Sonia Saraiya

Line Of Duty makes an excellent effort at modern British life. It does fall short in places, but I give it a lot of credit for trying.

Starz’s Howards End is a syrupy effort--golden and sweet and a little gummy. This latest adaptation is an indication that without Forster’s boundless humanity in every detail, the plot points of “Howards End” crash together in something approaching melodrama.

Sarcar and Braff have minimal chemistry, but the story elements about Rooni’s attempt to make sense of Alex’s decisions and help him on this journey work well enough. Both kids are scene-stealingly cute, in different ways.

While the attention to the ongoing arc for Lena and Martin is sweet and at times heartfelt, the week-to-week comedy--which focuses on their three alliteratively named children, Mae, Mason, and Milo--falls flat.

With just three episodes granted to critics, it’s hard to anticipate where this imaginative history piece will go. But for once, this is a story that feels like it might be worth the investment. It’s offering multiple thematic layers for entry--including a pretty bonkers magical realist layer, starring an apparently omniscient statue-performer, that maybe has to be seen to be believed. But maybe best of all, Trust offers a plot with significant dramatic stakes, even if the end is already a foregone conclusion.

Station 19 offers a distinctly Shondaland twist on the fire station drama, without resorting to the gimmicks of “Scandal,” “How to Get Away with Murder,” or the latest attempt “For the People.” The new drama dials down the heightened emotions and quicksilver banter that are hallmarks of the Rhimes brand for a sturdier, subtler story. ... A cut above the competition.

Unfortunately, the revived series is a bit rough around the edges. Not in terms of its humor or content, which are remarkably well-adapted for a modern audience, but in terms of its pure execution; it’s undoubtedly quite difficult to return to the rhythms of a sitcom that debuted 29 years ago. The timing all feels a little off; the transitions are abrupt, the dialogue layers unevenly, and the punch lines don’t land.

Unlike Rhimes’ best shows, For the People lacks even a modicum of subtlety--a subtlety often provided by the lead actor, be it Viola Davis or Kerry Washington. It’s zingy, and follows the right patterns, but For the People is almost impossible to invest in.

The Last O.G. struggles to reconcile its inherent tragedy with slightly crass comedy. In any given scene, it’s a toss-up as to which side will win out. ... Still, when the show is good, it’s so good.

The exceptionally diverse cast brings a lot to the table, and the writing is smart and fresh. But right now it’s a bit too disjointed to be a complete success.