GLOW is terrific. ... GLOW is about female empowerment, and couldn’t be otherwise, but there’s a little more going on--female relationships, and the unique ties that bind, even when frayed by a patriarchy that profits from fraying them.

Bridgeton is too dull, its denizens likewise. The mystery will eventually be settled, some people will get eaten along the way, our heroes will save the day, the fog will disperse, the sun will come out. Ten episodes sure seems like a long road to get there.

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.

Stone humanizes the boogeyman of the 2016 U.S. election in this fascinating, rambling, and sporadically invaluable exercise. Best not come looking for balance or journalism, though.

Tough, occasionally oppressive, and--against all odds--still funny when least expected.

There is an insistent, glowing, pervasive optimism over these 80 minutes that the TV screen can barely contain.

Good idea and better cast squandered on a slapdash premise, weak writing and South Florida cliches.

Uneven, but the core strength remains--a sitcom that embraces the uncomfortable, and sometimes the unmentionable.

You’ve seen it before, read it before. Too bad Dying passed up an opportunity to tell it in an exciting, engaging new way.

The fifth-season opener efficiently brooms away that creaky storyline, and even pivots on an effective twist that reinforces one more “HoC” theme: Frank will be Frank.

Amusing and harmless, but even Andy Cohen can’t raise the dead.

But the best stuff easily reminded true blue fans--and only true blue fans--why they loved this so deeply to begin with.

Almost everything in The Wizard of Lies succeeds. The acting is impeccable, the script taut and Levinson’s direction scalpel-sharp. ... But what’s missing in Wizard is the why.

Based on six episodes for review, Kimmy remains Kimmy, which is about as good as the news can get for fans.

People are dogs, too. We also have complicated emotional lives, further complicated by our professional ones. We also seek food. We also seek love. We obsess. Nan and Martin’s bond works--and consequently this terrific series works--because it abides by these simple, inalienable truths.

Great start to the much-anticipated second season.

Absorbing in parts, tedious in others, but Hahn is great.

An excellent Trump impression, but a little too much of it.

The spirit of Gaiman’s classic has been captured, but not yet the vision.

Beautiful, immersive and joyless, Tale can be tough to watch, but “rewarding” trumps “tough.”

The series ambles along at its own congenial pace, lighthearted and largely without a care in the world. Great News can also be something of an Easter egg hunt for lovers of classic TV and classic Broadway.

Genius doesn’t just skate over the science, it ignores it.

There’s a sense that we’ve traveled down this road paved with silicon once or twice before, but the ride is still smart, engaging and highly informative.

A beautiful, moving film, and Oprah (as usual) brings it.

There’s some temporizing in the first couple of episodes, but not enough to subvert what this third season so clearly is--another winner.

For fans of The Leftovers, the third season looks like the best yet. It’s funny, horrifying, strange and baffling.

In TV terms, we call this a re-set, but in Veep terms, it’s genius. HBO offered three episodes for review, which seen together play like a movie--the funniest movie you will have seen all year, maybe next year, too.