Sucks! doesn’t hit the highs of a Netflix comedy such as BoJack Horseman, neither does it take the emotional risks of Netflix’s sorely underrated Love, which begins its final season on March 9. Sucks! has charm and will probably do what it exists to do in a context such as Netflix, which is to provide you with an easy, snackable show that can be binged without making you think too much about what you’re watching.

The conversations are conducted via a Russian translator, and you have to be in the mood to read a lot of subtitles to engage with Putin and Stone’s policy discussions, but that small effort is well worth it. There are light moments here and there.

The first two episodes set up enough surprises and double-crosses to suggest a promising new season.

Michael Strahan has clearly studied his Dick Clark tapes--he’s smooth and relaxing to watch, very good at reminding players of the no-hand-gesture rules and in settling the nerves of any rattled contestant.

The Austin, Texas, special is a little more dated, with material about the Ebola crisis and the infamous Ray Rice tape, and Chappelle seems a little more weighed down by headlines about police shootings.

Overall, the pacing of the new Anne is rather slow, but not so much that it ruins the underlying heartfelt emotions that make just about every variation on Anne of Green Gables irresistible.

The three best Mirrors are “ArkAngel,” “Hang the DJ,” and “Metalhead.”

There are definitely elements of hocus-pocus and holy cow in Castle Rock, as well as scenes of nicely disturbing violence. In other words, just what you both expect and want from a King-based product. What there isn’t, alas, is a lot of forward momentum. The storytelling is pretty logy, taking a long time to make a few points. ... The show has a strong cast. Spacek is superb as Henry’s stepmom. ... Handsomely gloomy, 10-episode project.

Hernandez is fine as Magnum: He pulls off the character’s essential charm as a man of action who’d prefer to come across as a good-natured beach bum. Assiduous fans of the original will note other careful details carried over here. ... The new Magnum P.I. is perfectly fine, but in an era when so much television is first-rate, is “perfectly fine” enough to keep a show on the air?

At its best, the TV show has a bit of a Hitchcock feel (the doomed romance of Vertigo) and an even stronger pull toward Brian De Palma’s Hitchcock homage Obsession (1976). At its weakest, Chance is melodramatic.

Your engagement with Narcos is going to depend on how much you can become concerned about Escobar and his fate, how much you can look past the series’ easy melodrama to savor its more subtle and moving moments of political intrigue, and the small, vivid subplots about the Escobar gang’s individual lives.

Once the opening hour catches us up on Jessica’s past and sets the stage for the new season, there are some good things here. We see more of the friendship between Jessica and Trish, and that’s good because female pals are still a TV rarity. ... The best moments of the new season are any scene that features the wonderful Janet McTeer as a mysterious new character.

There are a few coincidences in the final hours that make the plotting strain credulity, and the second-to-the-last episode feels as though a big chunk of it was cut and pasted from previous seasons and leftover editing-room footage in order to reach the assigned 10 hours. Lumbering along, dragging family history along in a way that slows down its thriller storytelling, Bloodline contains too many instances of a character saying some variation on the line, “When’s it going to end?” or “How did we get here?”

I have to give Marling and Batmanglij credit: I don’t usually have much patience for humorless, convoluted hooey like this, but their narrative pacing, and some of the performances ... are enthusiastically committed and effective.

Many individual scenes are excellent, but the whole thing, based on the half-season Starz made available for review, doesn’t knit together.

If I’ve left the impression that Happyish isn’t a laugh-fest, I’ve done my job. But the show is not without its pleasures. As I said, Coogan and Hahn have good chemistry, and there are some genuinely funny moments (none of which I can recall now). Ellen Barkin is exceedingly welcome any time she pops up briefly as Thom’s profane pal.

If you love Orange Is The New Black, you’re going to be pleased with the way the new season unfolds. If you’re more skeptical of its ongoing strength, you may feel, as I did, that some of the show’s irritating habits have increased.

Lithgow is superb every time he’s on-camera, but Trial & Error has its own trial-and-error growing pains to go through before it either settles into something you want to watch every week, or a novelty that doesn’t sustain itself.

If I rarely find Horseman more than mildly amusing, I certainly recognize the careful craft behind it, as well as the excellent vocal performances by regulars including Amy Sedaris, Alison Brie, Paul F. Thompkins, and Aaron Paul.

Throughout everything, Lopez gives a solid performance — perhaps the best dramatic work she’s done since her first-rate film, Out of Sight (1998). Liotta is excellent as well.... But Shades of Blue’s biggeset problem is this: beyond Lopez and Liotta, the rest of the cops are bland clichés (de Matteo’s marital-woes subplot is particularly trite), and as the series proceeds, Harlee’s efforts to keep her FBI-informant status a secret from her co-workers becomes very strained.

The premiere episode of Why? With Hannibal Buress on Wednesday night was an amiable half-hour.... The Schumer segment had a few laughs; the others were pretty flat.

I admire the series without being very engaged by it, but I can certainly see why you might get more hooked on it.

The show has an occasionally suspenseful twist. (Electrocution in the water: Watch out!) But as it proceeds, Ozark takes way too long to make a few good points and to showcase a few good performances, most prominently Jason Bateman’s.

It really depends on how drawn in you are by the Vatican intrigue crafted by show creator Paolo Sorrentino, and how beguiled you are by Jude Law’s performance.

The result could easily have been a messy botch, but Scream is a little better than that.

It is uneven in the extreme. ... With this series and Netflix’s Black Mirror, the sci-fi anthology series is now back as a revitalized genre.

Timeless works in a lot of timely commentary via the characters of Rufus and Lucy, who in earlier eras, as a black man and woman, are not treated well. Having made such sociopolitical points, the series is also free to become a potboiler adventure, with a lot of frantic searches for both historical figures who need protecting, and for Flynn, who’s out to cause mayhem.

The show tries very hard to give us believable female characters in this context, but I’m afraid the best Six can do is achieve a kind of high-class soap opera. ... When the show travels outside of America, it’s still full of macho dialogue that can be wearisome--“We’re gonna fix this because that’s what we do; we’re gonna bring Rip home!”--but it has a blend of action and moral inquisitiveness that makes the show intriguing.