The fifth and final season of BBC America’s Orphan Black finds Emmy winner Tatiana Maslany turning in some of her most subtle, authentic work. ... The mythology of the show, like many of these genre shows (“Lost,” “Alias”), can be more convoluted than the tax code.

Dying drops a killer set but doesn’t know how to close the room.

Some comedies lull you to sleep; The Carmichael Show gives you a slap, pushes your head out the door and still gives you something to laugh about.

World of Dance has stars, style and spunk. It’s also wildly over­produced and seems a bit out of step.

The writing is so scattered, it’s hard to find anyone, Montague or Capulet, to root for.

Its three-hour remake is poorly cast, badly choreographed and auto-tuned to an inch of its life, with a “La La Land”-inspired plot twist that is sure to make no one happy.

Twin Peaks: The Return was creepy, surreal, bizarre, and often unintelligible. Just like its predecessor.

The film jumps erratically across the years to show how Madoff’s arrest in 2008 for a $65 billion Ponzi scheme ruined his family, depicted here as much victims as those who trusted Madoff and lost their fortunes. Yet it’s as if you are watching the work of a first-time director who read about his craft off a flash card.

The weird, creepy comedy about the world of a struggling copy writer from her dog’s perspective. ... Three episodes of this show and I was fantasizing about dropping this flea bag off at a shelter and speeding away. Oh, some of the bipeds here are endearing, when they get their moments.

While I share Aziz Ansari’s appreciation for the people, the food and the sights, I really hope he and Netflix got a nice tax break for the first two highly skippable episodes of his otherwise enjoyable comedy series Master of None. ... Ansari proves his show is best when it tells a little story about a large idea.

It’s a dizzying, bewildering, wonderful joy to watch their communal moments.

Gods has its own dark humor--as when the erratic widow of Shadow’s best friend tries to have sex with him in a cemetery. “I’m trying to get my dignity back here,” she says. Gods takes delight in magnifying images hundredfold--a match being struck, a tile being cleaned. This can get a bit precious.

A loopy, likable new NBC comedy.

The script and the pacing do not always serve her well, but [Oprah Winfrey] delivers her very best, as fans--and Winfrey herself--have come to expect.

The Handmaid’s Tale has a lot to say in 10 episodes. Clear your schedule for one of the best series of 2017.

Giving McGregor two roles seems at first like an oddball casting choice for a show that doesn’t need any more weirdness. Two episodes aren’t enough to say whether it is justified as more than Emmy bait for McGregor. Of the two roles, he seems more convincing as Ray. Thewlis oozes menace and charm as a mobster who has seen the world. ... Pack light. Fargo moves fast.

Return of the Mac looks like a pleasant family project, one they can look back on fondly. For the rest of us, it’s just a step up from watching someone else’s home movies.

One of the smartest dumb shows, TBS’ Angie Tribeca, created by Mass. natives Steve and Nancy Carell, returns for a third season tomorrow night with the same silly sight gags, absurd jokes and a parade of guest stars coming out to play.

The Son rises and sets on Brosnan’s work. Everything else is distraction.

Later episodes suggest Brockmire will try to become a better person. That’s a bad call. The fun is watching him spin out of control like a drunk pitcher’s fastball.

Even Bravo has too much class for this four-hour misery. ... Holmes and Donahue share some affecting moments, but the miniseries has no imagination and re-creates tabloid snapshots.

You don’t need a CGI delusion whose one skill is pratfalls. Elfman is game and charming, and Scarrwener could be the reincarnation of Janeane Garofalo. Imaginary Mary just needs to go away.

Forgive the salacious hook for a show that is not so much titillating as it is gripping, surprising, at times humorous and even a bit thought-provoking when it comes to exploring how sex is just as valuable as money or power.

Shots Fired’s biggest sin is its lack of urgency. For a story this topical, Shots seems constructed like a LEGO model--one scene is pressed onto another.

Judging from the first two episodes of the 10-hour season, the show is riddled with characterizations that are meant to be humorous but are just dumb or offensive.

In its casting, Trial & Error gets every­thing right.

It’s like attempting to empty the ocean with a bucket. But this season of“American Crime makes the case if you aren’t trying, you’re the problem.

The challenges are right out of “Survivor” and MTV’s much missed “Road Rules”--so much so that loyal fans will be able to scream out the season, if not the episode. Some of the game rules seem arbitrary, even for the genre.