Liam Mathews

The show is different enough from what came before — and well-made enough — to justify its existence. Only by a little bit, but that's all it needs, because its ambitions are relatively modest.

The show they ultimately made is funny and well-acted and observant about the ways people inflict pain on each other, but doesn’t meet the moment in which it exists.

The Madison is likely to go down as an oddity in Sheridan's body of work — a smaller-scale show where he tried something different and got out of his comfort zone. (Who would have ever thought Sheridan would write something set in New York City?) But the thing about experiments is that they don't always work. And The Madison could have spent more time in the lab before being released into the wild.

HBO only sent four of seven episodes for review, but if it sticks the landing — and it probably will — it will be one of the best shows of the year.

Overall, by the lowered standards of revivals, Scrubs is off to a promising start.

“Memory of a Killer” isn’t must-see TV, but it has potential as a darkly entertaining antihero thriller in the vein of “Dexter.” If it can maintain its pulpy pace without losing control of its unwieldy plot, it might be able to wring a few seasons out of its premise.

A lethargic plot can be somewhat offset by compelling characters, but unfortunately Dunk and Egg aren't interesting enough to carry the show.

The new episode is a retrospective of a retrospective, which could feel inessential, but it’s the episode that finds McCartney, Harrison and Starr most directly dealing with Lennon’s death. His tragic absence still looms large over the whole project, and it’s very moving to see his bandmates work out their feelings about his loss the best way they know how — through music.

Chad Powers pulls too much, too obviously from Eastbound & Down, Ted Lasso, and a bunch of other movies and shows to fully feel like its own thing, but it's a consistently funny, occasionally surprising comedy. It's a dark outlier in the Ted Lasso subgenre.

“Black Rabbit” isn’t bad, exactly, but it’s never as good as it could or should be. There’s a mismatch between how seriously it presents itself, with its visual flair and familial themes, and its imprecision in plot and setting.