Bruce Miller

Sure, it’s billed as a comedy but there are so many touching moments it could easily top the shows that are billed as dramas. ... You’ll also see why there are many rites of passage in a teenager’s life. Some come with guidance; others require a little on-the-job experience. All should be preserved as beautifully as these.

What surprises are the women who populate “Uncoupled.” Tisha Campbell – as a fellow real estate agent – is a gem, commenting better than Kim Cattrall at a martini party. ... Harris is too strong to play the pitiable bachelor. ([Tuc] Watkins would be a better choice). ... In the sixth episode, Harris finds a groove that’s better fitted for long-term success. It leans into the Campbell/Harden/Harris triangle and actually brings laughs.

“HSM:TM:TS” has great adult appeal. It also boasts a lot of solo numbers, presumably because COVID concerns limited the number of big song-and-dance routines. Bassett, one of the best in a very excellent bunch, gets a rousing “breaking free” anthem that he sings. ... It isn’t a huge twist on the summer formula, but it does have enough variety to suggest this season could produce a couple more breakout stars.

What gets lost, though, is the camaraderie of the dissidents. It’s still around, but so much time is spent showing Homelander railing at everyone, it doesn’t give them their due – at least not in the early episodes. ... But the beauty of “The Boys” is you just never know where it’s headed.

While “Hacks” will definitely be in the hunt for more Emmys (it won for Smart and its writing and directing), look for Metcalf to join their ranks. The second season’s third episode is about as good as these things get.

It's an unabashed, out-there, boldface teen drama that makes the stuff in Washington look like "The Wonder Years." [30 Jan 1998, p.C1]

Enjoy hearing the pitch. Bayer sells it with gusto. Shannon embraces it with heart. And Lewis kills it will excellence. Just when you thought you didn’t need another addictive series, “I Love That For You” steps in and tells you supplies are limited.

Pre-pandemic, this might have been a juicy potboiler. Now, it’s just a slap away from being dated. ... Unlike the 1994 one, there’s not enough of the snide humor that made it so deliciously evil. Kruger gives it a Sharon Stone vibe, but she isn’t given enough lines that would make her seem smarter than others in the room.

Clever asides here and there suggest this is a more PBS version of the romance novel; scant bedroom scenes confirm it. Season Two gets its heat from Anthony’s no-nonsense way of going about his matrimonial business. ... Bailey plays this oh-so-smoothly and raises the bar on “Bridgerton’s” elegance.

Straley, Holmes and Scott bear watching. But Feig and Bicks might want to make some changes before rolling out the welcome mat. In “Welcome to Flatch,” it’s often difficult to focus.

“The Thing About Pam” is entertaining. Zellweger, Duhamel and Judy Greer (as the Lincoln County prosecutor) land their laughs and make you wonder how stuff like this happens. ... But it takes on a different feel when you see Betsy’s children and husband caught up in the big gulp world of Pam Hupp. While your eyes widen, your heart also sinks.

That’s the thrust of the fourth season – people making bold moves. After two years of life without the Maisels it’s a welcome change.

Filled with outrageous supporting characters and a quirkiness that befits the subjects, “Pam & Tommy” thrives on the performances of its two leads.

Family Ties is the heir apparent to All in the Family. Equally relevant, it captures '80s home life better than anything else on television. [24 Sep 1982, p.B3]

While Brunson has the format for a good series, she doesn’t have all the elements. Sometimes, the comedy is forced. ... This is a start but it's like Brunson's character -- a little naive. To be the show we need, "Abbott Elementary" needs to do more than dance around the obvious.

Fun to watch. ... Even though it goes too far with its secret rooms and hostage situations, it makes you want others to be kept in the dark. “You” started with a bang and, thankfully, it’s still firing solid kill shots.

While the first two episodes of season two are too enamored with getting players in place (particularly since season one ended with a house cleaning), “The Morning Show” does pick up steam and gets everything from the Iowa Caucuses to a visit to Wuhan in the picture. ... Crudup, though, is the heart of this world. As corrupt as he may be, he’s worth following.

Switching back and forth in time, “Impeachment” doesn’t light often enough to give us anything really substantial. ... Paulson and Feldstein are spectacular when they’re together. But when this splits them apart, it loses its intention.

A series that scores inning after inning. “What We Do in the Shadows” is a clear comedy league leader.

Harjo and Waititi take their time painting the picture. They introduce outsiders (who stereotype residents) and give us a strong sense of what it’s like on the inside. ... “Reservation Dogs” is the comedy you never expected but may just need. It’s powerful dive into a world that’s oh-so deep.

[Paris Jackson and Kaia Gerber] hew closely to “Scream Queens” and push the envelope with scenes that explore their sexuality. Their acting abilities may be similar to their parents’ at the same age, but they pair well with McCormick, who seems more mature than anyone in the house. Bomer and Creel, oddly, don’t seem to fit in this setting. They embrace the humor but can’t quite promote the terror. ... Tveit does a much better job of straddling the “AHS” worlds.

Directed by Brian Volk-Weiss, the often irreverent documentary moves as quickly as a roller coaster and excites twice as much.

Sudeikis continues to inspire in untenable situations. Season Two throws out plenty of them and lets the fish out of water swim more than sink. A big chunk of the supporting cast earned Emmy nominations and it’s easy to see why – particularly when they’re made the focus of entire episodes.

White uses sly humor throughout the series and gets his best results from Bartlett, who unravels in unusual ways. He captures the manager’s approach beautifully and has plenty of fun getting even.

Thanks to some inspired choreography by Christopher Gattelli, “Schmigadoon!” is as excitable as its exclamation point and just as worthy.

It’s cute. But “Monsters at Work” might need a little more retooling on the scripts. They’re a laugh-a-10 minutes.

More confident than the first season, this “Dave” shows a side of the fictional Burd that’s more believable. ... While “Dave” embraces too many guest stars, it doesn’t shortchange GaTa (the show’s stealth weapon) or Burd. Burd, in fact, is a much better actor this time out. ... “Dave” really soars on the backs of its unexpected stars.

“Hacks” is her [Jean Smart's] master class – a series that showcases just how much she can add to anyone’s work. ... “Hacks” nicely fills the void left by “VEEP.” It, too, is acerbic and on point. ... While “Hacks” may be a harsh title for something this deliciously good, it captures the price some are willing to pay for celebrity.