“The Morning Show” offers engaging, soapy elements with a layer of resonant, semi-believable corporate politics on top.

The Act sags a bit near the middle of five episodes made available for review--perhaps fewer episodes would have made for a tighter run--but Ms. Arquette’s nuanced performance remains top-notch, and Ms. King proves a talented newcomer with a bright acting future.

Co-created by Paul Reiser (“Mad About You”) and David Steven Simon (“The Wayans Bros.”), there’s a warmth to the “There’s Johnny” pilot that’s extremely appealing, especially in an era of cold, cynical comedies.

Six hours may be an hour too many given the repetitive nature of the plot (the required mission count rises, then rises again and again) but star Christopher Abbott makes for a likeable, relatable Yossarian. It’s sometimes difficult to tell the supporting flyers apart but as the episodes unroll their personalities come through a bit more.

“On Becoming a God…” entertains even as it observes the unfortunate circumstances Krystal finds herself in.

An easy, breezy binge, “Corona” puts a welcome, mostly upbeat spin on trying times.

A funny, fresh comedy half-hour, “Alternatino” offers some welcome laughs amid the drama-heavy diet of summer TV.

While it isn’t as culturally significant as, say, Mr. Peele’s “Get Out,” “The Last O.G.” is genuinely funny and transfers Mr. Morgan’s skills from co-star to lead far more successfully than his short-lived NBC 2003-04 sitcom, “The Tracy Morgan Show,” ever did.

Entertaining. ... Jeselnik still puts on his smug, aging frat boy/jock persona but beneath that façade some of the repartee reveals the host’s serious approach to dark comedy.

Darkly funny and clever in its skewering of the modern workplace, Corporate offers a welcome release valve for any corporate drones who tune in.

“Genetic Detective” is more cerebral than an Investigation Discovery show while it creatively — using visual graphics — explains the science and technological advancements that make these investigations possible.

What viewers saw so far was exciting, fun stuff with potential for a great “Star Trek” series, but the material in the first two episodes serves as prologue.

In its first couple of episodes “Mythic Quest” carves out its own niche, mining comedy from the specific realm of video game creation. A sociopathic intern who worships the boss, in particular, offers consistent laughs.

“David Makes Man” offers haunting themes as serialized drama, some familiar (drug dealing) and other less so, particularly the impact of abuse and trauma, which is shown through David’s dreams, waking reveries and imagination. While the latter is the most challenging aspect of the series, it’s also what makes “David Makes Man” distinct.

Counterpart is one of those twisty shows that could threaten to become convoluted the longer it goes on, but in early episodes it’s more intriguing than it is confusing or frustrating.

Where the show goes will largely determine its ability to sustain itself as a weekly series, but “The Gifted” gets off to a smarter, more visually compelling start than the other new superhero show of the fall season that debuts tonight.

It seems like the show will basically be a weekly dose of two-steps-forward-one-step-back for Ryan with Wilfred as his teacher/tormentor. Wilfred certainly has moments of high (and low) comedy but it's also hard to imagine the premise won't get stale pretty fast.

Expedition Impossible, executive-produced by Mark Burnett ("Survivor"), is [not] the worst reality show ever (not by a long shot), but it reveals how challenging it must be for producers to introduce a whole mess of teams in a season premiere.

If there's a downside to the Americans pilot, it's that it has some pace problems. The premiere runs long--an hour and six minutes--and spends time on flashbacks to Elizabeth in training 20 years earlier and the pair's first meeting.

The episode is a fast-moving two hours that answers enough questions to satisfy fans and raises still more questions in an effort to further the intrigue.

Always an acquired taste -- one most likely to be acquired by the politically incorrect -- this new "Guy" is just as rude, attention deficit disordered and funny as past episodes. [28 Apr 2005]

It's a fascinating glimpse into a culture that I suspect many Americans would prefer to remain ignorant about.

The first two half-hour episodes, airing at 9 and 9:30 p.m. Friday, are less raucous and seemingly more adult than the film. There's more attention to character development; Jabba the Hutt's flamboyant uncle isn't anywhere to be found.

The characters lack the depth of those in smarter, premium cable dramas like "The Walking Dead," but they do show some growth as the series goes on. What Falling Skies does best is create a sense of the struggle for survival.

The Mr. Robot pilot is too long--one montage drags on interminably--but it begins and ends on intriguing notes. It’s completely unclear what the show will be on a weekly basis, which makes jumping in a risky proposition.

The first episode offers a somewhat overwhelming dose of midwifery, to the point that some viewers may wonder how Call the Midwife won't grow tiresome with repetitive birthing stories. The addition of Chummy to the cast in episode two and a broader role for the midwives--in episode three Jenny simply spends time with an elderly man--allows the series to avoid growing stale.

Sunday's premiere doesn't advance the story much--shades of early season two--but there's enough zombie carnage that fans of mayhem may not care.

A gripping tale of police investigation and a criminal's mischief-making.