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.