Tambay Obenson

“Noughts + Crosses” should be a far more uncomfortable, necessary watch in uncertain times of peak racial and social unrest. It’s clearly striving for that, but it isn’t as radical as it could be.

“61st Street” doesn’t make any transgressive choices in its approach to story, style, and/or structure in order to separate itself from the assembly line of similar shows. ... But the bravado performances from its starring cast, and straightforward, non-sensationalized handling of the story — both in the writing and directing — should appeal to hopeful viewers looking for signs of morality and bravery especially within the main branches of government.

It encourages conversation about mortality, passing along wisdom and wealth across generations, honoring the sacrifices of others, and anticipating the promises of the future. It just takes an unnecessarily laborious path to communicate its themes.

It becomes a narrative house of mirrors, as the viewer is prompted to question the effectiveness of each character’s motives and secrets before yet another potential season-ending twist, the kind of which Shyamalan has become infamous.

In a bid to be inclusive, it tries to do too much and isn’t navigated by a clear narrative voice. It’s not the first, and likely won’t be the last account of Emmett Till’s murder and aftermath. It’s unfortunate that it doesn’t do enough to separate itself from the deluge.

It’s ultimately a middling, entirely unnecessary new take on Verne’s classic adventure novel, and its main cast seems aware they’re starring in what amounts to an afterschool special.

There is some sense of satisfaction to be derived from the last two episodes as it clunkily solves its many mysteries, even if it’s of a self-congratulatory nature for making it that far into the series. But it takes a laborious path to get there, and by the time the gift is fully unwrapped, in a lengthy, exposition-heavy confession, the surprise is, if not anticlimactic, then just plain silly.

“1883” is anything but nuanced. It’s an R-rated “Little House on the Prairie,” even though that heavy-handed 1970s–’80s series, as problematic as it was, handled storylines about settler prejudices and gender inequality more adroitly than it’s given credit for. ... “1883” just feels like a series out of time.

There’s enough early momentum supported by convincing performances, chemistry between the two leads, a setting that is its own character, vampire encounters, and general whoopee vibrations that indicate how much fun co-creators Thornton and Fletcher likely had in making it. It’s palpable and contagious. Let’s hope it doesn’t later betray the promise it kicks off with.

“Book II” plucks from low-hanging fruit, appealing to its audience’s baser instincts, which isn’t a narrative sin; but the fast-paced, plot-driven spinoff lacks an emotional hook.