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.

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.

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.

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.