Unfortunately, though Eisley is affecting, Fauna’s story feels like it’s skimmed over. The racial elements are intriguing. ... But, like Fauna’s character, this aspect of the tale is underdeveloped. Pine, who’s also an executive producer, has more success with Jay, giving a contemporary spin to a film noir-style antihero.

Through it all, Ali is a marvel. Even when the dialogue lets him down, Ali imbues Hays with pride, tamped-down anger, sadness and so much humanity he makes True Detective something special.

All in all, The Marvelous Mrs. Maisel is even better in Season 2, rising above a few flat spots to offer bubbly, exuberant entertainment.

This dramatization feels less like “The Jinx” or “Making a Murderer,” and more like a weird mix of Southern California lifestyle satire and a “Dateline” episode.

The first four episodes do an eerily good job of making us wonder why Heidi can’t seem to recall her time at Homecoming, and just what the heck happened there. The sound design of Homecoming is intriguing, as you’d expect from a series based on a podcast. ... The cast also keeps "Homecoming" watchable, with skillful performances that keep a fine balance between drama and thriller, spiked with moments of weird humor.

Though the series gets better near the end, Chilling Adventures of Sabrina takes too long to get there, clocking in at a total of 10 roughly one-hour episodes. Characters boringly blather on about the Dark Lord, Father Blackwood (Richard Coyle), the Church of Night, the witches who died back in 1692, the forbidden love of Sabrina’s now-dead parents, and so many coven rules and regulations it sounds like the most restrictive condo board imaginable.

Though there's comedy potential in watching Murphy and her co-workers try and function in a media world that includes a conservative cable news channel whose spin apparently influences the president's policy ideas, we hardly need a sitcom to shove it down our throats. Murphy Brown doesn't demonstrate a light hand in subsequent episodes, either. ... So much lecturing. So few laughs.

Too often feels like a show about an institution, instead of an exploration of characters. ... Forever has genuine warmth and affection for its characters, and it ends with some of the best work Armisen and Rudolph have ever done. ... But Forever would be better if it moved a little faster, and gave viewers more reasons to stick with it until the end.

Once you start watching the eight episodes, it's hard not to get hooked on solving the mystery, even if the show lays it on a bit thick when it comes to opining about the impact social media has on young people growing up in a world that allows them--or is that forces them?--to construct online personas to broadcast their every move via smart phones, Twitter, Instagram, Snapchat, YouTube and endless selfies.

Though many aspects of Williams’ life were sad, for two hours, Robin Williams: Come Inside My Mind brings him back to life, showcasing the brilliance, impact, and vulnerability that made Williams special, and that make his death still feel like such a loss.

Sharp Objects may not be compulsively watchable, but it’s much better than the “Gone Girl” movie, with its own sweaty, sensual, mesmerizing atmosphere.

The female wrestlers are a splendid ensemble, both in their silly show, and in GLOW. But they’re always individuals. ... The 10 episodes in GLOW Season 2 go by so fast, they’ll leave you wanting more.

Though “Yellowstone,” at least in the early going, has its flaws--please make scenes of people having sex standing up against a wall go away forever--it’s a solid piece of work.

Pose is way too entertaining to be considered an example of TV offering a diversity lesson.

The first two episodes of the new season highlight what makes Claws special, and at the same time, wonderfully unpretentious. Here's a show that makes the most of Nash, who is always great to watch.

The performances are generally fine, if a bit lacking in star quality.

This is some serious feel-bad TV, which would be OK if there were any character, human or android, we cared about, or if the show was saying something fresh and insightful.

Lonergan's gift for empathizing with characters while clearly seeing their flaws fills every scene with rich, unsentimental emotion. Lonergan's work is matched by director Hettie MacDonald, who, rather than leaning on handsome production design and costumes, makes the material feel immediate, and the characters' choices full of risk. ... The cast more than rises to the occasion.

That willingness to embrace comedy and tragedy makes Barry something special. Hader, who also directed and co-wrote several episodes, is exceptionally good, making us care about Barry while also being horrified at what he's capable of. The cast is superb.

It's a surprise that Roseanne manages to recreate what was enjoyable about it the first time around while also feeling very much of the moment. Anything can happen, obviously, but so far, at least, the Conners are darned good company.

Instead of being heavily self-important, The Looming Tower is swift and urgent, with an outstanding cast and zingy writing.

Like its main characters, Good Girls, goes to unexpected places. Here’s hoping NBC viewers know a good, original show when they see it.

Everything Sucks! isn’t likely to become a classic, but with its binge-friendly short episodes, it may be perfect for viewers who want something that won’t demand a ton of time.

In the first four episodes, Here and Now suffers from wanting to cover too many topics. By episode four, the characters start to become less annoying, but that's asking viewers to be patient in a world where there are hundreds of other shows to watch. The main problem, in the early going, at least, is that "Here and Now" feels less like a drama with fully developed characters than an essay on The Way We Live Now, with doomstruck observations about the difficulties of finding harmony among races, cultures, genders, and so on.

Overall, the first four episodes of the Portlandia final season indicate that Armisen, Brownstein and the rest of the team intend to keep things bright as they prepare to turn out the lights.

The first episode is dragged down by more conspiracy blather, interminable voiceover and way too many apocalyptic predictions of doom. And there are a few too many references to Donald Trump's presidency and friction with the FBI, elements that feel dated even as we watch. But Anderson and Duchovny remain one of the television's best-ever teams.

The show keeps a sense of humor and refreshing lightness--as usual--even when disaster looms.

The show drops in lovely little moments, funny, melancholy and insightful.

Utterly fascinating. ... The Crown is a showcase for keen character observation and inspired acting, not only from Foy. As Philip, Smith is able to show more dimensions of a man who's hard to like, but not easy to outright condemn.

Even when scenes border on getting mushy, as in the final moments of Stranger Things 2, the sentiment feels earned, not plastered on. Scary, witty and sweet, Stranger Things 2 just might give sequels a good name.

Star Trek: Discovery feels like it's just finding its footing. On the promising side, Doug Jones is already a standout as Science Officer Lt. Saru, who's from an alien race called Kelpiens. And James Frain is perfectly cast as Sarek, the Vulcan who veteran "Trek" fans know as the father of Spock. The relationship between Burnham and Sarek is one of the more intriguing aspects of Star Trek: Discovery.

Rene Balcer's writing and Lesli Linka Glatter's direction keep things moving, and if these two episodes don't promise anything terribly deep, they're packed with enough good performances and details (an alibi conversation revolving around a supposed meeting at the Beverly Hills Cheesecake Factory, for instance) to make us curious about what comes next.

The Vietnam War is both the most powerful film Burns has produced, and the most despairing. ... By the end of the fascinating, sometimes wrenchingly hard to watch 18 hours, it's impossible to regard the Vietnam War as anything other than an agonizing failure, one that taught Americans to be cynical about a government that lied to them, sent Americans off to risk their lives, and made one costly bad decision after another.

The Deuce is probably the best new show of the 2017 fall TV season, with superb acting, punchy writing, expert production design, great music, and a storytelling flair that keeps you watching. That said, The Deuce may also make you feel a bit queasy.

At its best, The Last Tycoon is an absorbing trip back to Hollywood's not-so-Golden Age. And even when it slips, it's still pretty good melodrama, with desperate characters, unexpected deaths and gorgeous people pretending they're keeping it together even when they're not.

The history is mostly a familiar overview, but the straightforward narration, well delivered by actor Liev Schreiber, covers the big picture and some smaller, but intriguing, details.

Even when The Defiant Ones pauses to reflect on grim reality and troubled times, its tone is generally laudatory. We may wish for more depth and perspective. But then along comes another vintage clip of U2 in its prime, or Snoop Dogg's laid-back assurance, or a young Springsteen and the E Street Band, and the music takes over, and takes us away.

In Snowfall, we instead watch the talented cast try to overcome writing more interested in making points than in fleshing out the people involved.

The '70s costume and production details are fine, but when you're paying more attention to the classic rock tunes on the soundtrack than to the story, it's time to close the case.

Though Chibnall doesn't quite stick the landing in the last of the eight episodes--when we learn the truth about Trish's assault, it feels a bit too much like an "Author's Message" sign should be flashing--any fan of intelligent TV should watch Broadchurch Season 3.

GLOW is both blessedly original and delightfully nostalgic. ... It's a superb showcase for an ensemble cast that couldn't be better. Brie, in particular, is a revelation.

By this point, the actors are comfortably in their element. Spacey is as assured as ever, even if Frank's occasional addresses to the camera seem to come out of nowhere. Wright again wears a cool mask to hide what Claire is really thinking as she deals with assorted crises while looking impeccable in her tailored suits. Less successful--again--are the portrayals of writers and journalists.

Despite the sad fates of members of the Madoff family, The Wizard of Lies fails to summon much pathos or deliver much insight into Wall Street's get-rich-at-any-cost ethos.

American Gods is amazing to look at and often hard to watch. If you're a fan of Gaiman's work, and patient with slow-moving scenes of thinly developed characters speechifying, you may like it. Others might want to proceed with caution.

Painfully timely. It's also absolutely enraging, and completely riveting. ... The Handmaid's Tale isn't just the best original show Hulu has ever done. It's one of the most impressive series of the year.

The story of Henrietta Lacks is too big to be compressed into 90 minutes. And though it's made with all the good intentions in the world, The Immortal Life of Henrietta Lacks feels rushed and cramped.

If subsequent chapters in the 10-episode season stay at this high level, Fargo again looks like a contender for best TV series of the year.

The two Season 3 episodes made available to critics feature both familiar strengths and weaknesses of the series so far.

The Kennedys: After Camelot is as cheesy as an all-you-can-eat fondue buffet.

As a saga about how Hollywood builds up idols and then throws them aside, Feud: Bette and Joan is no "Sunset Boulevard." But it's a delicious cocktail of nostalgia, gossip and star power.

Thanks to the stellar work of Vallee, Kelley and the top-flight cast, Big Little Lies, like its characters, delivers a high-sheen surface. But, unlike some self-consciously glum prestige TV dramas, Big Little Lies isn't afraid to be entertaining, mixing intimate, dark drama with sly social commentary. It's one of the best shows of this still-young year.

Based on the first three episodes, Dunham is ready to end her story with satirical precision and self-aware compassion.

With all this world-building going on, Legion doesn't, at least in these early episodes, make the most of Hawley's talent for letting his characters express themselves in distinctive, individual voices. And the horror of David's situation hardly lends itself to Hawley's characteristic wit. But those are small problems, considering that Legion is a trippy explosion of creativity.

The satire isn't especially sharp, but the cast members throw themselves into the grotesque goings-on with full-on commitment.

Though Riverdale works a bit too hard to shake off the wholesomely corny elements of vintage Archie comics, the show is a savvy teen melodrama, with high school characters whose wised-up-beyond-their-years attitudes may remind us of the early days of "Buffy the Vampire Slayer," "Glee" and the movie, "Mean Girls."

Brodsky resists the temptation to judge, and instead sheds light on her subjects, and all their complexity.

It's no "Downton Abbey" (especially during tedious scenes involving the palace staff), but Victoria has enough glittering chandeliers, glowing candlelight, luxurious furnishings, sumptuous gowns and dazzling jewels to make it undemanding, cozy viewing.

At times, Sorrentino's approach is bracingly different. But many, many more times, The Young Pope leaves us alternating between admiring Sorrentino's craft and wondering why this is so lugubriously paced and cryptically written.

With only the first couple of episodes to go on, it's too soon to tell if this is going to be one of those seasons where Homeland stretches credibility like overworked taffy, or if it turns out to be so intense we can overlook plot holes.

Season 7 is the next-to-last one of Portlandia, but based on its spry start, the show hasn't yet worn out its welcome.

The Season 6 premiere moves at a brisk clip, efficiently dispensing of much of last season's dead weight, and offering its own incidental pleasures, including the nifty duo of Hank and Wu, who stay busy keeping track of Renard and feeding inside info to Nick. The ending is a typical Grimm cliffhanger, which revs up the suspense and reminds us how good it is to have Grimm back again, for one last go-round.

[Killing Reagan] feels rushed and incomplete, compressing this historic episode into a flat pancake of pointlessness.

In Season 3, the superb writing and performances make Transparent more satisfying than ever. If there's a standout, it's Light as Shelly, providing most of the comedy as Shelly works on her own one-woman show.

At times, Luke Cage feels so concerned with urban problems, it's as if Marvel met "The Wire," an impression helped by an excellent cast.

Watching Masters plod around in despair, while Johnson rejects his attentions, doesn't feel suspenseful, since we know at some point these two are going to tie the knot. By this point, it's hard to care about their relationship, or the fate of their sex-research clinic.

The fourth one isn't as much silly fun of the first two, but it's a few bites better than last summer's dismal "Sharknado 3: Oh Hell No!"

It's all very naturalistic, and at times, a little slow. But the affectionate, accepting atmosphere casts a warm glow over everyone.

Vice Principals isn't just a show to skip. It's a show to actively avoid.

The first two episodes also reinforce that Mr. Robot is at its strongest when keeping a tight focus on Elliot and his Mr. Robot companion/adversary.

For every slight improvement--more fully developed female characters, the always watchable Chris Noth as an American General who arrives as part of U.S. efforts to help bring democracy to Abuddin--Tyrant still fizzles more often than it sizzles.

The characters are corny--Bill's a rock-and-roll lifer who's flawed but lovable, Shelli's a no-nonsense independent woman and dispenser of wisdom--but Wilson and Gugino are total pros, and they have a genuine chemistry. Which is more than can be said for the rest of the cast, despite the actors' best efforts.

The miniseries remains difficult to watch, as Kunta Kinte and his descendants keep being victimized by white slave-owners, slave-catchers and land-owners who regard slaves as property, not as men, women and children. But Roots gains in power. Though at times, the story seems to blame the institution of slavery on sadistic white racists, as the miniseries goes on, it makes it clear that slavery remains America's original sin.

Even when the plot gets a bit muddled, it all goes down easily, with elaborate gowns on the women, beautiful furnishings in elegant rooms, and rolling green fields to keep us diverted even as we're wondering who that gentleman or that lady is related to. The cast is hit-and-miss.

Whether the Preacher series creative team will keep all its elements in balance or giddily drive off a cliff, is anybody's guess. But, judging from the early episodes, Preacher is a wild ride that will be worth hanging on for.

All the Way shows so much of the backroom dealings, influence-peddling and strategic threats that typified Johnson's approach that it can be a bit plodding and talky. ... Fortunately, the events are so momentous, and the cast so outstanding, they keep the stakes high.

The Night Manager combines luxurious production with razor-sharp writing, and it's brought to life by a brilliant cast, headed by Tom Hiddleston and Hugh Laurie.

Confirmation is a restrained and tasteful retelling. Maybe a little too much so. ... But what keeps Confirmation watchable are vivid performances by a terrific cast.

Though there are moments where the film feels a bit too diffuse, what makes Robinson's life so remarkable is how many aspects of American life he touched.

Though much of The Ranch feels familiar, and an odd fit for Netflix, that doesn't mean it's terrible. For all the crude jokes (the premiere, for example, goes on and on about how Uggs are girly footwear, not suitable for a real man), Kutcher and Masterson have an easy, unforced brotherly rapport.

Like HBO's doomy apocalyptic drama, "The Leftovers," The Path just misses being as profound as it wants to be, but remains watchable largely thanks to the superb cast.

House of Cards has its own distinct, if shallow, pleasures, including Spacey, who just gets better and better as Frank.... Wright is Spacey's equal, and in Season 4, Claire is more stony and stoic than ever.

It's totally far-fetched, but the roles are so well-cast and the 1960s texture so evocatively re-created (Jake goes from starry-eyed nostalgia to shock when he sees segregated bathroom signs) that 11.22.63 makes the trip back in time both suspenseful and enjoyable.

Overall, Vinyl suffers from an inflated sense of its own importance, and a dreary lack of humor (though the pilot has a funny drive-by diss of England Dan & John Ford Coley.)

Like the trial itself--and the spectacle that surrounded it--The People v. O.J. Simpson is sometimes trashy, often disturbing, and so compelling that it's impossible to stop watching.

The first episode, titled "My Struggle" (the English translation of Hitler's manifesto, "Mein Kampf," which seems strange) starts off well enough. But then things go haywire.... The second episode, directed and written by X-Files veteran James Wong, is a welcome step up from the first. And the third (only three were made available for screening), is a comic horror gem.

Based on the first few episodes, Portlandia remains as odd, endearing, and Portland-made as ever.

It may not be subtle, but thanks to razor-sharp writing, and dynamic performances by Giamatti, Lewis (as with "Homeland," deploying a persuasive American accent) and everyone in the strong cast, Billions is dark, edgy and outrageously entertaining.

It would be more exciting if it took more chances. It's an earnest effort, and reminds us that all that compelling stories don't need to be told with an English accent.

Characters behave pretty much exactly as we've come to expect; plush décor and candlelit dinner parties dazzle the eye; and the actors dive into their scenes with the gusto of carnivores dining at a top-dollar steakhouse.

Scenes set in 1920s Berlin, apparent flashbacks that seem like they're aching to be their own show, but don't quite work in this one.... The further adventures of that family, in all their flawed glory, make Season 2 of Transparent a smart, sensual treat.

A Very Murray Christmas is an odd concoction, flavored by holiday blues, but topped by a coating of sparkly tinsel.

Overall, the TV-movie has the satisfying feel of a traditional historical saga. What makes it more than a well-told story, however, is how Saints & Strangers handles the perspective of the Native American tribes, who must decide whether to wipe out the settlers, or accommodate them.

Those are a lot of threads to knit together, and some feel looser than others.... But there are enough chilling scenes to make The Man in the High Castle genuinely disturbing.

Jessica Jones could use a bit more wit, overall. But its messed-up, tough, brave heroine holds our interest every moment.

Into the Badlands should be nonstop, melodramatic entertainment. But the first two episodes are listless and dull whenever Wu isn't battling villains. The writing lacks flavor, and the performances are stiff, with the florid exception of Csokas' Quinn.

At times endearingly old-fashioned (montages of whirling newspaper headlines), sometimes scatalogical (a time-machine toilet), occasionally blasphemous ("Turkey Jesus"), and totally irreverent (Odenkirk as "Pope Jonah Abromowitz.") The tone can get pointed (Cross as a filmmaker who's such an apologist for slavery he refuses to call it that, instead using the term, "helperism"), but the mood stays buoyant.

Master of None is a warmer, sweeter show than "Louie" often is, and it's less cynical than a raft of other comedies on TV and elsewhere.

There are so many plot twists coming at us so quickly, without much development, that at times, it's hard to know who's seeking what, why they want it, and wait, who was that character again? On the plus side, the cast has solid chemistry.... It also helps that there are enough amusing one-liners to keep things skipping along, even when the storytelling goes off course.