Just because it’s well-acted doesn’t mean Big Little Lies is worth enduring.

This is a comedy by natives for natives and residents near and far. It’s that undeniable sense of pride and ownership that will make you “stand up and tell ’em you’re from Detroit” between bouts of laughter and smiles.

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.

It was before reality TV, so it was before reality TV became all hot tubs and hook ups. It was about young people discussing issues that matter to them in a frank manner, and "Homecoming" is positioned as the same people — now not-so-young — discussing those same issues and how they matter to them today. The idealism of the project then is what makes this concept, and this cast, worth revisiting today.

Underground lingers on the slave experience, and that experience is appropriately awful and inhumane and certainly dramatic. But it’s also a show that wanders a bit too freely, undercutting its important subject matter and forward momentum by interfering with itself. As a show, it needs to learn how to keep it together.

Family Tree is addictively silly stuff.

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

A quick six-episode arc that’s fittingly preposterous and fully satisfying.

The balance of action and story is nimble, and in the series' first episode — only one of six episodes was provided for review — seeds are planted for conflict, team building and drama of the personal and global variety.

Smart without being smug, Nip/Tuck is surgically altered television perfection. [5 Sept 2006, p.5D]

“Schmigadoon!” manages to both expose and celebrate the formulaic structure of traditional musicals; theater buffs will love the sheer audacity of it all.

Even though Loki delivers his usual subservience-is-freedom speeches and has bouts of self-analysis, the touch here is pretty light. Hiddleston is a wonderfully physical comic actor, all twitches and muttered asides, and Wilson offers a casual contrast to Loki’s royal airs.

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.

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.

Creator Sam Levinson always pushes further than most, shoving the desperation and disillusionment of a young and apparently mostly hopeless generation right in front of the camera. It’s strong stuff. It’s meant to be. “Euphoria” is its own kind of twisted high.

The disconnect between propriety and reality keeps the miniseries on constant edge. The entire cast is fine, but Hall steals the show.

Creators Amanda Peet and Annie Wyman keep the show loose enough for cute side storylines — David Duchovny! — but never let things wander aimlessly. With six quick episodes they offer a glimpse at the absurdities of modern academic life and cultural sensitivities, while also dancing on romantic comedy notes. Nice.

This show fits perfectly into the network's mystery/cop-heavy schedule and audiences should be able to blur right through it comfortably. As comfortable blurs go, Battle Creek is indeed a success.

There are knocks in Seduced and Abandoned, but none of them seem that hard.

“The Afterparty” runs in too many directions at once and as a result never gets anywhere in particular.

Like the tremendously successful “American Crime Story: The People v O.J. Simpson,” HBO’s new film, the ultra-sharp Confirmation, is a look back at the muddled ’90s, when racism and sexism were shockingly overt, and one could be used to undercut or confuse the other on the public stage.

The system is a mess, no doubt, fully awful, unfair and brutal. And “Stateless” approaches this head-on. It just would have been nice to reflect more on those who are abused than the white folk who cage them in. Again, yeesh.

“Teenage Bounty Hunters” is pretty much as good and bad as you’d expect it to be. Well, maybe a bit more bad. Which is unfortunate because the show’s young leads — Maddie Phillips and Anjelica Bette Fellini — have wonderful chemistry, batting teen nonsense, emotional eruptions and giddy observations back and forth with crisp timing.

The series looks promising, if puzzling.

At times the somewhat corny diversions distract from the slow-moving main attraction. Still, true-believer horror fans will likely bite into The Strain, even if nonconverts find themselves able to resist.

Mostly this is old news repackaged as a classic sports redemption story. It’s efficient and watchable, but hardly a revelation.

It doesn’t follow the usual rhythms of television--Apatow puts the long in longform storytelling--but there are times when you want to tell him to just get on with it already.

It’s intimate stuff and a clear showcase for the actors, who are uniformly fine. The weak spot is Brooke’s weekly episode — she’s struggling with sobriety, a struggle that’s overly familiar.