Neither slop, nor the obverse (a masterpiece), "Grand Hotel" resides squarely and benignly in the middle: A pleasant summer diversion with a good and absurdly telegenic cast .

As what you'd expect from the mind of Fred Armisen — quirky, strange, at times off-putting, at other times, engaging, and full of puckish charm.

Because "Euphoria" is so shrewdly conceived, and often so visually and sonically striking, it's easy to overlook the fact that there's no organizing principle. Characters are introduced, then dropped. Scenes begin, then meander, then end. Segues, at least here, are for suckers. You have entered the mind of a teenager.

Everything is in place, and everyone, and what's prevented this from turning into a heightened camp version of Wisteria Lane is that now-supersized superteam. ... Still fun, still addictive, still (yup) pretty much the same.

"Rachel, Jack and Ashley Too" is essentially a dystopian Disney Channel movie, or perhaps some "Very Special" episode of "Hannah Montana." ... "Striking Vipers" is better. ... The standout of the three, however, is "Smithereens." Like the most effective "Black Mirror" episodes, you're left on your own, following a story that offers no bearings, fewer clues. A gifted actor, Scott sells the episode in every scene, raging against an unseen enemy

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.

Tough to watch, but an effective — and often powerful — indictment.

A sentimental close to this journey with excellent performances and — best of all — Milch's incomparable language.

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).

Good (and good-looking) production, but without contemporary relevance, urgency or edge.

What sets “Of Mics and Men” apart from the usual music documentary is how it goes out of its way to show the context that inspired Wu-Tang Clan’s music.

A powerful testament, and TV's best miniseries since last fall's “Escape at Dannemora.”

That "The Red Line" often does as well as it does is a tribute to the cast and the overall production. But apple polish is still apple polish. ... There's a real world out there with real-world shootings of unarmed black men by the police, with horrific consequences, and a vast gulf of mistrust that separates whole communities from law enforcement. No CBS miniseries, however worthy the intentions, could probably get its head around that reality. "The Red Line" certainly tries, but falls short.

If all this seems heavy and difficult, then so be it. “Ramy” is also moving and smart and genuine. The trade-off seems reasonable to me.

It’s hard to think of a more sharply drawn or better-written cop drama on TV than this one. That’s probably because there isn’t one.

The behind-the-scenes access to “Homecoming” is important. ... However, those scenes interrupt the momentum building in the powerful concert.

More of a fan-pleaser than crowd pleaser. ... So yes — absolutely — well worth the wait.

A remarkable tour of a terrible part of our history that makes the case--a compelling one--that this history isn’t entirely in the past at all.

Fosse/Verdon is a claustrophobic series as opposed to an epic one. What's mostly missing is the thrill of opening night, the chorus line, the music, the whole glorious space of the theater. That's what made these two such vital meta-humans in the first place. ... Disappointing.

Fine reboot that gets better in two later episodes.

A joyful, wild, hilarious, insane — and darker — romp through the debasement of running for political office, as only "Veep" could imagine.

Barry gets better this season--a whole lot better.

Congenial sitcom set in the great outdoors where everything--even or especially a sitcom--seems just a little bit better.

Holmes commands the screen as if it belongs to her. She surely must have known all along that it would. Much of the footage here is of the dog-and-pony variety, once commissioned by Theranos and designed to sell the con. But it's so high-gloss--so weirdly hypnotic--that neither Gibney nor "The Inventor" can get to the real human behind the image. A shortcoming of the film? Sure, but the only one. Must watch.

Mostly solid material that yokes the old Schumer with the new.

One of the genuine pleasures of the small screen returns, better than ever.

Treacly, by-the-numbers prime-time tear-jerker that even Brooklyn and a good cast can't elevate. And viewers won't mind in the least.

Bryant's a standout, the show not so much.