Cristina Escobar

Hulu’s “Alice & Steve” is wild, uneven, very funny, and surprisingly insightful, even if it’s the kind of show you think you might hate.

As the title implies, Orna’s love never wavers, but the shocks and the questions linger long after the credits are done rolling. Which is to say “Unconditional” is smart, the type of thing you have to give your full attention to (particularly if, like me, you’re reading the Hebrew and Russian subtitles).

“Malcolm in the Middle: Life is Still Unfair” is loud, uncouth, heartfelt, uneven, and hilarious. It carries on the tradition of the original that way. And like the original, it’s worth a watch.

Its aesthetic is more of your local nativity play, the kind where kids perform with blankets over their heads, secured with braided ribbons (if they’re lucky). .... There’s not enough in “The Faithful” to entice viewers who aren’t hungry to see Bible stories on screen.

“RJ Decker” delivers exactly what you want out of this kind of show. Mysteries that wrap up with the satisfaction of completing a 500-piece puzzle. Characters with depth, charisma, and chemistry. A unique setting that colors it all.

Not every show needs to be genre-pushing, thought-provoking art. But if you’re not going to make something new, you do at least need to make something quality. And an important part of quality is understanding the audience, moment, and subject matter. “CIA” does none of that.

Their [Hannah and Owen's] relationship is as nonsensical as the rest. Which isn’t to say there’s nothing to enjoy here. There’s a reason Jennifer Garner is famous. She’s able to make her character exude maternal care while also having a sociopath’s knack for lying and coming up with the right thing to say to get what she wants.

All in all, this show is best appreciated as a wild ride. Murphy excels at world-building, and his skills are on full display here. Yes, there are some annoying tics (like overusing the theme song), but the show, for all its faults, is still an immersive experience.

Unfortunately, “Best Medicine” fails to duplicate its source material’s charm. It translates the scaffolding, but none of the wry humor or heart, giving us a hackneyed, low-stakes adaptation.

There is pain, but no payoff. After walking through a horror-house-of-mirrors with domestic violence lurking in every shadow, “Little Disasters” goes full Scooby-Doo with its ending.