Living Biblically is made in such a way that it won’t offend most anyone. It also won’t make many laugh. That’s splitting the difference in all the wrong ways. The show is exhausting.

For all the story’s shortcomings, you’ll come back for the acting.

When you title a show “Everything Sucks!” it can be viewed as an act of defiance or truth in advertising. Netflix’s new dramedy manages both in this sludge of teen angst.

The show flexes its political correctness so hard, it forgets the most important part of TV drama is showing, not telling. That changes, for a few moments next week, when Ashley and Kristen are arrested and suffer far different ordeals from a booking officer. It’s a welcome rarity, and proof Ball can craft compelling drama, when he chooses to. Most of the characters on Here and Now self-medicate. You might feel the same urge after spending some time with this fractured family.

When the funniest things about a comedy are the cameos, it’s time to go back to the drawing board. Or in the case of NBC’s new sitcom A.P. Bio, back to the chalkboard.

The longer you stick with this nine-episode season, the more the players reveal themselves. It’s a big part of how Britannia,”written and co-created by Jez Butterworth (“Black Mass,” “Edge of Tomorrow”), transcends its genre roots.

You can keep “The Alienist” at arm’s length because it is set more than 100 years in the past. No such luck with “Bellevue.” The brutality, shock and outrage ring all too true.

There’s a real disconnect in this telling. With the exception of Sara and two junior detectives, fraternal twins ostracized on the force because they are Jewish, the story seems as dry as a box of Wheat Thins. The scenery is set. The people are dressed for their parts. But The Alienist rarely gets moving.

It's a drama. ... The Resident turns out to be hilarious in so many ways, but first you must get through the horror.

Ramirez does an outstanding job capturing a gentle man and his passion for his work. Penelope Cruz (“Vicky Cristina Barcelona”) co-stars as his doting sister Donatella, who has absolutely no use for Antonio. (That animosity is well documented.) Criss’ portrayal is brittle and needy (and not such a far stretch from the character he played on Murphy’s “Glee”).

Not nearly as bright as “Supergirl,” as angst-ridden as “Arrow” or as campy as “The Flash,” “Black Lightning” lights its own path--by being a story about the debt we owe to our community and the importance of inspiration.

The two have so much loathing for themselves, Alone Together can be downright depressing. Just the quality you don’t want from a sitcom. You might end up hating yourself--for wasting your time.

Showtime’s The Chi floats like a worthy successor to “The Wire” and then descends into the sort of bathos of a Tyler Perry production.

If this truly is the last season of The X-Files--and star Gillian Anderson has said it is, at least for her--the Fox sci-fi conspiracy thriller is going out giving what fans want. Mostly. In this, its 11th season, the show brings back familiar faces, opens some new mysteries, solves others and gives plenty of reasons to ship FBI agents Fox Mulder (David Duchovny) and Dana Scully (Anderson)’s quirky relationship to the stars and back.

The Last Post seems to be one-third military thriller and two-thirds soap opera. Some sequences are harrowing. Others strain plausibility.

A true heir to Serling’s vision of reality taking a sharp detour into the unknown.

The staging was clever and fun and the performances ranged from good to fantastic.

Some of Knightfall’s CGI action, at least in the cut the network offered to critics, is ambitious but unconvincing. When the show settles the swordplay to push plot around, Knightfall rises to far-fetched.

Happy! captures the tone “Marvel’s the Punisher” should have aspired to: grisly, gross and nutty without abandon.

Dark’s acting is serviceable, the musical choices questionable and the location shooting in Berlin is ominous. The jump scares are out of an ’80s slasher film and get tiresome.

She’s Gotta Have It proves a charismatic cast can make a shaky premise watchable.

Godless might remind you of HBO’s still lamented “Deadwood” in its expert plotting.

It’s a dank, depressing series made on too little money that could have been vastly improved by cutting the episode order by at least a third. At 13 hours, you’ll feel as if you’re the one being punished for something.

Everyone seems to be down to their last nerve here. No Activity might have that same effect on you.

His [creator/writer/executive producer Tony Tost's] critique of capitalism is overt and bracing for scripted TV, and perhaps, like many science-fiction shows, from “Star Trek” to “Black Mirror,” its faraway setting will make its message more palatable. But the weight is undercut by moments that border on black comedy.

Unfortunately, it’s not especially funny. It’s one dark, depressing look at a SMILF.

The real Grace was released from prison after 30 years of incarceration, reportedly moved to New York and was lost to the tides of history. “Alias Grace,” however, will leave you pondering the mysteries of this woman for a long time to come.

Flint is an admirable salute to the power of grass-roots activism as well as a laudable public service message.