The reviews for Apple TV Plus´ first four original series – “The Morning Show,” “See,” “Dickinson” and “For All Mankind” – dropped on Monday morning, providing the first takes on Apple´s original TV content strategy. “The Morning Show,” starring Jennifer Aniston, Reese Witherspoon and Steve Carell, follows a popular news program grappling with the aftermath of a sexual misconduct scandal; “See” stars Jason Momoa in a world where the human race has lost its sense of sight; “Dickinson” follows Hailee Steinfeld as a young Emily Dickinson in a coming-of-age comedy; and “For All Mankind” imagines an alternate history in which the space race never ended. “The Morning Show” Taking on a number of provocative topics, including and especially gender issues emanating from the toxic swamp of the breakfast-hour television industry, “The Morning Show” is perpetually on the human side, punting on the questions it itself puts forward in favor of airily treating them as too complicated. It´s early days for the show, whose first three episodes were provided to critics. But it´s hard to imagine that viewers excited by a series that promises to take on so much being satisfied by the exhaustion that bleeds out of the writers´ room onto the screen. The show gives up on its potential before it´s really underway, substituting career machinations for something more nourishing. “See” “See,” a pure genre exercise originating from the mind of writer Steven Knight, sorely craves the sort of pure structural integrity that source material can provide. Spiraling away from narrative control as its first three episodes unreel, this series, about a post-apocalyptic future in which nearly everyone is blind, wastes the time of Jason Momoa and Alfre Woodard, among others, on a story that starts from a position of fun, giddy strangeness and drags itself forward at a lugubrious pace. Source material would have provided structure (which many original properties have, but this one certainly does not). It also might have provided a control of tone. Knight, director/EP Francis Lawrence, and showrunner Dan Shotz have made a show whose elaborate look and grave tone aim for “Game of Thrones” but whose content is lower of brow and, sadly, of quality. “Dickinson” Watching “Dickinson” is a strange experience, and not just because it´s a deliberately strange retelling of poet Emily Dickinson´s life complete with bass-heavy needle drops and hallucinations of Death as a man with a Cheshire Cat smirk (played by, this is true, Wiz Khalifa). For all the big creative swings the new Apple TV Plus series takes, it feels suspended between several different approaches without committing to a single one. It´s not a comedy, nor a drama, nor even quite a “dramedy.” It´s at least adjacent to a teen show in the vein of a high school series you might find on the CW, until it´s not. It´s not parody, nor entirely sincere. It´s possible to find a unique space amidst all the set categories within television, but at least in its first three episodes, “Dickinson” has trouble doing so outside its basic premise, which boils down to, “what if Emily Dickinson could literally call `bullshit´ on the patriarchy?” If at one point Emily (played by executive producer Hailee Steinfeld) emerged from her stately Amherst home in a Forever 21 shirt emblazoned with “#FEMINIST,” it wouldn´t be the least bit surprising. “For All Mankind” Imagine a world where Neil Armstrong was not the first man on the moon and the Soviet Union won the space race instead. That’s the premise of “For All Mankind,” one of the first original television series from Apple Inc. It sets the stage for an alternate history with sweeping ripple effects on everything from women’s rights and the environment to the Vietnam War. “The competition with the Soviet Union moves out into space, the United States gets out of Vietnam early to commit more resources to the space program,” said executive producer Ronald D. Moore, who also created the series. “Society shifts, and along the way politics and history shift to take the U.S. and the world on a more positive and optimistic path,” he added. “For All Mankind,” which launches on the Apple TV+ streaming service on Friday, envisages a world where women, including black women, become astronauts and engines of social change decades before they did in real life, the Soviet Union never invades Afghanistan, and billions more dollars are poured into technology. “Research into solar technology and battery technology starts to move clean energy forwards decades before it was a real thing in the United States. The fossil fuel industry starts to collapse so climate change is less of a pressing issue,” Moore said. Apple is launching Apple TV+ in more than 100 markets for an initial $5 a month with eight original shows, including “The Morning Show,” a behind-the-scenes television drama, and sci-fi series “See.” Its initial catalogue is dwarfed by Netflix Inc , Amazon Studios and Walt Disney Co’s Disney+ streaming service, which launches on Nov. 15. Moore is known for his work on sci-fi series like “Battlestar Galactica” and “Star Trek: Deep Space Nine” but said “For All Mankind” could not be more different. “There are no aliens coming down, we aren’t going to have a time vortex and all that kind of stuff … This show has a very optimistic outlook,” he said. The 10-episode drama series is as ambitious as it is global, with a diverse cast and also a strong immigration storyline featuring a Mexican girl and her father. They cross the U.S. border and both become part of NASA. “We become a valuable part of society as immigrants instead of just being a nuisance or taking someone else’s jobs. In this show, we are trying to give an optimistic message in terms of immigrants not being treated as second-class citizens,” said Arturo del Puerto, who plays the Mexican dad Octavio Rosales. Apple and the producers declined to give production costs but Moore called it a high-budget show and said Apple had been “generous with its resources.” Meticulous attention was paid to recreating NASA’s Mission Control room in the late 1960s from the original architect’s plans, while a team of space historians and former astronauts and administrators acted as consultants to the writers, actors and set builders. “This is a science fiction idea, an alternate history, but other than that everything else in the show is played in a very real key,” said Moore.