Where all this ends up, you already know. But at least Unsolved does a good job of making you care about the failure. Engaging, interesting, watchable.

The series works overtime to place itself in a “real” world and treat faith earnestly, yet undercuts itself by resorting to every sitcom trick in the TV book.

The role of a male comedian--particularly one like Rock--has since assumed a whole new dimension, too. He launches with Black Lives Matter, moves on to the failure of schools to prepare kids for life, then establishes the importance of bullies. But that’s the warm-up act for the main show--that apologia for his indefensible behavior and the personal failures he brought upon himself.

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.

Like all love affairs, this one needs the time to develop and gets it.

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.

Maddening Here and Now can also be engaging and provocative. The frustration is in never quite knowing what it wants to be.

Insanely violent, but, yup, often beautiful and intoxicating. A mind-bender that can be worth the bender.

In spite of impressive pedigree and cast, along with a few laughs, A.P. Bio ultimately earns a gentlemanly C.

One Day at a Time doesn’t make us laugh so much as let us laugh. Not to say there aren’t some sitcom-y jokes, but they tend to feel real. ... Engaging cast, smart writing, laugh-out-loud execution.

Waco won’t be the first drama to reduce a tragedy to its simplest components, but this doesn’t offer much confidence that these are the right components or the only ones. This is Waco in black and white, absent any shades of gray--an inkblot test with just one interpretation.

The early hours are mostly placid, even docile. What must have come to life in the pages of the book struggles to find so much as a spark on the screen — difficult, admittedly, through the pall of smoke and shadows that tend to choke it. The characters are bland, too.

Painfully familiar hospital drama that starts off sloppy but improves.

Mosaic is so entertaining (it is) and engrossing (that, too) that it flies by. These six hours pleasurably melt away, and before you know it, you’re at the closing credits.

A worthy successor to the original, Blue Planet II also brings an urgent environmental warning that the first lacked: It demonstrates that the seas are in trouble and that the world must act.

Sorry, not as good as “O.J.,” but Criss turns in a dynamic performance in service of a desperately sad story.

The second season is a beauty, and Diana Rigg is in the house, but Victoria still feels like sanitized history.

The pilot’s tropes are overly familiar, the action sequences predictable. But this is absolutely a welcome addition, potentially a valuable one, and indisputably a long overdue one.

Like all anthologies, some hours are better than others (but most of these are good), and what Dreams lacks in razzle-dazzle, it makes up for in brains.

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.

Waithe proves that Emmy for writing was no fluke--script and cast are outstanding--but The Chi takes on too much, too soon, and the story loses focus and latent power as a consequence.

The mythology arc is absolute rubbish. Fortunately, this new season appears to suspect that and, after that rocky opener, gets down to business. Soon enough, Scully and Mulder are puzzling over a simulated world where great brains like Steve Jobs “live” for eternity. A strange doppelgänger is stalking people. That sounds like a job for the X-Files team. The best of the five offered for review is very good indeed, and it too is a curtain call from an old friend: Darin Morgan.

9-1-1 is insufferable, but it’s also watchable.

Each episode is a gem but — since you asked — my favorite is "USS Callister," which borders on genius.

[Kit Harington's] a narcotized Jon Snow in a narcoleptic of a miniseries that nods off at times, and seems maddeningly unaware that viewers will be induced to do the same thing. ... A gluepot of a miniseries with good actors and no pulse.

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

The first season was initially hagiography masking as a high-end TV series, but the second season is Vanity Fair, full of characters, life, humor, passion and buttered scones. Morgan not only has a series to match his 2006 Oscar-winning movie, “The Queen,” but finally one to exceed it. The Crown--the second season, anyway--is magnificent.

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