The question of whether artificial intelligence can gain consciousness is obviously timely. The question of whether Wood and company can make Westworld as emotionally viable as it is fascinating to watch remains to be seen. Still, try looking away.

Even though it has a continuous story arc the show goes through tonal shifts, moving from Indiana Jones to grindhouse to bump-in-the-night scares, so that it almost feels like an anthology. But the dark, disturbing cloud of racism is ever present and seeps into every corner of the show like a wraith. Except this monster’s real.

“Tales from the Loop” is so low-key it stands out simply by not standing out. There are no mega-explosions apparent, no eye-popping special effects or gore celebrations. It offers meditations on man in a modern world beyond easy control. Which hardly seems like science fiction.

She’s absolutely as funny as she was two years ago, which was pretty darn funny. But the humor--most of it revolving around sex, body issues and relationships--feels dated.

Braugher is the rare actor who banks on control instead of pyrotechnics. And Ruben Blades gives him strong support as the hospital's administrator, Dr. Max Cabranes. [10 Oct 2000]

Not strange enough to be scary, but probably strange enough to be fun. [17 Sept 2002]

At first, it seems like your typical show from the CW, overstuffed with bushy-haired teens in a sci-fi situation. But after a while the series, based on a book by Kass Morgan, reveals influences ranging from “Lord of the Flies” to “Battlestar Galactica,” with more than a few hints of “The Hunger Games,” “Lost” and “1984” tossed in.

This isn’t the brash, acid-tongued nerdy Patton Oswalt of the past, this is instead a more domesticated and content creature. Maybe he does indeed love everything. More power to him. Because apparently happiness does not preclude humor.

The show is mostly a slow-burn look at Kyle as he tries to make sense of all the damage that seems to follow--and grow--around him. He may yet turn to prayer.

Raimi shows he hasn’t lost his horror chops in directing the first episode, particularly with a spinning flashlight tension-builder. And the bloody roots of “Evil Dead” are fully honored as well.

By the end of the first episode you have little idea what’s going on; by the end of the fourth show the series is starting to gel a bit, but questions have been piled upon questions and soooo many characters have been introduced you need a scorecard.

The violence factor is as high as the candy-colored production values, Kate Walsh returns as the dripping-evil top villain, and Ritu Arya adds snap as a sharp-talking wild card. Race and LGBTQ issues provide ballast, but for the most part “The Umbrella Academy” is just inspired bloody silliness the second time around.

“Maid” shines a warm, personal light on all this while telling a story that’s enlightening and entertaining. It’s never really heavy-handed but it can be exhausting. It should be.

Mariah’s World isn’t breaking any molds. But because the supreme diva Mariah is the star, there’s a certain ridiculous, hilarious, hyper-stylized charm to the proceedings.

"True Detective: Night Country" is best taken as a small town story, which uses a crime to peel back the region's layers of humanity, nature and corruption, to expose the depth of the darkness within.

Harlots, on Hulu, is certainly audacious. And ambitious. But whether it will be able to pull off it’s fine-line feminist balancing act remains to be seen; this show may end up groundbreaking or it may end up a train wreck. In the meantime it’s hard to look away.

This is a Tim Burton production, so it looks great. But looks wouldn't matter if Jenna Ortega's deadpan wasn’t just as elastic as it needed to be — she consistently pushes outside the caricature enough to keep things lively.

[A] promising mix of urban decay, moral corruption and brutal betrayal that’s likely to fuel Sun.

The level of profanity here would likely give any real life vice principal a heart attack, and Gamby’s stupidity is world class. Eventually you realize he’s just a lonely, sad jerk in need of validation. Comedy, you’ll recall, is just tragedy upside down.

Based on the novel by Kristin Hannah, “Firefly Lane” is so efficient it nearly takes the guilt out of guilty pleasure.

"Saved by the Bell" is a throwback that looks forward, embracing the past while living in the now. And it shows that you can teach the old school some new tricks.

Is GGR the best show on television? No, but it’s pretty solid.

"Get Back" isn't for everyone, nor is it meant to be. But to Beatles obsessives, and they're a group that numbers in the millions and spans generations, "Get Back" is a holy grail, and it delivers.

As the season progresses, Mapleton re-emerges and it becomes a tale of two deeply weird cities. It may all be a tease, but give The Leftovers this: It is the strangest show on television.

What The Newsroom lacks in vampires, serial killers and terrorist love affairs, it makes up for with topicality, intelligence and messy romances.

Occasionally gory and suffused with black humor, there’s still a sunny sincerity to the show. Simply put, iZombie is death done cute.

Although this is certainly the most narcissistic talk show in memory, it depends wholly on whether you enjoy Chelsea or not.

Showtime’s favorite psychopath is watching his life unravel. Again. Which is tough for Dexter but probably good for the audience.... Last year, the ship was righted as Deb disintegrated and Dexter found true love. Will this season bring justice, cheap thrills or a violent conclusion? Hopefully, all of the above.