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 network was probably aiming for “Scandal,” but by the end of the first episode the mix of ridiculous plot twists and awful soap-opera-ish dialogue make you wonder if “Scrambled” might not have been more appropriate title.

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.

While the series tries to dazzle you with high-tech sophistication, it fumbles around when it comes to the human factors.

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.

The first episode is very uneven, busily attempting to check all the boxes so it can get back to being a procedural. If that is the case, there aren’t enough tattoos on Jane’s body to make it compelling.

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.

Vice Principals has some weird twists, like Russell’s home life, that keep the show vaguely watchable at times, but it doesn’t have enough laughs and or a satirical bite to keep it propped up.

The show suffers when it’s away from Johnson, lacking any real focus. Individual moments can be fine, but they seem strung together rather than part of a cohesive vision.

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.

Most of the dramatizations are functional, although a few border on cheesy.

While the two-hour movie was a wild ride, slow the pace down for television and the boys aren’t as much fun to hang with. Barkin is the best reason to watch. Always a restlessly interesting actress, Smurf gives her lots to play with, and she makes the role her own.

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

Only three episodes were available for viewing. Outcast is, at best, serviceable for a late Friday night horror tale, but I’m not anxious to hang around.

Though lightly entertaining, the series needs a bit more character grounding. So far Weston and Mangan are quite good as the flamboyant famous characters, but the scripts will have to flesh them out more. That may never happen.

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.

There are a lot of ambient and random sounds in the episodes, which makes things seem more ominous than any tension generated by the story. Apart from that musical wrinkle, Hunters is overly familiar, essentially a generic crime show in a sci-fi case.

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.