Despite the new episode’s title, “Ch-Ch-Changes,” not much here is different.

Copper reveals not only the grim living conditions of 19th century New York, but also the implications of unchecked police power.

Although it’s worth reserving judgment on the disposition and spirit of Under the Dome until we’ve seen at least a handful of episodes, it’s fair to say that the pilot embraces the material’s pulpier elements, with none of Lost’s nerdy digression or philosophical trolling.

Twisted combines a handful of stereotypical ideas about romanticized teenage criminals with fresh perspectives on how humans understand or fear one another under intense stress.

This shying away from meaty storylines typifies the longstanding weakness of Major Crimes and, to a certain extent, The Closer before it.... As the team has little to do on the job, the episode fills out the time with minor whiffs of narrative.

When Falling Skies is clicking, it remains a very entertaining show that fills a niche.

While Kieren does contend with zombie-style gore, the show isn’t a kill-fest like The Walking Dead. But as it raises the sorts of questions that classic zombie fare, In the Flesh also draws some perceptive connections to our own social and political contexts.

The Fosters needs more than good intentions and tentative, sanitised handling of its subject to survive once a same-sex couple central to a US drama passes unnoticed.

It offers largely pedestrian observations of the difficulties of celebrity.

The standard pieces are all here, just fit into the hour in a different order.

Instead of wink-winking at the audience about its own cleverness, The Goodwin Games mostly keeps things moving along at a snappy pace, with jokes as well. When the show gets too pleased with its own eccentricity, though, it becomes grating.

If the plot is thin, the show does offer other pleasures, including the actors’ improv skills, revealed in subtle and hilarious flashes of genius.

While the mystery genre has a rich history of incisive social commentary animating a compelling investigation, this series struggles to balance an examination of women’s place in post-war Britain and a classic race-against-time mystery.

Bates Motel isn’t Hitchcock, and doesn’t try to be. But the show does make intelligent use of what you already know about Norma and Norman in their efforts to “start over.”

Despite character-based faults and multiple narrative cul-de-sacs, [Parade’s End] does come around to revealing the consequences of maintaining public status and reputation at the cost of personal realization.

It is often funny, but it could be funnier if it were wed to more coherent storytelling.

The result is disappointing, sensationalistic and silly.

Zero Hour‘s first episode ends on one hell of a promising cliffhanger, including a shock that comes out of nowhere but still makes sense. If director Pierre Morel can ask for a few more takes (occasional scenes feel like actors are still rehearsing) and if the script turns as strange as that episode-ending shock suggests it might, Zero Hour may actually be more new than recycled.

As the fifth season begins, Southland appears to be stronger for its ordeals. The ensemble is streamlined to the most compelling characters and the direction is crisp.

If Community has been an underappreciated gem for the past three years, its fourth season premiere is sadly lackluster. But if the Dean’s episode-ending prediction isn’t entirely convincing, it could be that Guarascio and Port just need more time.

The problem is that the story in between the songs is still inconsistent and muddled.

The dynamic here is already tired.

Cole is good and Price is evil. And neither one of them is remotely interesting.

As much as the series' pitch seems clear--it's another period series, with terrific design details, long story arcs, and complex performances--it is also something else, a reframing of what it might mean to be Americans, then and now.

Although the nature documentary elements are the focus, the added color of travel show features as well, as the general feeling of spontaneity (however carefully cultivated) adds a peculiar appeal to the package.

The Taste is a confusing show with humorless banter that does not inspire the audience to become invested in the contestants. It's doubtful that viewers will be coming back for seconds.

Referencing literary works and imitating horror films may seem derivative, but by drawing from the familiar, The Following obviates the need for extensive exposition and jumps right into the action.

The mix of appealing nerds and lack of truly grating nerds is calculated for viewers' comfort, but the first episode is decidedly bland, too. Viewers looking for a new take on the reality competition genre won't find it here.