Stallone desperately needs collaborators who understand how to get the most out of him. He finds that here.

Gardell and McCarthy are two of the more realistic-feeling, instantly appealing sitcom personalities in ages. They're enough to make it worth drudging through the sludge tonight's pilot considers comedy writing.

Being Human echoes, move for move, the BBC America fave of the same name. Yet, Syfy simplifies the tone into young-adult novelhood, where there's lots of white space around really big print. Subsequent episodes improve as plots thicken.

A little too Lemony, but genial, well-produced and presumably faithful to the Lemony Snicket vision.

Well-written, directed and acted, Billions is still badly in need of a more human touch.

Overall, this was a good start.... The show was rushed, the commercialism troubling, the interviews a mixed bag. But no one looks for perfection the first night--just signs, and they were mostly positive Tuesday.

Some twisty situations, some unexpected heart, some nuanced acting. Some serious single-camera potential.

Well-produced and particularly well-acted newcomer with a lot of moving parts, potentially too many.

Overall, a meaner, harsher fashion competition, but compelling.

The 5th improves on the 4th (or at least the four episodes offered for review do).

A not-bad techno-thriller that could go interesting places.

An amusing and not-bad game show; Bailey makes it bearable.

Does "The Office" proud.

Blessedly for fans who don’t want to work so hard, less so for those wonks who do, the second season is much easier. It’s still brainy while managing to push the new narrative ahead hard and fast. It also manages to splatter the brains too: Westworld is now less a searing indictment of screen violence (the first season) and more a straight-up snuff series.

Fist-clenching may be a novel approach, also a self-negating one, and Yellowstone--good writing, solid cast, nice views aside--can also be a bummer at times. Nicely done series that can also, from a viewer perspective, be depleting.

For such a vast and important story, Torchwood: Miracle Day feels strangely confined and artificial. Here's hoping for more by Episode 4.

It's intriguing, and worthwhile for audiences in search of something genuinely different. Whether that can be sustained over the course of an entire series of television remains an open question.

Still beautiful, still fun and still excellent.

Get past the tough-to-buy setup of the premiere, and Shades improves. The star? Initially tough to buy, too, but also improves.

Crazy Obsession gives us benign compulsives who mainly come off as amusing.

The pair has recast the concept and their chemistry into a suburban setting that feels fresher and friendlier, truly finding its footing at 10:30 with Sloane (and those gnomes).

It’s emotion that moves the story forward. Highmore’s face and attitude. Schiff’s faith and moral weight. Thomas’ curiosity-generosity. That sets it apart from “House.”

Noble intentions meet nice people.

This season opener is in fact a true data dump: Everything along with that name is unloaded. Blindspot instantly becomes a new show, which is a good thing. ... Along with some new characters, including Panjabi’s and another played by stage and TV veteran Michelle Hurd, Blindspot suddenly feels fresher, or at least intelligible.

Lugubrious, also highly watchable.

Vikings quickly settles into a fairly routine sword-and-sandal epic narrative that revolves around a sociopath overlord and the subjects who dare to challenge his authority. But it gets better.

A little clunky at times, but otherwise all is well here, thanks especially to Alexandra [Reid (Sigourney Weaver)].

Impastor weakens its good work by trying a bit too hard.