It’s “Sex and the City” Lite, with none of the sparkle and of-the-moment zeitgeist of that HBO hit.

This is a well-made but not groundbreaking docuseries, confirming what we already knew about this monster but offering little new information.

“Patton Oswalt: I Love Everything” is a typically smart and insightful and chuckle-inducing show from the amiable actor/writer/influencer.

If only “The Great” were as great as “The Great” seems to think “The Great” is, it’d be pretty great. But this 10-part limited series from Hulu is more tiresome then clever, more sadistically off-putting than wickedly funny, more overwrought than impactful.

This is a great-looking series, with just enough CGI shots taken from outside the train to remind us of the ludicrously spectacular nature of this rolling experiment, and nifty camerawork taking us from the colorful decadence of first class through the “Night Car,” a club dripping with opportunities to explore the sins of the flesh, through the “Ocean Car,” with its tanks of fish, to the dark and hopeless and suffocating world of the tailies. Daveed Diggs gives a powerful performance as Layton.

Though “Trial by Media” is about some of the most widely covered, hot-button cases of the last half-century, the tone is somber, reflective and fact-based, heavy on archival footage and present-day interviews with individuals who were connected to the stories on one side of the camera or the other.

Alas, from the opening moments, with an irritatingly stylish camera move unnecessarily teasing us before a big reveal, through the final scenes, by which time the viewer is more exhausted than enlightened, this is one of the more disappointing misfires of the home viewing year.

It’s classic cranky Seinfeld, but there’s such a spring in his step as he moves about the stage, such a twinkle in his eye as his voice goes higher, to the point where he sounds like everyone’s not-good imitation of Jerry Seinfeld, that none of it comes across as angry. This is the comedy of joyful bemusement.

Laurent Bouzereau does a fine job of directing this relatively straightforward look at Natalie’s life and times, but it’s Natasha, who was just 11 when her mother died, who is the on-camera guide.

“Billions” remains one of the most stylish series on television, filled with first-class production values. ... One can get dizzy keeping up with all the back- and front-stabbing, but it’s entertaining as hell because they all deserve what’s coming to them.

In just 23 minutes, we catch up with so many characters, and not a single moment disappoints.

There’s a lot of heavy stuff at play here, but it’s all handled with a deft touch. Even when “Upload” gets serious, it’s never more than a scene away from being funny as hell.

It’s a fascinating blend of fact (or least stories based on factual characters) and fiction, and the performances from the cast of rising stars and reliable veterans are dazzling — but like many a motion picture, “Hollywood” can’t overcome script problems that surface about midway through the story.

“Never Have I Ever” soars in its irreverent yet authentic depictions of an Indian-American girl growing up in the San Fernando Valley. ... This is one of the best new shows of the year.

There’s a LOT going on in each episode of “City of Angels,” and some storylines aren’t as compelling as others. Still, this is an appropriately terrifying next chapter in the “Penny Dreadful” series.

Series Has Laughs, Thrills. [22 March 1995, p.49]

An addictive murder mystery with terrific performances, some chilling twists and turns — and a shocking finale that veers close to flying off the rails but is kinda great given everything that has already transpired.

From the sublime to the magically ridiculous, we go to Xanabu Ranch, a sprawling property featuring a jarringly colorful structure with bright red pagodas jutting out from the western edge of the Santa Monica Mountains.

The cast handles the whip-smart dialogue perfectly. It’s hardly a surprise Barris and Rashida Jones are terrific, but it ain’t easy finding a half-dozen young to very young actors who are so authentic, so skilled at comedic timing, so good at creating original characters who are believable even in his heightened comedic atmosphere. And oh, the subjects “#blackAF” tackles with hilarious, unblinking truth and humor.

If anything each episode left me wanting more. Not only were the Bulls a team for the ages, they also gave us a sports soap opera for the ages.

“Mrs. America” showrunner Dahvi Waller expertly captures the historic feminist movement of the 1970s while juggling multiple storylines. ... There are times when Phyllis’ flintiness and her often wildly hyperbolic and convoluted reasoning make her nearly unbearable, but Blanchett is far too good to allow Phyllis to become a caricature. “Mrs. America” isn’t exactly a sympathetic portrayal, but it’s a fair one.

I like these two [hosts], even though they seem awfully sober at the end of their tasting sessions. ... The contestants are an eclectic, likable bunch, with the requisite intriguing reality-show background stories.

It takes a while for “Run” to find its footing — is this a drama with comedy, or a comedic farce with drama? — but when events heat up, we get some fantastically funny set pieces, including the brutal demise of one particular player. This is a well-filmed show.

Everybody has an opinion or a gut feeling or a theory in the engrossing, sobering HBO five-part docu-series.

“Kill Chain” is at times a bit dry and tough to track, what will all the techno-terms and cyber-chat, so to speak. But in its most effective moments, it’s like something out of a dramatic/comedic feature film on the order of “The Big Short.” Our jaws drop as we learn stunning truths about America’s messy, outmoded and far too vulnerable voting system.

In Pat Kondelis’ meticulously crafted and sometimes farcically funny documentary, Dawkins tells his side of the story in great detail. ... At times “The Scheme” goes so deep into the weeds it’s tough to keep track of all the characters and the web of corruption, though some charts and graphics prove to be helpful.

There was a bit of a stumble in Season 2, but with Season 3, I’m pleased to report we’re back in business. ... [Julia Garner] continues to deliver shattering work as the whip-smart, fierce and tough but also vulnerable Ruth, who remains the most sympathetic character on the show.

Chilling.