WHAT WORKS: Michael Weatherly has arrived at a nice balance of cocksure and charming, especially as evidenced opposite Jill Flint in the “Callisto” episode. TAC’s tech, heavy-handed in the pilot, is being better portioned out. For a show that could live or die based on guest stars, casting has been solid.
WHAT NEEDS WORK: Supporting characters still scream to be fleshed out; namely, what does Benny do exactly?
WHAT WORKS: Hayley Atwell’s Hayes Morrison is every bit the unpredictable, self-destructive force we were promised, and we relish her interactions with her mother (a former First Lady), her boss (now also her down-low lover) and her brother (who’s determined to keep her on the straight and narrow, even if he knows it’s a futile effort).
WHAT NEEDS WORK: Pretty much everything else. Neither Hayes’ teammates nor the cases they pursue are nearly as interesting as Hayes’ life as an ill-behaved former First Kid. Those side stories need to pick up — and fast.
WHAT’S WORKING: “Everyman” Tom Kirkman’s initiation-by-fire has been engaging, as he struggles to maintain (yet occasionally concedes) his ideals when locking horns with those who oppose his accidental presidency. Maggie Q’s FBI investigation is taking some interesting turns, though it needs a bit more play. Virginia Madsen has us very afraid, as the other designated survivor.
WHAT NEEDS WORK: We’re still not feeling anything close to 9/11 levels of devastating aftermath. Also, hopefully the drug-peddling son has his head on straight now, because we were about to veto the lad.
WHAT WORKS: Riley Smith and Peyton List never share the same frame, but their characters’ father-daughter bond shines through their decades-spanning separation. Raimy and Frank’s personal struggles at home and emotional turmoil remain front and center, grounding the fantastical premise.
WHAT NEEDS WORK: Between the death of Raimy’s mother and the changes to the case the detectives are investigating in their respective timelines, there’s a strong danger of the show being overwhelmed by butterfly effects. And the less said about the old age makeup, the better.
WHAT WORKS: Kristen Bell and William Jackson Harper have great comic chemistry as the ethically challenged Eleanor and her endlessly patient instructor Chidi. The snappy dialogue continues to provide big laughs, and all the heavenly details of The Good Place — a restaurant that serves your favorite meal ever! — are a weekly delight.
WHAT NEEDS WORK: The surreal signs of trouble in The Good Place, and the heavy CGI that comes with them, feel like they’re from a different, less funny show. And the flashbacks to everyone’s earthly lives are strangely flat.
WHAT WORKS: Kevin and Donna’s relationship is appreciably less hostile than Doug and Carrie’s became on The King of Queens. Episodes about Kevin trying to make more decisions around the house and infiltrating Donna’s book club were genuinely funny.
WHAT NEEDS WORK: Pretty much the entire supporting cast, which includes three underdeveloped best friends and two younger kids who are practically used as set dressing. Why James’ real-life brother and former KoQ co-star Gary Valentine isn’t featured more is a head-scratcher.
WHAT WORKS: Anytime Damon Wayans’ Murtaugh and Clayne Crawford’s Riggs are ribbing each other/riffing off each other, the show sings. Trish’s slightly maternal relationship with her husband’s reckless partner oddly works, too.
WHAT NEEDS WORK: Crawford is doing good, sobering work with the glimpses into Riggs’ wounded soul. But then the series will launch into one of its flashy, larger-than-life action sequences (that pool jump alone!), and the whole endeavor feels frothier than it probably should. Also: Give Jordana Brewster more to do, please and thank you.
WHAT WORKS: Lucas Till and George Eads deliver a lively (if sometimes oversold) bromance; we’d love (and frankly need) much more backstory on it. Tristin Mays continues to steal scenes as sassy computer whiz Riley.
WHAT NEEDS WORK: Mac’s better hacks are good yet never quite have a “Wow!” factor, while the lightweight ones are shrug-worthy. (Has the Internet overinformed us since the ‘90s?) Team leader Thornton still comes off as a tagalong, when Sandrine Holt has so much more to offer.
WHAT WORKS: Despite the potential doomsday scenario at the center of its plot, the apocalyptic rom-com remains a joyous and uplifting hour. The third episode deftly dealt with Evie’s concerns that her new beau is just plain crazy, while also giving Xavier a leg to stand on.
WHAT NEEDS WORK: Evie’s ex Timothy seems to have forgotten that he intended to move on – what happened to that cute bartender that obviously had the hots for him? – and on occasion, the show veers too much into wacky territory (see: Xavier’s cousin).
WHAT WORKS: A bonafide guilty pleasure, Notorious consistently makes good on its promise of eye candy and soapy twists. Piper Perabo and Daniel Sunjata’s chemistry is borderline electric, and Kate Jennings Grant is a campy delight.
WHAT NEEDS WORK: Notorious employs eight series regulars, but the aforementioned three end up doing all the heavy lifting. J. August Richards is criminally underused, while less-valuable players — specifically Aimee Teegarden and Ryan Guzman — are given far more screen time than their attractive-but-dull characters deserve. (Valuing style over substance is a recurring problem for the series.)
WHAT WORKS: Kylie Bunbury is believable as the first female pitcher in Major League Baseball. The baseball footage looks slick. And Mark-Paul Gosselaar is a revelation as almost-past-his-prime catcher Mike Lawson.
WHAT NEEDS WORK: Ginny’s focus serves her well on the mound, but we wouldn’t mind seeing her cut loose a little more. Ditch the delving into Oscar’s home life. We bought a ticket to this game, and it wasn’t so we could see the general manager break his daughter’s heart. Oh, and more Blip and Evelyn action wouldn’t hurt, either.
WHAT WORKS: The cast of the sweet and tart comedy has gotten better with each episode, with the Dimeo children – played by Micah Fowler, Mason Cook and Kyla Kenedy – giving the Fresh off the Boat, Goldbergs, black-ish etc. kids a run for their money as ABC’s best young ensemble. The humor is clever and heartfelt without getting overly saccharine.
WHAT NEEDS WORK: If we have to nitpick, Minnie Driver’s character is a bit overly similar to ABC’s other sitcom smothers – but we totally get why she is that way.
WHAT WORKS: The show is unabashedly emotional without being schmaltzy, and this balance — as well as the evenhanded use of flashback — serves it well. All of the principal actors are working at the top of their game, with Sterling K. Brown, Mandy Moore and Justin Hartley doing some of the best work of their careers. Best of all, the series keys into the notion that although hurt feelings may be temporarily resolved in the moment, family dynamics have a way of causing drama throughout a lifetime.
WHAT NEEDS WORK: The storyline for Chrissy Metz’s Kate needs to be about more than her weight. And we’d love for all of the Pearson kids to be in the same room at the same time (hopefully on a regular basis?).
WHAT WORKS: Abigail Spencer, Matt Lanter and Malcolm Barrett exhibit a fun, easy chemistry and quickly established distinct characters with unique POVs on their incredible mission. Eras have effectively been replicated, with just the right amount of winky in-jokes. The time machine “blinking” in and out of scenes remains very cool.
WHAT NEEDS WORK: Too many of the early episodes have culminated in a clunky, meaningless shootout with Flynn. If we’re not going to kill him (as repeatedly ordered to!), the show needs to explain, and soon, why that will be. Speaking of Flynn: If he’s so misunderstood, it’s well past time for Lucy to flat-out ask during one of their regular run-ins, “What are you up to?”