Amy Amatangelo

The strength of Candy rests in this being an old crime that we know very little about. Being first out of the gate works greatly to Candy’s advantage. The series will leave you with more questions than answers, right down to the kicker of a final line.

The entire time I watched Gaslit, I ricocheted between thinking it was a thought-provoking series full of memorable performances and that it was a terrible series that too frequently felt like a Saturday Night Live skit. More often than not, though, it felt like the series may be gaslighting me.

The only show with kinky father-daughter conversations. And no, that's not a good thing. [24 Sep 2001]

Each episode of Julia is named after one of Child’s signature dishes, from “Coq Au Vin” to “Boeuf Bourguignon” to “Chocolate Souffle.” And like any good meal, even if you didn’t enjoy every single seasoning, you’ll still be savoring Julia long after the final bite.

Ultimately, the truly outstanding performances make this series. Both Fanning and Ryan portray their characters with a palpable empathy that transcends the ripped-from-the-headlines source material. They take their characters beyond the sensationalistic soundbites.

Duff is charming as ever and the cast has a nice rapport. ... Still, without the framework of the well known series it pays homage to, How I Met Your Father would be just another perfectly pleasant, often funny comedy.

Quite a few storylines are dropped or not completely followed through on, though, which really stands out when you can stream all 10 episodes back to back. ... But despite my quibbles, I still love Cobra Kai. The show is such an enjoyable romp. I’m happy to spend time with the characters and their karate-loving world no matter how inane the story lines might be.

Gomez oozes enthusiasm and clearly Alicia cares a lot. The kids are all pretty great too, particularly Escalona, Goodjohn, and Severs, who have the most opportunity to provide their respective characters with depth and nuance.

The show continues to have the vibe of a network drama that would have been controversial in, say, 2003. The things The Morning Show thinks it is being groundbreaking about aren’t groundbreaking at all. It just has a very false sense of self-importance.

The writing, directing, and performances combine to make a taunt eight hours of TV, one that you will most likely quickly binge your way through. You’ll also be left with the unsettling knowledge that this is a true story, that this could and probably will happen again. That it could happen to you.

Suffice to say the performances are not great even from those who you would expect to be on point. The charm of the original was the easy rapport among the leads; that’s missing in this go round. Thankfully the series does improve with each passing episode. The pilot is the most awkward.

Along with Trying and Ted Lasso, Schmigadoon! is another entry into AppleTV+ cornering the market on uplifting, positive, smart TV. It may be a niche joy, but you can’t watch without smiling.

There are so many happy tears—particularly from Aniston, Cox, and Kudrow—during the reunion that you know the love the cast feels for each other is genuine. ... There is very little new ground covered.

Oh, if only television critics could be like Simon Cowell on "American Idol." I could declare Stephen King's Kingdom Hospital positively dreadful, and viewers would never have to see it again. [29 Feb 2004]

The absence of Shor’s acerbic Diana. ... Her brief, quick-witted appearance will leave viewers hungry for more. There’s no such thing as too much Diana. Thankfully, that loss is somewhat mitigated by the increased presence of billionaire Quinn (Laura Benanti). Quinn makes for a delightful villain. ... One of the true joys of Younger, which continues into the new season, is how delightfully it trolls the publishing world.

Rebel has all the ingredients to make a terrific show. A strong ensemble. Quick witted dialogue. Interesting cases. Romantic entanglements. Interpersonal strife. A force to be reckoned with lead. She’s a rebel with a cause and she’s a delight to watch.

The comfortable beats are welcome. The young cast, particularly Simkins, Bhatia, and Noon, are charming and infuse the series with a lot of goofy fun. Much of the humor is reflective of the show’s target audience.

The show feels a little like going to your college reunion. You are just glad to see everyone and check in on how they are doing, but overall the premiere—a throwback to the kinder, gentler days of reality TV—is a little, dare I say it, boring.

Heigl and Chalke both give compelling performances, but they are hampered by the show’s circular structure. ... The show truly fumbles when it tries to take on bigger issues. ... The strongest part of the show is the ones with the girls as teens in 1974. Skovbye and Curtis have a natural rapport, and their narrative moves forward in delightful and compelling ways.

All in all, Cobra Kai , which thankfully has already been picked up for a fourth season, remains a pure, escapist delight.

While thankfully more innocent than say the CW’s sexed-up Nancy Drew and Riverdale adaptations, the show still wildly shifts in tone, seemingly caught in between a kids’ detective show and something much darker.

The entire story truly rests in Cuoco’s capable hands. Her knack for comic relief is securely intact, but she also easily dives into the depths of Cassie’s terror and uncertainty. Her journey is our journey. Her terror is our terror. She may be an unreliable narrator, but she’s a highly entertaining one. Bottom line? This is a series poised to take off.

This 10-episode series has such a joie de vivre it’s easy to ignore its faults and savor its deliciousness. It’s the TV equivalent of a buttery, flakey croissant that you devour. Each episode leaves you wanting more—even if its airy plots are quickly forgettable.

An issue-free mission to Mars doesn’t make for compelling television. So in every episode there is a major and often life-threatening issue for the crew to deal with. This could try our patience as the seasons progress (much like June’s almost-escapes from Gilead have on The Handmaid’s Tale). But for the inaugural 10 episodes it works perfectly, particularly the taut middle episode that have the crew facing a daunting crisis.

Little Voice may not be a breakout, but it does join a diverse and growing chorus of Apple original series whose platform is still struggling to find an “it” factor of its own.

The message of the show never takes over the entertainment value. It’s just a consistent hum throughout. Be yourself. Love who you are. Stand up for what you believe in. Although groundbreaking in and of itself in many way, Victor’s story is most special because of how normally the show treats it and its charismatic and adorable title character. There’s just so much here to love.

The success of this USA series (whose first anthology season curiously aired on Bravo) hinges on Peet’s fantastic portrayal. ... Showrunner Alexandra Cunningham never forgets whose story she is telling, and Dirty John is the TV equivalent of a compelling page turner.

Ruffalo gives a transformative performance. ... The series is filled with terrific performances. ... But even sad shows need moments of levity and there are none here. Even from Huebel who is more known for comedy. If ever there was a miniseries that needed just a modicum of comic relief I Know This Much Is True is it.