Sometimes you have to take what you get in a series, and what you get in this one is a Capote you may not want all that much of. .... A beautifully acted, directed and written bummer.

Magnificent achievement.

Too much going on, but still an improvement over seasons two and three.

"Fargo" is still funny, bleakly so, and smartly written. Best of all, it's effectively cast three legendary actors (after "Ted Lasso," is Temple now officially "legendary"?) in memorable roles. Very memorable.

These four episodes are just about flawless — a cohesive and deeply moving picture of the final hours of two desperately lonely people. Much better still, Dodi is humanized rather than demonized.

Yet as good as "Travelers" often is — the performances of Bomer and Bailey in particular — something is missing. There are no female characters of any particular substance or depth. A few arrive, then go, while Williams' Lucy is mostly a sketch of the "long-suffering" variety over too many of these hours.

Hard to watch, brilliantly told.

Sweet, sad, nice, and a tad dull.

In general, pilot films fall into three modes -- promising, bearable and for imbeciles only. Moonlighting is definitely in the last class. [01 Mar 1985, p.20]

Overall, "The Irrational" is decently acted, competently written, and adequately directed.

Fake news, real soap — and still watchable.

Being Mary Jane has been formulated for being fascinating. Now comes the follow-through.

A lot of fun, especially for theater buffs.

An overlooked TV gem wraps, and for the most part, beautifully.

The story shambles at first, then picks up but never quite enough to place this among the better seasons of "Justified."

With "Succession" now over, "The Bear" makes a compelling case for being the best show on TV.

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

It's hard to imagine a worse show.

The target is broad and easy to hit (others already have) except "Based on a True Story's'" aim is unsteady. The show would much rather be a comedy (also unsteady) or thriller (unsteadiest of all). At its best, this series features three seasoned and particularly appealing actors who know how to sell the premise — outlandish and as full of plot holes as this one is. But at its worst — far worse — is a recurrent pattern of violence against women.

It's ideal family viewing: Thought-provoking and fun, without one element compromising the other.

A convoluted mess, despite great potential.

A viewing of the first two episodes of "Silo" shows that it exemplifies the best of what the genre can be.

Get past the first episode — better yet, skip it — and "Bupkis" gets better and better.

Don't come for a fresh perspective or revisionist history or faithful recounting. Do come for the laughs. "Plumbers" probably gets that part right anyway. ... Amusing, inconsequential.

It's a $300 million TV series for no one. ... This is a very, very bad show.

This "Dead Ringers" carves out a path that's fundamentally different from the one laid out by Cronenberg, and not just because of the gender-swapped leads. But even if it takes some time to understand exactly where things are going and why, it can fall back on one of the most remarkable performances in a good long while.

It's all about the writing, in this case, and the utter lack of depth, or inner life, or suggestion that anything of particular interest might be happening here.

Fast, furious, funny, with a twist.