It’s a strange, sometimes confusing and always visually arresting program.

Every plot turn is predictable, no trope goes unexplored.

The two-hour premiere ends with a big question mark, which may lead me to tune in again but I just wish The Expanse was a little less murky. I'm prone to liking complex TV but The Expanse is borderline impenetrable at times.

If Powerless had been funny, the lack of big-name heroes would be excusable, but with not much to laugh at a viewer is bored enough to consider all the things this show could be, but is not.

With its talented cast and a willingness to reference current events, Superior Donuts evinces some potential, especially if the show’s writers can come up with better, less redundant sitcom plots.

Riverdale shows off a heightened visual look that sometimes calls to mind “Pushing Daisies” in its ambition. Whether it can maintain that high level of production design, we’ll see, but in its early episodes, Riverdale positions itself as one of the more ambitious teen dramas to come along in several years.

The program remains steadfast in its ability to build a unique fictional Appalachian world that makes Outsiders unlike any other serial in prime time.

Mercy Street remains strictly middlebrow fare, but it’s well-done for what it is and better than in its first season.

It’s a marginally adequate, unremarkable series that follows fictional members of Navy SEAL Team Six on fictional missions inspired by actual missions.

The show is too smart to be so easily dismissed, but whether its depiction of Vatican politics--and especially its title character’s abrasive personality--warrant devotion will be in the eye of the beholder. Lenny’s not a likable character, but The Young Pope offers addictive stories of unpredictable political maneuvering.

Coming on the heels of Netflix’s superior British period drama “The Crown,” Victoria is a bit of a comedown, but it’s not bad, merely familiar and expected.

All the trappings of “The Wizard of Oz” without any of the charms.

A wonderfully entertaining program, Bright Lights shows just how close the mother and daughter had become in recent years, living as neighbors on the same Beverly Hills compound that vaguely brings to mind “Grey Gardens” without the fallen-from-grace squalor.

A pedestrian procedural, "Ransom" follows the team at Crisis Resolution as they resolve kidnappings and hostage situations in the most rote, CBS fashion you can imagine.

Clearly this isn’t the comedy of the "Leave It to Beaver" era, but there are some laughs to be found in "The Mick," which is made tolerable thanks to Ms. Olson’s charm in spite of the character she plays.

Star feels kind of junky, an everything-plus-the-kitchen-sink concoction made worse by bad dialogue too often delivered poorly.

So much about Incorporated is predictable and rote, it's tough to buy into the story or its characters.

With A Year in the Life, there actually is a plot that propels the characters forward and that might be the highest praise possible for any TV revival.

The show is energizing and a fun thrill ride in its first hour until Letty falls off the wagon. Then it just turns depressing, meandering down a dark road that’s in keeping with TNT’s new aesthetic, but a bit too far out of step with how Good Behavior plays until that point.

Mars feels somewhat familiar, but combining the fiction and nonfiction elements is an interesting attempt. Give NatGeo credit for trying something different. Whether this hybrid satisfies fans of either genre remains to be seen.

A funny, bizarre high concept comedy about a support group for alien abductees.

British comic actor Stephen Fry is the best part of The Great Indoors, playing the company’s top honcho but his presence alone isn’t enough to salvage this stale series. A second episode proves to be no improvement on the lackluster pilot.

Uninspired, obvious and just not that humorous, there’s little reason to make a plan to watch CBS’s latest in a string of disappointing new sitcoms.

The payoff--Black Mirror promises no happy endings but the conclusions are always thought-provoking--is worth it.

At times Dirk Gently feels like one long, never-ending tease but the show is so strange and consistently surprising and unpredictable it seems likely to find some sort of a cult audience.

The new cast is certainly game, expecially Cox, who has some terrific moves in her dance routines. And Adam Lambert crashes through a window on a motorcycle to perform a rollicking number. But what plot there is goes sideways in the last half-hour, just as in the movie. At that point, I just wanted it to be over.

Girlfriend remains stubbornly weird, including in an avant garde musical number (pictured above and after the jump) that proudly proclaims it busted the show's budget.

With the exception of some added F-bombs, Goliath plays like a reasonably decent prime-time legal mystery circa 1998, not a modern drama revelation.