Discovery introduced a compelling new hero, an even more compelling new alien, and a whole new war. But mostly it did negligible damage to a revered franchise and its legacy. Discovery is perfectly fine.

Noisy, silly, occasionally obnoxious, sporadically funny and ultimately sweet.

Old-fashioned and a bit placid, but Stults and Duncan save the day, and maybe the series.

If not much sunnier, not as relentlessly grim as the second, while June is slowly, methodically, morphing into the Robo-June we know she must become. So far, so good.

The pilot hour delivers with blood-soaked gusto. The second hour gets more amusing. And wit can be the saving grace for casual viewers of the grindhouse genre.

An oddity with additional oddness in the form of Malkovich. But as summer diversions go, this looks to be a good one.

The beats here are familiar and comfortable. Perhaps best of all, they are actually moving.

Relatable, but especially enjoyable.

Mr. Dynamite instead works best as musical biography, only fitfully as a comprehensive one.

Extremely raunchy, and often quite funny.

"The Great" is an engaging historical satire that resonates thanks to its vision of courtly debauchery and the tremendous acting by Fanning, Hoult and the rest of the cast.

It's ideal family viewing: Thought-provoking and fun, without one element compromising the other.

What a hoot. What a ridiculous, soap-operatic cutup of a series. But if you can stop giggling long enough, as I managed to--quite a feat, let me tell you--Harper's Island is also hugely enjoyable.

Intelligent, sharply produced and respectful of its female characters, For the People looks like a winner.

What's most intriguing here is deconstructing the process, when Stewart outlines the surprisingly demanding "skill set" needed by "Daily Show" correspondents (with supporting clips), when Colbert clarifies how their shows are only "curating the news" to the point of setting up "the joke you wish to tell."

Of the two live episodes, "The Jeffersons" was easily the better, and also made the unexpected case that it was possibly the better series all along. Foxx nailed Sherman Hemsley's George, Wanda Sykes nailed Louise (originally played by Isabel Sanford), Jackée Harry nailed Diane Stockwell (Paulene Myers), Will Ferrell nailed Tom Willis (Franklin Cover) and Kerry Washington nailed Helen Willis (Roxie Roker).

“Shangri-La” offers a look into the private world Rubin has created. It may be limited, but that doesn’t mean it isn’t fascinating.

Smart, engaging, thoroughly updated.

This is a thinking viewers' show, filled with plump, meaty ideas — just not too plump or meaty.

It's an upbeat, glass-half-full hour with some tough love from Tony, who also dispenses sound couples therapy advice. But the hour also feels facile, and rushed.

Not to worry, fans — the third is hugely enjoyable, but someone's missing and you know who.

The Last Five Years will be a must for even casual Bowie fans, who are most likely still reeling from their idol’s absence. It captures the ever-changing artist in his most surprising incarnation yet: a mortal man.

Lots of eye candy, mystery, intrigue, questions, and superlative production values. But who's ready to jump back in this pool again?

Hardly a treasure, but a lively island of adventure.

This doesn't pretend to be a deep show, but it's a pleasant diversion with a good cast, and really good (read: expensive) production values.

Fascinating, incomplete, portrait of a man of mystery.

The show could go interesting places, too, even explore provocative ideas--although the pilot pokes at those only halfheartedly. Limitless instead sets up as just another buddy cop show, with a superhero component and a sinister subplot. Those potentially interesting ideas are kicked to the curb.

Well done, but formulaic.