The most impressive quality "The 4400" boasts is the fact that, after tonight's episode, there are any number of directions the drama could head. There hasn't been anything this wide-open unpredictable on TV in years, and for that reason alone, it's worth overlooking the premise's flaws and following this wherever it may head. [11 July 2004]

In its own way, Wonderland is as visceral in its milieu and sliding-scale morality as HBO's "Oz." [30 March 2000, p.L5]

Some of the jokes here will jolt you from the typical sitcom complacency - no slack-jawed viewing allowed here - and if each episode doesn't quite find a moment of redemption after mining these hearts of darkness, they leave you amused enough that you can continue soldiering on in your own imperfect life. [20 March 2000]

For fans of amply endowed eye candy and anatomy-centered gags of the PG-13 variety, it's Nirvana. [14 March 2000]

Its cleverness may be a little too nuanced and low-key for mainstream audiences - the show probably belongs on a cable network, where it would be a programming highlight - instead of a broadcaster like NBC. But it's good fun to see our deity and demon bicker over minutiae while Bob looks on without comprehension. [9 March 2000]

[Westworld] impressively returns. ... The series usually hits the mark with strong storytelling that gives you a lot to ponder after the shooting is over. And the performances are outstanding. This year, the females are leading the way. Newton is a joy to watch and Wood shimmers, clearly embracing the new Delores.

After watching that first episode, we can tell you that it’s a solid return, and definitely stronger than its last few seasons. A good part of that is the chemistry of the new judges--pop star Katy Perry, country singer Luke Bryan and Mr. “All Night Long” himself, Lionel Richie--with the contestants who walk into the room to audition and with each other.

It’s Ritter that gives Jessica Jones its punch. ... This season’s story--at least in the five episodes available for review--builds to a deeper secret, and its buttressed by strong supporting players. Carrie-Ann Moss returns as Jessica’s attorney, who is fighting her own demons.

The Looming Tower is compelling television, even as it marches toward its tragic end.

Seven Seconds can be a bit obvious at times--a shot of blood in the snow with the Statue of Liberty seen off in the distance--but ultimately it settles into a worthwhile character-driven crime thriller.

Britannia doesn’t slow down long enough to be as engaging as the HBO show, but ultimately, it has enough going for it that if you like such fare--not everyone is a “GOT” fan--you can get into the Amazon show.

While none of the information in Dirty Money is particularly new, the episodes--directed by different filmmakers--solidly lay out the stories to make them understandable. However, there is something to be said about getting all this information in one sitting instead of in bits and pieces, and in this Dirty Money delivers.

The series needed someone with the glamor of Stone to be the centerpiece of the mystery, even if she isn’t the largest piece of Mosaic. The series is not the smoothest of fits, but it has enough shiny parts to keep it interesting.

Whereas Netflix’s “Black Mirror” deals with near-future technology angst, the Amazon series is more speculative. Each episode differs not only in look but in tone. So in this binge climate, it is nice having something worth binging that you can also take your time with, and “Philip K. Dick’s Electric Dreams” is that.

The thing that The End of the F***ing World smartly does is never let you forget that Jim and Alyssa are like wild animals you think you have tamed, at any moment they might turn on you and bite. Also, kudos to the series for its offbeat selections of songs.

Midway through the first episode of the 11th season of “The X-Files,” FBI agent Dana Scully (Gillian Anderson) clutches her head and moans, “What’s going on here?” We can sympathize. Up until then, the episode had played like a frenetic trailer, filled with crazy action and angst. In subsequent episodes, the Chris Carter series settles down to familiar entertaining territory, but there is a danger you might turn it off before then.

The series has something of a “True Lies” feel, with its plot winking at itself. There is plenty of action and suspense and even a “Timecop” twist. J-C, though, is a different sort of action-figure, filled with more self-doubt and regret then you usually see in the movies. But even with that, the series smartly never takes itself too seriously.

Stephen King described Black Mirror as “terrifying, funny, intelligent. It’s like the ‘Twilight Zone,’ only rated R.” That’s actually giving it short shrift. ... What makes the series special is how there is always one more twist that you didn’t expect in the same way there is always some implication--usually for ill--in a new invention that we didn’t think of. This new season will only add to the acclaim.

The Crown succeeds because it gives us this fresh perspective on the world at that time, and in many ways, the events of the royals then are not that far from what’s happening today. This Crown continues to rule.

Both events [Watergate and the Pentagon Papers] are covered extensively in The Newspaperman. There is not a lot new there, but it’s interesting to hear it from Bradlee’s perspective.

If you liked the series--you had eight years to find out--you’ll like the movie.

The series is a wild ride, an old-fashioned Western with a contemporary edge. It carries the sweep and breadth of a grand tale with the larger-than-life ornery characters you expect to find living and dying in that rugged, lonely land.

In Future Man, it bounces amusingly along for a while and suddenly becomes weirdly sci-fi serious. In the third episode, “A Riphole in Time,” there’s a plot twist that makes you wonder what you signed up for. Still, Future Man is intriguing enough to keep you going, but I wouldn’t call it one to binge.

Geere gives a very lively performance and the rest of the cast is also strong. Not the happiest of topics, but Ill Behaviour, puts an interesting face on it.

Damnation has laid enough groundwork for a solid series, and the first episode ends with a kicker about Seth and Creeley’s relationship.

Surprisingly affecting. ... The series from Peter Farrelly (“Dumb and Dumber,” “There’s Something About Mary”) and Bobby Mort (“The Colbert Report”) has an appealing likeability to it. Mostly, that is thanks to Livingston who always keeps the character real.

There may be a little more unpacking to do, but Dirk Gently has its own charming weirdness that you either go with or don’t. What’s fun about the story is that every character is obsessed with their own failings and problems while the cosmos keeps playing tricks on them.

The series is a slow burner, but the noir mystery and Laurie keep the flames going.

To its credit, SEAL Team attempts to examine the home life of the military men, but most of the story is devoted to action rather than drama. The action has a gritty “Zero Dark Thirty” look to it, but when the show does focus on the domestic side, it doesn’t dive as deep as History’s “Six,” another show about SEALs. ... It’s solid, if not going into new territory.

Transparent succeeds most of the time. The cast--led by Tambor--are terrific as usual. This year there are some rich, funny and moving moments, and the series continues to take chances other shows wouldn’t dare.

What anchors Better Things is the warmth Sam feels for her family. What makes it works are the tiny human moments.

Don’t expect a lot of out-loud laughs with the series, but it is constantly amusing.

No one is arguing that The Deuce isn’t entertaining, if slightly cliched. But we shouldn’t pretend The Deuce is the truth. It would be easy to praise the series for being unjudgmental and focusing on the human elements. However, there was a lot of pain involved in that world, and the series is too carefully constructed for you to feel it.

Notaro’s great at deadpan one-liners, which is where most of the humor in the series is generated. Much of the rest of the time, it’s lightly situational.

You’re the Worst has always been in danger of growing too hip or too stale. So far the series has kept changing enough to avoid that. The early episodes of season four show promise. It seems some reckoning is on the way, but it could also signal the beginning of the end.

The series enjoys deconstructing superhero tropes but in its own offbeat way. You will probably need a few episodes to get into “The Tick, but the first part of the first season builds up nicely. By Episode 6, the series is all powered up.

Halt and Catch Fire has always been an acquired taste. The mixture of personal dramas and the tech world doesn’t always go down easily. Some of that continues in the new season, but the new world of the Internet kicks some life into the story.

It’s a fine superhero adventure even if you don’t know all the characters. Just go with it. It may not be super, but it gets in its hits.

It isn’t cute, but it’s mostly sharp and engaging.

The 10-episode Mr. Mercedes isn’t a horror story. King’s tales are generally known for capturing middle-class angst, and the series has creepily translated that to the screen.

I can’t think of another show like Comrade Detective on the TV landscape, and while it’s a strange trip, it’s often a delightfully odd one.

The Amazon series can play like an old Hollywood movie one minute, self-consciously gabby and filled with witticisms. The next, it’s a smart glitzy contemporary soap opera or sly but telling commentary on the entertainment business. Sometimes it bounces a bit too much between the different aspects. Sometimes things mesh nicely, and the series is never boring.

The good news is that Ozark isn’t all that predictable and develops its own quirky rhythm. ... Even when the series seems to be drifting, it keeps luring you in.

I would suspect that those more familiar with Shakespeare’s plays and the times may appreciate Will a bit more than others. Still, the series is hardly a stuffy costume drama. The mostly young cast is quite good, and there is plenty of sex, violence, comedy and intrigue to keep it amusing for non-Shakespeare fans.

While the mysteries on Broadchurch are compelling, they can be a bit scattered at times, with some weird detours. Yet the magnetic performances of Tennant and Colman keep the series together; the two acclaimed actors are always able to navigate the show’s odder moments with interesting takes.

The show manages to be fun and wacky, funny, emotional with something to say.

It has a lovely lyrical wandering quality about it. This year, there are probably more smiles than laughs. The humor is less jokey and more organic (keeping with the food motif). The episodes are more themed than plotted, mostly a series of interconnected vignettes. Characters drop in and out.

Walley-Beckett doesn’t pander nor play down the darker elements in the character’s life. ... James and Thompson are great choices as the Cuthberts, neither of whom display much emotion, yet the veteran actors are quite skilled at revealing the characters’ inner feelings. The real find is McNulty. The young Irish-Canadian actress seems perfect for Anne with honesty in her performance.

Since each year is stand-alone it’s easy enough to enjoy Season 3 on its own. While the series boasts a good cast, it’s Welliver’s show. He brings a solid presence to the character of Bosch.

It’s still laugh-out-loud funny, the best comedy on TV. One episode will have her monitoring a free election in a former Soviet republic. The irony just drips. And all you can say about Louis-Dreyfus is that six isn’t too many.

It looks like this will be a fun season. The first episode is called “The Pilot,” and in its way reintroduces us to the Doctor by seeing him through Bill’s uninitiated eyes. ... Mackie, a relative unknown, proves instantly likable, and the character distinguishes itself from the other companions in the series.

Odenkirk is flat-out terrific at times, but the show hasn’t kicked into gear for me. On “Bad,” Bryan Cranston’s Walter White was in a desperate situation that unleashed his inner monster and diabolical genius. Meanwhile, the occasionally dense Saul is meandering toward his sugar-rush exile in Omaha.

The series has always moved between clever parody and outright silliness, but this year Archer seems to be paying more attention to the plot along with the jokes.

Five Came Back does not cover any new territory but puts together the story in a new focus. It is not simply about the filmmakers but about what they saw--the indelible images of war.

Coltrane, Waters and Riseborough are brilliant in this compelling drama.

It’s [the] weird but human moments that propel Patriot, created by Steven Conrad (“The Secret Life of Walter Mitty”), even as it keeps the spy-thriller plot simmering.

The show is competent for what it is. (Phelan and Rater know the territory.) And the series manages to address some real issues in evenhanded ways. So while it’s not my cup of tea, I wouldn’t write Doubt off.

It’s meant as escapism, not realpolitik, and we should have faith people know the difference. Yes, there are flaws in the series, but in the first three episodes it keeps you hooked.

There are enough pieces in place that should make final season of Black Sails a shiver-me-timbers fun ride.

The eight-part series, based on the popular children’s books by Daniel Handler, is delightfully weird or weirdly delightful, depending. The hourlong show can be both light and unexpectedly dark.

The show is fun, through, but kind of lightweight, a nice respite from an intense show like “Breaking Bad” or “The Americans.”

While it struts and frets and boasts some top-notch actors, I’m not sure it has anything in mind other than being weirdly entertaining.

As a film, it’s all over the place, but in some ways its crazy-quilt nature suits its subjects and succeeds as a touching portrait of a unique mother and daughter.

Trollhunters has a nice vibe to it. There is an ’80s “Goonies” flair, but it is also has intelligence and flashes of wit, such as when a creature hums “In the Hall of the Mountain King” by Edvard Grieg as it goes in for a kill, or when Toby finds out Juliet dies in “Romeo and Juliet.” Otherwise Trollhunters follows the formula for these sorts of stories, uncomfortable teen by day and superhero at night.

Season 2 definitely has more action and digs deeper into the mystery, at least in the five episodes made available.

The brilliant Black Mirror returns Friday for a third season--and its best one yet--on Netflix with six new episodes.

The series has the sophistication of PBS’s “Downton Abbey,” only with more laughs. There is something quite modern about the Durrells without it feeling false.

The fantasy-dramedy is cute enough, though it doesn’t have the endearing daffiness of “Jane.” Tori Anderson and Joshua Sasse, who play Evie and Xavier, have a nice chemistry.

Judging by the first episode, The Exorcist works as both a tribute to the original as well as on its own terms. There is something of a family drama inside the scares, which gives the idea of making a series out of it more staying power.

It looks like Sutherland has another winner on his hands.

Eventually, though, what emerges in the series is a nuanced--if slightly bizarre--portrait of a woman in distress.

The sheer exuberance of Speechless and the unsentimental way it approaches its premise ultimately makes the ABC family comedy likable, funny and even touching.

For the most part, Pitch is an engaging drama about a woman negotiating a man's world with the added glitz of big-time sports. Bunbury has the charisma needed for the role.

It’s off to a good start.

There is an old axiom that says you should not confuse sex with love. The fourth season of Masters of Sex lands squarely and entertainingly right in the middle of that potential mess.

During the first two years, Halt and Catch Fire has smoldered, sometimes frustratingly so, but has always been engaging, often thanks to the performances of Bishé and Davis. Judging by five episodes of season three, it looks like the show is finally catching fire.

It doesn’t break any new ground, but unlike most crime procedurals, it’s neither facile nor jokey. Whether in the end Naz is guilty or innocent may not matter. The series ultimately succeeds on its mystery and as a provocative trip through the justice system.

The series doesn’t measure up to top-flight Attenborough, who is working on “Planet Earth II,” but it is mostly fascinating as well as, of course, informative.

In many ways, the new season of Jenji Kohan’s Emmy-nominated drama is as impressive as ever, but you may need a scorecard to sort out all the players. Most of the stories are engaging; others seem like simple diversions.

The 7½ hour documentary airing on ABC and ESPN is often exceptional and riveting television.

The series isn’t striving for reality, although it reflects a dysfunctional one. It’s going straight for laughs, and there are plenty of those. ... It’s Louis-Dreyfus’ presence, though, that makes Veep top-notch.

Silicon Valley remains one of the best comedies on television.

Although the dialogue is occasionally a bit cute, the rest of the cast comes across as mostly solid and believable.

k. “Sesame Street” episode. This can seem frustrating if you care, but the TV show does it all with a sense of bravado that allows you to overlook any internal logic issues.

The series can be pretty dark, but it’s worth investigating.

While it mostly traffics in the idea of trying to right the past and how that can go so very wrong, it doesn’t get bogged down, instead letting the action and mystery drive the story. For what it is, you likely will be entertained while watching it, but it probably won’t stick with you very long.

While an occasionally revealing portrait, Nothing Left Unsaid doesn’t strive for anything concrete. There is a nostalgic wistfulness to it. Had it been done about someone with a less-storied life, it might have fallen apart, but Vanderbilt has become something of a character herself.

It is Balfe, who also received a Globe nomination, whom the series rests on, and she remains a captivating Claire. The actress brings a playfulness and an ethereal presence to the role, which are attributes essential for someone caught between two worlds.compelling drama

Netflix’s new multicamera sitcom, The Ranch, will seem familiar enough for fans of the genre, but it’s enjoyable and inventive enough to make you think there is still life left in the well-worn TV staple.

What benefits the series most is its strong cast to take on these intricate roles, which might fall flat otherwise. Paul, Monaghan and Dancy are outstanding as very flawed people, whose fate you can care about; they aren’t evil but at times susceptible to their own demons and blinded by their faith.

There are a few things The Catch will need to establish before taking off. For instance, it’s a bit hard to buy Alice’s and Ben’s instant attraction. But as light entertainment, the show flies by pretty quickly, a good fit for the #TGIT playground.

Bosch is a welcome change of pace from the many procedurals on the networks, especially those that overwhelm their stories with technological jargon. Amazon’s 10-epsiode series is perfect to binge on, a long, involving mystery in which the detective still does leg work.

Season Four promises some fascinating possibilities. Netflix is determined to keep spoilers under wraps, but we can say there will definitely be surprises, and the show will be graced by the strong presence of tough females.

The first few episodes of Love careen from being clever and funny to some intentionally cringeworthy moments. The challenge for the series, which has already been renewed for a second season, is to have Mickey and Gus begin to see the light. Otherwise, the show paints a humorous, if somewhat disquieting, picture of the dating scene in L.A. and is populated by some likable auxiliary characters.

The series has an impressive feel and period look to it. The first episode directed by Kevin Macdonald (“The Last King of Scotland”) deftly opens up mysteries and invites you into the strangeness. Adapted by Bridget Carpenter, 11.22.63 isn’t for everyone. You have to like what-if fantasy stories. But like many of King’s stories, once you’re in, you’re in. Enjoy the trip.

Watching the series is a bit like skipping through the magazine--a little of this, a little of that, always interesting.

Throughout Homegrown, the four of them [The daughter of a victim and the shooter’s brother. And the sister of a young man found guilty of incitement to commit acts of terrorism and a government analyst who helped make the decision that the man was a threat to the U.S.] offer articulate discussions of their situations and feelings, which gives this compelling documentary added impact.

The students of Brakebills have never fit in and aren’t part of a hierarchy, and, like a lot of young people, can be their own worst enemy. So far The Magicians played off those reverse expectations fairly well, and has a more hip Gothic atmosphere to it. It will be interesting to see if it can keep all the balls flying in the air.