Some (make that a lot of) funny lines, but far too fat a target.

Good, sharply written (and acted) series that lacks the sizzle, pop and magic of the movie.

Quirky, strange, dark — and engaging.

Underwhelming open that feels underfunded too.

Gadd remains a first-rate talent; anything he does is worth watching. But it's hard to sit through this one.

A compelling series in fits and starts that doesn't amount to much more than a trip through an extremely strange world filled with extremely strange people.

Decent pilot that promises a decent series--just not a particularly novel one.

Aduba's episode stands out among the first four episodes of "Solos," which collectively illustrate how difficult it is to pull off single-character drama on-screen.

This is a handsome, lavish romance that will appeal to a large audience, but it's also painstakingly insubstantial.

As the light of democracy dims, Carrie has become more manic (understandable), and Saul more resolute. The world has turned upside down, and only they can set it right. We know they’ll eventually save the presidency, hopefully the president, too. We know real news will eventually prevail over O’Keefe’s incendiary fake variety. We know all this, but we also suspect the ride would be a lot more fun if Peter was along for it.

The Japanese cast is excellent, especially Adelstein's newsroom boss Eimi (Rinko Kikuchi), but Elgort's Adelstein never quite comes into focus himself. There's a lot of energy in the performance but almost no substance. As a result, his Adelstein recedes while the foreground is commanded by the true star here. That's almost — just not quite — enough.

As usual, the production is immaculate, and Bernthal--who never disappoints--is his usual self. You may, however, wish (I did) that his Punisher wasn’t such a humorless, unmitigated jerk.

The show itself is a charmer--full of color and vitality, while the craftsmen and women clearly have the talent and skills to make something worth looking at. The actual crafts part, however, is rushed. You hardly ever see the detailed process of making something but instead the finished product.

It’s an unconventional love story that needs another season to figure out what it really wants to be, and how best to get there. At least the most important elements--or both of them, anyway--are in place.

Stick with "Zoey." Get past the treacle, network cliches, and force-fed emotions, and it does improve. Earworms, too.

Painfully familiar hospital drama that starts off sloppy but improves.

Great cast, funny lines, but "Deed" loses momentum after a strong start.

Faithful, intelligent adaptation, and an overstuffed one too.

Often a great-looking newcomer with an often tedious YA throughline.

Van Damme--older, wiser and slower, also wrinkled, hunched and melancholy--salvages an otherwise fascinating, uneven mess.

Strange Angel refuses to yield its secrets readily, or quickly, but instead methodically. Given the science (difficult) and the cult (abstruse) that's a reasonable approach to the story, just not a gripping one. And over the first three episodes, "Angel" often loses its grip.

Some very funny stuff, ultimately overwhelmed by the very indulgent stuff.

Beautifully done, but ultimately overdone. The book is better.

If all this sounds hopelessly hokey — and there are stretches in "The Madison" where it irredeemably is — then you'll want to do something else with your Saturday night. Otherwise, there's beauty here, some nice performances and a welcome pivot away from the mayhem of "Yellowstone."

Uneven start, then improves and coasts. Appealing cast, zero calories.

The cast is good, the fight scenes prolific, the overall lifting not heavy. Grailies among you could do worse. With lots of blood, some hooey, and even some history, this appears to be a decent--and watchable--period drama.

Warm, genial portrait of a great editor, but not much else.

It's a mildly enjoyable sports comedy that could have been more.