As indictments go, Going Clear is relentless and effective. But fair and balanced? That's another question--or maybe that's an issue.

This series boasts some reasonably high production values, certainly for Comedy Central, with lots of energy, and a sense that it knows where it's going and how to get there. But the tone is so relentlessly mean-spirited, the guys so unlikable, their predicament so pathetic that Big Time deflates before your very eyes.

Corden clearly appears to have the goods.... Most importantly, he has an obvious ability to perform bits that'll hold up in the cold light of dawn, or more specifically on the Internet.

At least in the first three episodes provided for review, what the Kesslers and Zelman don't seem to quite realize is how much of a narcotic this setting actually turns out to be. The story is also often languid to the point of stationary.

All very much and happily remains the same--and unless you are an absolute die-hard insane fan who will find something to complain about here ... there really isn't all that much to complain about whatsoever.

Liv is more goth than zomb, more punk than spunk. She's also as appealing as anyone who eats human brains for a living could possibly be. Her supporting cast is good, too.

One Big Happy is just... conventional.

The trash meter soars when [Elizabeth Hurley's] on-screen, then sags when she's off. And there's just too much sag here.

As a character with a sartorial preference for canary yellow, Kemper's Schmidt comes into focus intensely and immediately. She pops off the screen, and pleasingly so. Her series, less so.

This is often a stirring and deeply felt portrait of people in an extended state of crisis.

Name aside, Cyber's pokey and old-fashioned, but the leads are the big draw.

Shore has written this adroitly enough and Winters and Duhamel are two good and seasoned actors who easily locate what's most endearing, or at least what's most amusing about their respective characters.

It feels observed, rather than lived in. Enacted, rather than unfolding.

Forte does seem to be having a good, slovenly time, but after a while, the whole affair starts to feel a bit wanton and self-indulgent.

Can a bad person become a good president? The answer may be self-evident--or maybe not. Nevertheless, therein lies a compelling new season. We may still have a lot more to learn about Frank Underwood after all.

Sex Box is bad. It's also hackneyed, dull, derivative and surprisingly windy.

[Producer John] Maggio has discovered the unfamiliar in something some of us thought was already familiar, and by doing so, does help dispel embedded stereotypes while enriching an already rich heritage.

Their [Matthew Perry and Thomas Lennon's] Odd Couple feels like the kind of time-filling time killer that's chasing viewers to other options.

This hour isn't perfectly paced, but its segues usually wind their way somewhere smart. O'Donnell remains a master of comic timing and tenor, holding the stage through the perils of fame, helicopter mothering, circumcision, women who don't "look gay," doctors lacking bedside manners, the persistence of childhood faith training and more.

The Slap is a chance, and a worthy one, too.

Saul is lighter and brighter than "Bad," and--particularly with Sunday's launch--often very funny.

The Jinx does channel that we're-all-on-this-ride-together thrill that hooked so many listeners of last fall's NPR podcast, "Serial," about a murder of a Maryland teen. This may be a high-gloss treatment that utilizes all the tricks of the TV trade, including dramatic re-creations, and a way-over-baked credit sequence, but that sense of unfolding discovery remains.

Allegiance is a curious duck, indeed. Smart and sophisticated certainly, but -- occasionally--a bit dim-bulbed and hokey, too.

Fresh Off the Boat is charming, convivial, even--gasp--at times cute.

This remains a superior TV drama.

It's a cut above boilerplate, with good production values and decent performances.

The stories are intricate enough to hold attention, but not too intricate. The action, which always supersedes the chatter, is the thing, and here it's something to see indeed.

Nightwatch isn't merely well produced, with clean, striking visuals and a sharp clarity in which even shadows seem to come into focus, but it's also alive with the sounds of a beautiful, vital and (most often in the dead of the night) dangerous city.