Satire administered with a Wiffle ball bat. A dull thud, where there should be a sting.

Like the first season, there’s a “Crash”-like flavor to the storytelling, but it feels more organic this time around.... Excellent, all around.

Beautiful, elegant final ride, full of love and nostalgia and joy.

The story feels recycled, but Idris Elba’s Luther certainly doesn’t. He continues to fully inhabit this groundbreaking--and star-making--role.

There are too many characters, too many points of view, all subservient to big ideas that don’t even begin to come into focus until late in the second part--just as the unwieldy story starts to go out of focus.

Expanse is so expansive, it’s hard to pin down--well, anything.

Transparent is no longer as interested in trying to locate the comedy in these lives as the tragedy. The tonal shift is a huge one, and not necessarily a welcome one either.... Transparent is still sharply observed, and it’s still easy to admire the actors, especially Hoffmann and Tambor. Just harder to love the show.

Fun, light, colorful and original.

Newcomer Shanice Williams--all of 19--had to capture a butterfly by the name of Dorothy. And if the butterfly occasionally eluded her grasp, her voice did not.... Leon, a veteran Broadway and TV director, decided we all needed a little dose of happiness instead. We do. He and the terrific cast of The Wiz Live! delivered.

Amusing, odd, fascinating, indulgent and not quite as funny as you might expect, or hope.

Not terrible, not without charm, not a bad cast (in fact, a pretty good cast).... As a consequence, not particularly funny or memorable either.

Marvel’s Jessica Jones succeeds in all sorts of ways, especially the one that counts most: Ritter just might be the shrewdest casting move of the season, maybe several seasons, because she so fully inhabits the multidimensional Jones.

Intriguing... but somber and slowww-moving.

Dramatically inert, Badlands is at least technically accomplished.

There’s some funny stuff on the Netflix version (two episodes were made available). Truthfully, just not enough. In fact, W/Bob & David can be more tedious than inventive.

"Donny!" would be as bad as you could imagine except ... it exceeds even your imagination.

Flesh and Bone is so grim, so devoid of pleasure, so moldering that you're left to wonder why this significant collection of talent didn't actually have something fun or exciting to say about the New York ballet world.

As you would expect, very (very) funny.

It is breathtakingly inept. Either that or subversively brilliant: A send-up of every mawkish cliche, idiotic plot twist or ludicrous splatter of dialogue that's propped up every preposterous secret agent thriller.

[A] richly deserved and well-produced documentary.

Good re-start and better than the real start last season.

This campfire story may not be getting any smarter, but it should get even better.

Any series that calls itself Wicked City is pretty much asking for ridicule ("Sin City" already taken?), but to then go ahead and stuff the sausage with grade A baloney? That, my friends, is a demand.

Move past the word, and images (fortunately fleeting in the pilot), and Supergirl obviously has a major plus: Benoist.

It's all standard Schumer stuff, and nothing fans haven't sort of heard before, or maybe laughed at before, or cringed at before, or seen elements of before (her 2012 Comedy Central special). Those fans should be pleased. As usual, everyone else will be appalled.

Truth Be Told doesn't let its issues come from the characters. The issues are the characters. Maybe future episodes will flesh out these people, but they initially serve as stick figures on which to hang "outspoken" opinions seeming not necessarily their own.

Stitched into every word, every gesture, is an implicit recognition of that brutal Fargo credo: People can be cruel, stupid, mean and unintentionally funny, even the nice ones. Another winner.

Sunday's episode is exceptional, marred only in a few spots by padding that's inevitable with these supersized episodes.