It bites off more than it can chew by taking on too many characters. We follow more than a dozen characters through a flurry of flashbacks and strange psychological detours, explaining how this parade of damaged men came to be so damaged. (It’s ten episodes, but it could’ve easily be six, or even four.) Its dynamic style and the intriguing personalities involved help it rise above all of that, though.

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.

The Gilded Age is a feast for the eyes, and its aesthetic pleasures are undeniable — but those are the only pleasures to be found here.

Hulu’s How I Met Your Father has a strong cast, but lame jokes and an excess of schmaltz make it fall short of the original.

he show allows these women to be substantially flawed and messy, and it resists the urge to get too mopey and maudlin. Plus, their banter is fun and snappy, in the vein of Coupe’s Happy Endings. ... The three leads have excellent chemistry right off the bat, too.

Peacemaker, if you can stomach the title character’s lunkheaded views (and temporarily forgive if not forget his actions in The Suicide Squad), is a lot of James Gunn fun.

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 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.

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 result is an inspired mix of Beetlejuice and The Money Pit, with a spooky, goofy energy that isn’t remotely like anything else on broadcast TV...The chorus of ghosts is a comedic masterstroke.

It just feels like Simien was eager to expand the universe of his original film, and ended up overextending himself. The result feels more like a series of self-contained short films than a TV show. That puts the burden on the cast of mostly newcomers to command our attention in their solo showcases, and unfortunately, they largely come up short.

It’s hard to judge an entire series off of just one episode, of course, and this reboot does get a lot of things right.

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.

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.

It’s a little bit Rear Window, a little bit Manhattan Murder Mystery — and a lot of fun, actually.

Heels is an entertaining and worthwhile watch for wrestling fans and non-wrestling fans alike. While the show’s in-ring segments are pretty cool, the show’s biggest sell is the prickly but tight-knit relationship between the Spade brothers, who have very different dreams but remain entwined because of the family business.

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.

Rich with intriguing characters and armed with a breezy comedic tone, the campus comedy from first-time showrunner Amanda Peet is a smart, low-key charmer that sneaks up on you.

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.

The plucky, can-do spirit that made last season so special still endure.

I found myself wishing the show would go further, hit harder, follow through on its more savage instincts. But it does build to a satisfying finish, echoing Pleasantville as the two outsiders kick off a chain reaction of chaos in town with their new-fangled ways.

Once the premise for the series is in place, things get very fun, as Loki channels his mischievous brilliance into splendid detective work and he and Mobius engage in some timey-wimey theory testing, all building to a tantalizing, two-pronged reveal — one capping each hour — that opens up all kinds of possibilities for the rest of the six-episode season.

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.

The Colin episodes are excellent, but the others lag behind to varying degrees, and Brooke’s own self-examination doesn’t quite gel, despite Aduba’s best efforts.

Girls5eva‘s pleasures, though, far outweigh its stumbles. And best of all, it’s a fun, easy binge, with all eight episodes dropping at once. It’s a relief to have something light and fun to watch, frankly. So much TV these days, even the good stuff, is hard to watch — but this is a joy.

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.

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.

Mare sets the scene so vividly that the murder mystery almost isn’t even necessary. These characters, and this town, are enough to command our attention. ... This slow burn may take a little time to heat up, but just give it a chance. It’s well worth it.