Men already chronicled this era with much more skill and subtlety.

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

It’s tough, because there’s so much about this show that I like, but I can’t shake the feeling that I wanted to see something more ambitious and boundary-breaking (and funny!) from a creative team of this caliber. Though there’s still time for Loot to find its footing and take a harder look at its main character, so far it goes down as a missed opportunity.

Superman & Lois works. And oftentimes it is quite wonderful.

The action in the pilot is so breathlessly high-octane, it’s borderline exhausting. The pitch-black humor and dystopian funk veer dangerously close to ugliness at times. And outside of Smoothie, Nick’s antagonists are too thinly drawn to make an impression. ... But if you like your TV dramas gory, action-packed and ruthlessly funny? Meet your new favorite show.

There’s a good TV show to be made about a sitcom wife’s secret double life. (WandaVision explored similar ideas with much greater success.) But here, the concept turns sour and curdled, and we end up as miserable as Allison is.

It tries to juggle too many characters at once, and doesn’t make any of them as compelling as its core concept. It’s a noble effort, and genuinely stirring at times, but I’m still waiting for it to really take flight.

Hulu’s intriguing but frustrating book adaptation Conversations With Friends can’t quite match the heights of Normal People.

After three episodes, we’re no closer to figuring out what is really going on than when we started. The Changeling is ultimately a missed opportunity: eerie moments that don’t build up to anything, and random philosophical musings that don’t add up to much.

All in all, though, it’s a breezy watch with a casually zany hangout energy, and it hits on some touchy subjects without getting too deep with them. (This is a comedy, after all.) It’s tough to talk about money sometimes, but the Home Economics crew finds a way to make it almost fun.

Claws is densely packed with fascinating characters and vibrant dialogue--and the cast grabs that dialogue and sprints off with it.

When the series gets too far away from the Bancroft investigation, Altered Carbon stumbles.

Dune: Prophecy boasts stunning visuals and strong performances, but the story falls short of the high bar set by the Dune movies.

I would not go so far as to say that Criminal Minds: Evolution is the product of “What if Criminal Minds and a prestige cable drama had a baby?” But that wouldn’t be too far off. It’s just wonderfully different, in assorted ways that longtime viewers may not have realized they wanted.

This detachment from reality effectively neuters the show’s myriad soapy storylines — ranging from financial woes to extramarital escapades — giving the whole thing an unfortunately low-stakes vibe.

History won’t save the world or anything, but it’s a pleasantly goofy romp through the history books.

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.

It feels like the producers didn’t trust that we would pay attention to Genius without some blood and nudity thrown in. But we would, actually, thanks to the stellar performances from Rush and Flynn. Both actors combine to bring a legendary genius vividly to life in a way that we’ve never seen on screen before.

It’s closer in tone to the later seasons of Sex and the City, when it ventured into dramedy territory, but that was earned by years of great writing and careful character building. Uncoupled could get there — and it’s a solid vehicle for Harris’ talents regardless — but it’s not quite there yet.

Apple TV+’s Presumed Innocent is a sleek and riveting legal thriller, thanks to great performances and writer David E. Kelley’s courtroom expertise.

The premiere is an inspired weaving together of creeping dread and disaster movie spectacle, laced with a quirky sense of humor. The subsequent episodes don’t quite live up to that promise, though. ... There’s a really good show somewhere in here, but it keeps getting bogged down by the weight of its own ambitions.

Not able to achieve the (expensive) scope of, say, an all-out, multi-pronged Avengers melee, the group fights aren’t nearly as grand but enjoyable in their own right. But again, just as when the Avengers first assembled, much of the joy here is seeing disparate personalities get to know each other and reluctantly embrace the T-word--team.

In the wake of CGI-saturated, cosmic movies like Ant-Man 3 and Guardians 3, Disney+’s Secret Invasion is a welcome blast of serious, grounded MCU fare.

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

As intriguing as Debris‘ central mystery is now, it could easily wear thin if the producers run out of ideas too quickly; I can’t really envision yet how this can be sustained across multiple seasons. But for now, at least, it’s a helluva fun ride. It’s rare for a network to hit us with something as smart and strange and ambitious as this. So let’s enjoy it while we can.

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

Despite an all-star cast and a promising premise, Netflix’s No Good Deed falls victim to thin characterization and an inconsistent tone.

John Dutton is undoubtedly looking up and smiling at this worthy successor to "Yellowstone," a faithful, frothy continuation of the family's story that reinforces Kelly Reilly and Cole Hauser's position as one of TV's most dynamic duos.

Trouble is, there’s not a single surprising twist on any of the threadbare inside-showbiz tropes, and even worse, every single zinger feels like it’s from a hastily assembled first draft.

It does manage to find a few laughs when Wayans and Wayans Jr. are just riffing and one-upping each other; in fact, I’d rather watch Senior and Junior cutting it up off-camera. Instead, we’re left with lots of silly voices, a few crude Neanderthal views… and not a lot of substance.

It all makes for an uncomfortable mix of gentle small-town shenanigans and gritty crime twists, and neither of the two are sharp enough to really hook you. Ultimately, Ginny & Georgia feels like it was made to fill a space in the “Because You Watched” row on Netflix… and for a streamer intent on keeping you binge-watching no matter what, maybe that’s enough.

The Real O’Neals may be soft and gooey at its center, but it’s the hard, tart outer shell that gives it its unique flavor.

The First takes its sweet time, moving at a glacial pace and staying frustratingly earthbound.

It’s more of a conventional thriller than Big Little Lies was, favoring plot over character as it spins a twist-laden murder mystery. And if it’s ultimately not as emotionally complex as Big Little Lies, it’s more immediately gripping, with a breathless pace and a wealth of compelling performances.

Serious weight is given to mundane moments with other, seemingly more substantial ones ending before they began. Everything just feels a little… off. And yet, amid the choppiness, I found myself mostly engrossed in what was happening--and the reason for that is Wright. ...The actress now goes it alone and more than rises to the occasion.

Both young Gibbs and NCIS: Origins take a minute to find their bearings, but once they do, this latest NCIS offshoot shows promise.

The comics’ jokes aren’t funny. Because of that, we don’t buy into their talent and can’t get invested in their journey. And as soon as they step offstage, any semblance of humor dries up completely.

I like Middleditch and Ashford together enough to hope that Pennette and the writers find a way to work out the kinks and tap into this pairing’s considerable potential.

Amazon’s Daisy Jones & the Six is hampered by rock star clichés, but it captures a vibrant creative spark that’s hard to resist.

This is all perfectly interesting. It just isn’t... compelling.

The result is a show that’s far too scattered, and never builds any narrative momentum because it’s always cutting away to another plotline.

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.

Woke has its goofy side, to be sure, but it’s thoughtful as well, handling thorny subject matter with a light, comical touch. It doesn’t minimize the very real issues Keef faces, but it vividly illustrates them with highly specific observations.

Anyone who felt that Young Sheldon ended too soon will be pleased to see that story continue (and be told so well) in Georgie & Mandy’s First Marriage.

Locke & Key isn’t at all shy about revealing Key House’s incredible secrets; it just struggles to then do much with them, instead tending to hit pause on any acquired momentum to dive back into high school dating/movie club drama. As such, things don’t really get crackling until Episode 5 or so.

BrainDead manages to be intermittently intriguing just through the sheer strangeness of its premise not to mention the sparkling chemistry Winstead exhibits both with Tveit and Semine. And in a different series, Pino’s cheerful, adulterous, win-at-all-costs politico could’ve been downright fascinating. Ultimately, though, like the inside-the-beltway white matter that gets consumed by those little alien critters and winds up turning to pink goo, BrainDead goes splat under the weight of its outsized aspirations.

Aniston infuses Alex’s story with genuine emotion, and reminds us what a gifted dramatic actor she is. But the rest of the show lets her down. It’s a solid performance lost in a sea of jumbled ideas and missed opportunities.

We’re supposed to feel bad when the media treats Jones like a joke in one scene, and then laugh at how dumb she is in the next. (Casting Taran Killam as Paula’s volatile husband was also a mistake: His presence makes their scenes play like a SNL digital short.) It’s this clumsy blend of didactic “weren’t we awful back then?” hindsight and sleazy sensationalism that ultimately makes Impeachment one of the year’s biggest TV disappointments.

As creepy as Ike’s obsession is, it never gets creepy enough to be truly unsettling. All in all, though, it’s worthwhile just to see Ferrell and Rudd expand their acting ranges a bit and delve deep into a story that’s so strange, it has to be true.

The Magicians may not have perfected every incantation in its spellbook, but it’s worth a look for viewers intrigued by the idea of a Harry Potter-esque weekly fantasy series.

Murphy has done great, daring work elsewhere, and that’s why actors will follow him anywhere. But 9-1-1 is neither great, nor daring--and these actors deserve far, far better.

Simply put, City of Angels isn’t merely good, it’s divine.

No, the new Zone isn’t as mind-bendingly innovative as the best Black Mirror episodes--it’d be nice to see future installments break further away from the original template and blaze a new trail--but it’s gripping enough on its own terms.

Love for the franchise and its characters likely will blunt the momentary ridiculousness for longtime fans (it did for this one), while newcomers should hang in for the second and third hours--because that’s when the series finds its bizarre rhythm.

By cramming a Gen Z worldview into a pre-Y2K sitcom format, Happy’s Place is trying to straddle two eras… and is all the more shaky because of it.

Through its first three episodes, Krapopolis provides enough giggles to put it right at the top of Fox’s recent animation efforts, a cut above the likes of Bless the Harts and Duncanville.

Graphically violent and morose, it rubs our noses in the ugly side of humanity for no good reason, and for a legal thriller, it’s remarkably dumb, with its characters making unforgivably boneheaded decisions at every turn.

Divorce is raw and uncomfortable at times... but it’s also one of the best new comedies of the year.

Despite its flaws, Rise still delivers those goose bump-raising moments that Katims has been reliably serving up for years. Granted, it’s sappy and wears its heart fully on its sleeve… but who says that’s such a bad thing?

Despite the presence of Krause, Enos and Walger--all of whom have been standouts in modern TV classics--The Catch is barely worth investigating.

Kevin‘s dialogue is sprinkled with doses of biting humor that cut through all the self-help schmaltz. Ritter and Garcia Swisher have a genuine, combative brother-sister chemistry together, and glimmers of actual spiritual insight peek through at times.

Mr. Corman is billed as a “comedy,” somehow, but it’s missing the laughs. It seems to be going for cringe comedy, but we just end up cringing. I felt more sad watching it than anything. Ultimately, Josh’s lack of direction and gloomy worldview are an anchor that drags the narrative momentum to a halt.

There are a few arcs on The Family that could use a little work. ... Still, those little missteps hardly detract from the thrills and chills of The Family.

With tired punchlines and a new cast that lacks the easy charm of the originals, Netflix’s That ’90s Show is a total buzzkill.

In actual practice, Hunter’s invitation necessitates a great deal of discussion and debate. ... But once said conversations have been had, after the i’s are dotted and t’s crossed, the times ahead promise to be spread across the ages and a whole lotta fun.

The cast is solid, the FX are top-shelf and the survival-related drama comes at a steady pace, with some episodes (the pilot included) delivering no less than white-knuckle sequences.

There’s not a lot of nuance to be found here, with any trace of psychological depth replaced by cheesy love montages and paint-by-numbers confrontations. We’re given no sense of why Debra is making these terrible decisions... over and over and over again.

I’m hoping Superstore lasts long enough that its writers begin to feel less reliant on jokey situations and trust that there’s more than enough organic humor to be found just by letting their characters live in the peculiar, seldom-seen world they’ve created.

Boiled down to its essential elements, Hanna is a bland fish-out-of water tale punctuated by short bursts of sudden violence.

Despite a top-notch cast, Apple TV+’s Palm Royale is a middling soap that lacks laughs and emotional depth.

The Peripheral is a cut above everyday sci-fi with cool futuristic effects, but it starts meandering after a stellar pilot.

As the stakes of their revenge pact rise higher, and their ingenuity and morality get tested against seemingly unbeatable foes, don’t be surprised if you’re less and less bothered by the little fumbles in writing as you get more and more engrossed in the bigger picture.

So, is Firefly Lane good? Alas, no. But is it entertaining? Kinda — and not even in a mean way. It’s an adequate time-passer till the shows for which you’re really jonesing are back on. There’s no more shame in indulging in it than there is in equating sex to ice cream.

Even if you’re not a Buffy buff, there’s enough retread here to give déjà vu to viewers of Whedon’s other series. ... Perhaps the show’s premium cable berth ultimately will allow the show to flower in a way different from that of Whedon’s other series, all of which aired on broadcast networks. Sadly, though, the most noticeable indicator so far of The Nevers‘ more permissive network standards are the proliferation of boobs for boobs’ sake.

Any time Garner’s Anna is off screen, the series loses a bit of steam. I suppose it’s inevitable that a story about a phony heiress feels a little hollow… but it’s a fun ride while it lasts.

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."

NBC’s Quantum Leap reboot has a charming star and slick action scenes, but gets bogged down by corny dialogue and dead-end mysteries.

Tycoon completely misses what makes the movie business so special.

There’s an unspoken layer of social justice to Robyn’s mission, and I wonder how far they’ll push that angle in future episodes. (The premiere bends over backwards to show the NYPD cops aren’t the bad guys.) But it has a strong foundation to build from, thanks to Queen Latifah.

It’s often laugh-out-loud funny, and the cast has instant comedic chemistry. It also mines a lot of laughs by reveling in gaudy ’80s nostalgia: floppy disks and shoulder pads, the aforementioned stretch Lamborghini (aka a “Lambo limo”) and a robot butler who dutifully fetches cocaine. But there are hints of melancholy around the edges, too, and a plot twist at the end of the pilot that actually adds a level of intrigue to what follows.

To be fair, the revival does begin to find its stride in later episodes, especially when it leans into the proudly pretentious tone of the original. (We even get a conversation spoken entirely in Latin!) But beyond the superficial similarities — the pithy title cards between scenes, Grammer crooning “Tossed Salad and Scrambled Eggs” over the end credits — this just isn’t Frasier.

Don’t throw away your vote on The Regime, a ridiculous and misguided political satire that even Kate Winslet can’t salvage.

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.

Hollywood comes as a disappointment, then, in spite of its stellar cast and admirable ambitions. It’s kind of like some of the big-screen icons that rose to fame in the early days of Hollywood: plenty of gloss, but not enough substance.

The absence of Lecter and his indelible dynamic with Clarice leaves a huge void that Clarice struggles to fill. The result is a disappointingly run-of-the-mill procedural — another dark, grim Criminal Minds clone with a shiny brand name slapped on the front of it.

When it’s not burying us in an avalanche of creaky sitcom clichés, it’s creeping us out with inappropriate sex jokes.

While Episode 1 overexerts itself juggling multiple storylines (there’s a B-story involving a young tailie that simply vanishes for long stretches), the episodes that follow are more tightly wound as the murder case, which dominates half of the 10-episode season, takes frightful turns.

The Wheel of Time has enough potential to ride past these initial frustrations thanks to a high budget and deep commitment from the actors to faithfully bring the magic of this story to life.

NBC’s The Irrational puts a fun spin on the procedural formula, but it’s dragged down by clichés and convenient plot twists.

No, this is not the classic Sex and the City we first fell in love with… but what it is now isn’t bad, either.

The first hour didn’t grab me hard enough that I want to stick around to find out.

Fox’s new version is a vibrant adaptation that faithfully captures the spirit of the original. But... there’s also a fatal flaw here that threatens to spoil the whole party. ... [Laverne Cox is] glaringly miscast here. She doesn’t stand out from her misfit horde like Frank should. Her singing isn’t up to snuff with the rest of the cast.

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

It’s frustrating because all of the elements are there but Interrogation unknowingly sacrifices its own quality by allowing us to choose where to go.

If The White Lotus is 30 Rock, then Nine Perfect Strangers is Studio 60 on the Sunset Strip: not “good,” exactly, and definitely way overblown, but still watchable in its own strange way.