Once director Vanessa Caswill boils away the innocence, Little Women becomes a more substantial drama. ... While the four roles could have been played by stronger actresses, they’re fairly well-matched. Watson and Lansbury are left to carry the subtlety. Both do it well, making us long for “Older Women,” a version that views the high-strung March girls from another perspective.

While the parallels between this high school musical and the other one aren’t hard to spot, it does have a more adult vibe and a snarkiness factor that should pull in a non-Disney crowd.

This one doesn’t bother teaching any great lessons. It looks for the laughs, makes its points and gets out.

The laughs aren’t as rapid-fire as they were in “Veep,” but they are plentiful. Gad perfects that smarmy billionaire; Suzy Nakamura is ideal as his common law assistant. ... Laurie is ideal at the helm – even when the story seems like it’s rudderless. He plays captain in a way you wouldn’t think and handles disaster like Jean-Luc Picard never would. Make it so? “Avenue 5” does.

Aptly named, Genius is kinetic.

What surprises are the women who populate “Uncoupled.” Tisha Campbell – as a fellow real estate agent – is a gem, commenting better than Kim Cattrall at a martini party. ... Harris is too strong to play the pitiable bachelor. ([Tuc] Watkins would be a better choice). ... In the sixth episode, Harris finds a groove that’s better fitted for long-term success. It leans into the Campbell/Harden/Harris triangle and actually brings laughs.

The opening episode has plenty of what fans love most – revenge, romance and remorse. ... Even though there’s plenty of “Dallas” maneuvering, you can see why the Paramount Network series is so popular. These characters don’t really care what others think. They press on and leave plenty in their wake.

While Vicious plots don’t stick, they do entertain.

It’s an interesting premise that shows just how intense high school can be. ... While the series doesn’t give full back stories, it does let you know what happened to the students and how theater affected their lives.

The new TNT miniseries (it's on just three weeks in December) has plenty of in-your-face drama and heaps of atmosphere.

All too often, though, this looks like a “Saturday Night Live” skit that doesn’t quite land.

Co-creators Bill Prady and Bob Kushell have given the gang the right setting. Now, they just need to figure out how they fit in a selfie-driven world. Newer Muppets like Pepe the King Prawn do better than veteran ones.

All very simple, “Leanne’ puts into play what Morgan describes on stage. The anecdotes wear well with others sharing the comedy but, too often, the star is left to reflect others’ glory.

While Rauch was the one who got the laughs on “The Big Bang Theory,” she’s largely the set-up person here. ... Larroquette, however, isn’t just stunt casting. He delivers. ... De Beaufort and Talwalkar are largely window dressing in the opener but they become active participants as the series unfolds. ... Lacretta, though, has the ability to steal every scene she’s in.

Watch those supporting actors. They’re Tony winners and highly skilled.

With a little elbow grease, some long hours and good support from Willis (who should have been in a series long before this) Moonlighting could well go into overtime. [01 Mar 1985, p.B13]

Like the comedians, the scripts try too hard. Once the stage is set (and those conceits are out of the way), I’m Dying starts to breathe and draw us in.

Pennette’s mission, though, is to keep Ashford in the fold no matter what it takes. She’s the A+ in this fairly middling comedy.

Part Greek tragedy, part “Silence of the Lambs” offspring, The Following has an intriguing premise that almost rises above its layered plotting.

It's an unabashed, out-there, boldface teen drama that makes the stuff in Washington look like "The Wonder Years." [30 Jan 1998, p.C1]

Written by Dan Fogelman, Alan Menken and Glenn Slater, the new musical miniseries on ABC has so many clever bits and witty songs you’ll think someone wrote a sequel to “Spamalot.”

The sharpness of Season One gives way to the moodiness of Season Two. And, thus far (three episodes were made available), it’s hard to get a bead on where this is headed.

While “On Pointe” forgets some characters from episode to episode, it details the shared experience nicely. Ballet is not easy, we learn.

Rich and company show the gears, the ingredients and the packaging. More mystery, as Radcliffe knows, is always a good thing.

It's a hit-and-miss proposition that works every time Kerri Kenney-Silver is on screen.

Heaton brings a giddy charm to the “what if” role and gets great support from a cast just waiting to break out.

Or, “My Dad’s a Serial Killer.”

“Defending Jacob” is fairly straightforward. It has a murder. It has a suspect. It has a trial. And then it starts sprinkling in reasonable doubt. If there’s a greater lesson to be learned, we missed it. ... Thanks to a great score and lingering cinematography, “Defending Jacob” is good. It just seems supersized to justify a film star showing up on television.