The whole thing has decent energy, and boasts enough interesting visual flourishes that it’s tempting to let it slide by purely on style points. But it’s hard to locate the humanity buried underneath all this style. Like fellow oddballs Claws and On Becoming a God in Central Florida, Briarpatch tries to get by solely on quirk at times — but, sadly, man cannot live on quirk alone.

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.

While it’s not entirely successful, the directing team’s approach is certainly skillful, and McMillions is definitely a fun watch.

It’s a true pleasure to see Stewart in his element again, and it’s a relief that Picard has managed to build a new universe around him that we’d actually like to spend more time in. By the end of Episode 3, I was starting to feel those familiar Next Generation vibes again.

A lovely and emotive series about the lives of immigrants in America.

They need a strong villain to play off of, though, and generically mean rich girl Alexandra Cabot (Camille Hyde) doesn’t quite cut it. I found myself wishing for more screentime for The Other Two‘s Heléne York, who plays Katy’s bitchy coworker Amanda. She’s sharp enough to provide a worthy foil for Katy, at least… but in the world of Katy Keene, it seems, any and all sharp edges have been rounded off to a safe dullness.

Really, it looks like all of the actors are having a blast filming Zoey‘s big musical numbers... but that fun never fully translates to us at home.

After a somewhat lackluster Season 2, it’s a treat to see Maisel shake off its own cobwebs and show us something new.

Reiser and Hunt’s veteran presence and the nostalgia factor help nudge it slightly above your standard sitcom, and maybe that’s enough to earn a spot on your holiday watch list.

Left with mostly just his voice to act with, Pascal gives Mando some hints of snarkiness, if not humor; by and large, he comes off as a business-first ballbuster. (And truth be told, no one wants a quippy Mandalorian.) Weathers and Herzog fit comfortably into this world, in their brief intros, and it’d be great to see more of Nolte’s Kuiil.

See relies on graphically gory battle scenes to carry a largely incoherent story, but I found myself giggling far more often than its creators intended. You almost have to admire its goofy confidence… as wrongheaded as it might be.

Steinfeld is excellent as Emily, armed with a delightful, Wednesday Addams-like morbid streak. (When her sister compliments the “lovely funeral” they just attended, Emily sniffs: “Mine will be better.”) Of all of Apple’s new shows, this one actually made me want to watch a second episode, and has the kind of breakout potential that a new streaming service desperately needs.

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.

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.

It’s an incredibly entertaining dual performance that carries Living With Yourself… even when the show’s initial spark begins to fade.

The Politician provides plenty of laughs and on-target jabs at our current political moment — but it’s the battered yet still-beating heart found in Platt’s performance that ultimately has us pulling the lever for this one.

The pilot spins an involving yarn, only to rush through it and wrap it up in too tidy a fashion. But the foundation is strong, and I’m interested to see where Herbers takes this complex character of hers. Mulder and Scully might not be coming back to primetime anytime soon… but Evil‘s dynamic duo might be the next best thing.

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.

There’s nothing incredibly groundbreaking and innovative about any of this… but there doesn’t really need to be. It’s a cute, lighthearted throwback that goes down easy in an era of tough-to-watch dramas, and like The Mindy Project, it doubles as an affectionate tribute to classic rom-coms. The cast’s quick chemistry is remarkable, too.

It feel like no time has passed since our last visit to Neptune, Calif. ... At no point in the eight episodes did it feel like series creator Rob Thomas had run out of story.

Mainly what you’ll be doing when you’ve finished your binge is trying to catch your breath (the finale is epic with a capital E, P, I and C), drying your eyes (it’ll also give you feels that you never even knew were feels) and wondering whether you’ll remain on the edge of your seat all the way until Season 4.

Euphoria is admittedly better at establishing a distinctive mood and style than at telling a story, at least early on. ... But Euphoria‘s exhilarating style and achingly incisive observations more than make up for any storytelling flaws it might have.

If anything, Season 2 only gets richer as it digs deeper into these ladies’ lives. ... Savor this while it lasts, folks: This is as good as TV gets.

Sorry, Miley, but your Black Mirror is the weakest of the bunch. [C-]... The twist [in "Striking Vipers"]is genuinely shocking and opens up a number of intriguing storytelling avenues, and the acting is solid. ... But after the initial shock wears off, the episode just kind of plods along, and the ending feels too easy for such a complicated premise. [B] ... ["Smithereens"] is Scott’s episode from start to finish: a harrowing portrait of a man pushed firmly and irretrievably over the edge. [A-]

The series does boast a breakout performance from newcomer Ashleigh Cummings. It’s just too bad that nothing else about the show lives up to that performance. Instead, any flickering glimmer of quality gets smothered by a drab visual palette, sluggish plotting and a crushingly dour tone.

I ended up liking it so much, I felt compelled to spread the gospel. All you Broad City and BoJack fans out there? Fly, don’t walk.

L.A.’s Finest is a loud, dumb mess of a cop drama, loaded up with corny punchlines and incoherent plotting.

It’s an odd blend of tones that doesn’t always work, but the smart, spiky humor and standout performances from stars Christina Applegate and Linda Cardellini combine to make it a satisfyingly offbeat binge.