“Bridgerton” is more fun, perceptive and affecting than the shorthand description makes it sound. The first episode is a bit slow and unfocused, but after that, the characters emerge as complex, and the show takes flight.

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.

Loyal members of the "Evil Dead" cult won't be disappointed by "Ash vs Evil Dead," which kicks off with a romper stomper of an episode.

With witty writing, a likable leading lady, and a terrific cast, iZombie is full of life, and one of the season's best new shows.

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

Homeland shows signs of coming back to creative life.

But nobody should watch Wet Hot American Summer: First Day of Camp for plot. Instead, just park the questioning part of your brain, sit back and revel in the silliness of these terrific performers fooling around.

The Apple TV Plus series is consistently good-natured, and its creators are so obviously infatuated with musicals that even when the tone wobbles, or things get a little preachy, it’s still a breezy good time.

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.

A pretty ingenious concept – a scripted series about people involved in making a dance-centered reality show – gives this series an enjoyable spring in its step. Sometimes funny, sometimes dramatic, the show benefits from a well-chosen cast.

The plot threads don't weave a very riveting picture, but Broadchurch Season 2 benefits tremendously from Colman, who remains the heart of the show.

It's definitely a smart, clever spin on the old opposite-personalities buddy-cop formula, with a terrific ensemble cast and immensely likable characters.

Based on that limited sampling [of two episodes], the premise strikes me as both fresh and familiar enough to make me want to see more.

“Stumptown” starts off strong, quickly introducing us to characters we want to get to know better, avoiding the usual private investigator clichés, and giving us a setting that’s fresh and brimming with story possibilities.

As with the first season, the actors all do their best, and the loving but challenging relationship between Donna and Gordon remains the show's most appealing, layered element. But Halt and Catch Fire still lacks a point of view that would make this trip back to the '80s feel relevant.

Season 3 gets off to a busy, skin-crawling start.

It's a pleasant enough blend of travelogue and gentle humor.

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.

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.

The Strain gets off to a busy, icky, unpretentious start, mixing the vigor of a '50s Grade-B horror movie with a convoluted mythology about an ancient virus that turns victims into vampires.

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.

Poldark is juicy, romantic, melodramatic storytelling at its most enjoyable.

He was overeager, a tad hyper, and trying to do too many things at once. But after a bumpy start, Colbert seemed to gain in confidence as the show wore on.

Though not everything works equally well (Howle’s Allen Lafferty is saddled with too many exposition-heavy scenes), “Under the Banner of Heaven” is both frightening and fascinating.

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.

Garland’s vision is in the forefront here, and the result is a limited series with a frosty emotional tone, and a story heavy on cutting-edge techno-speak, but skimpy when it comes to characterization.

The mood and writing mix splashy comic book pulpiness with brooding film noir menace, sparked with bits of dark humor.

The second season effectively builds on some of what happened in Season 1, and lets us get to know Annie, and those around her, better.

While the first few episodes of the new Comeback make stingingly accurate points about the sexism and ageism Valerie has to contend with, The Comeback has its own problems. As in the first go-round, Valerie comes off as cartoonish, a caricature of a so-so celebrity.

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.)

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

A delight, as it blends the costume drama conventions we’ve come to know and love with bracingly contemporary elements.

Though there are some appallingly comical notes, the Hulu “Catch-22” is more affecting than the movie, because it doesn’t stoop to easy cynicism. At times, it recalls the TV version of “M*A*S*H,” though “Catch-22” ultimately feels more sad and mournful than humorous, despite moments of skillful caricature.

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.

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.

Uneven but watchable ... Roberts makes Martha Mitchell compelling, moving from caustic and charming to terrified. ... Penn is also effective, despite the padding and makeup.

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.

In addition to Kravitz’s performance, the most enjoyable elements of “High Fidelity” are the music (good luck getting “Come on Eileen” out of your mind after the first episode), the glamorized sense of place (Brooklyn comes off as a gentrification postcard), and the R-rated but totally entertaining back-and-forth between Rob and her record-store employees, Simon (David H. Holmes) and Cherise (Da’Vine Joy Randolph).

The new season has its strengths – Episode 7 is a high point, for example, even at its lengthy running time. But other moments drag, and Hopper’s incarceration in Russia feels particularly endless.

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'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.

The pilot has a propulsive pop energy, and melodramatic swagger.

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.

“Dopesick” feels urgent and immediate, and it moves forward with a propulsive energy.

Even as tension builds, it’s a treat to hear pungent dialogue, revel in artful cinematography and evocative music, and get caught up in a story that’s a bit too sprawling, but makes us wonder what happens next.

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.

“The Gilded Age” may not offer penetrating insights into the late 19th century, or the vast gulf between tycoons building extravagant empires and the poverty of those at the bottom of the economic ladder. Fellowes and his collaborators instead seem focused on maintaining a light, satiric touch. It may not be illuminating, but “The Gilded Age” is undeniably entertaining.

What makes “Perry Mason” absorbing is how well the show balances the sorrow of the case Mason is investigating – an infant has been kidnapped, and killed – with vintage touches, including a terrific cast.

A tedious flash-forward, flashback structure involving the students doing something that looks very, very bad in the woods hints that "Scandal"-style plot craziness may be right around the corner. [But] It's worth tuning in to see Davis display her versatility in the kind of multi-dimensional, non-stereotypical lead role she hasn't had an opportunity to play in movies.

Though Katherine’s people skills are sorely lacking, Gasteyer is likable and has a light touch. ... The rest of the cast – including Harriet Dyer, Tye White, and Michael Benjamin Washington – are talented, even if we’re still getting the hang of who they all are, and what their characters do.

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

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.

If the rest of the 13-episode Extant remains as compelling as its first episode, this will be the standout show of the summer season.

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."

The Returned has the nightmarish quality of a ghost story, but could benefit from some of Norma Bates' frenzied energy.

Despite the abilities of the cast, McBride’s touch is too heavy, and before long, we yearn for some heavenly force to smite Jesse, just to get him to stop cursing, insulting everyone and strutting around in total blowhard fashion. ... It’s not clear what exactly it is trying to do. And it’s not funny enough to make us want to keep watching.

By the time Corden sang a wry little tune thanking us for watching, he seemed as comforting as a cup of tea and a biscuit. He may not be boldly going where no late-night host has gone before, but based on first impressions, Corden looks like he'll be making himself at home in no time.

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.

That broader scope may prove to be an improvement in terms of how much deeper The Bridge can go in its cross-cultural storytelling. But the first two episodes of Season 2 are a bit all over the map.

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.

Fortunately, with its nutty playfulness, 7 Days in Hell is 45 minutes of fast-moving, goofy fun.

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.

Among the standouts are “Take Me As I Am, Whoever I Am,” a fine showcase for Anne Hathaway. ... Also good are Tina Fey and John Slattery, who demonstrate instant chemistry despite playing a couple whose marriage has hit a trouble spot. ... Like the best of “Modern Love,” the [first] episode is funny, sweet, and heartfelt without being schmaltzy. At a time when conflict rages across the media, there’s something appealing about pulling up the comforter and falling into “Modern Love.”

In the first few episodes made available for preview, not every bit worked--it may always be too soon for jokes about Hitler, for example. But the tone never gets mean.

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

The cast is stocked with solid actors--Leoni, Tim Daly as McCord's husband, Zeljko Ivanek as the President's chief of staff, Bebe Neuwirth as McCord's chief of staff--and the writing is fairly sharp, if a bit pretentious.

Fear has some immediate strengths, as well as weaknesses that could drag down the proceedings considerably.

Dawson is a confident lead. ... She’s joined by a beautifully cast group of eccentrics. ... “Briarpatch” isn’t weighty, and thank heavens for that. There’s something to be said for a show that doesn’t take itself too seriously, and that goes down as easy as a frosty drink on a hot afternoon.

The good news is that Wayward Pines is a creepy mystery that gets more compelling--and shocking--as it goes along.

Unfortunately, the mystery isn't very gripping, and there's precious little wit in the proceedings, which come off like a CBS crime procedural dressed in Jane Austen clothing.

There’s nothing very radical going on in the new season, at least not yet. ... For now, it’s a treat to wallow in the show’s zippy dialogue, sharp performances, and fabulous production design and costumes.

The good news is that Ballers has its own energy, humor and terrific performances, notably by Johnson.

Rather soapy in its one-darned-thing-after-another storytelling, “Sanditon” is engaging, if a bit lightweight.

The fact that the show remains watchable, if challenging, is a testament to Perrotta and Lindelof's convincing portrait of how our society might respond to such an event. And Theroux's performance is a much-needed anchor to humanity.

Even with its first-night caution issues, his inaugural Tonight Show makes me think that Fallon is the perfect choice to take over a TV institution, giving it both tender loving care and a much-needed shake-up.

On Monday night, Stewart's spirit hovered over the proceedings so much it was hard to get a sense of what makes Noah special. He seemed relaxed, and smiled throughout the whole show, looking entirely happy to be there.

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

"Titus" -- the series -- is manic and makes its home on the black side of comedy. It's clearly not for everyone. But it also turns convention on its ear and takes big risks that sometimes produce laugh-out-loud payoffs. [20 March 2000]

The show isn’t great, exactly. But it’s also a bit smarter than we might have expected. In the early going at least, “BH90210” is campy, but self-aware.

With a tone that swings between action and slapstick comedy, The Librarians isn't likely to show up on any end of 2014 Top 10 lists. But its high energy and good cheer are a comfortable fit for the holiday season.

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.

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.

In the Season 5 premiere, Sheridan draws on his well-broken-in “Yellowstone” playbook, giving a variety of characters moments to be funny (the crew at the ranch bunkhouse), sassy (Beth’s withering putdowns of those who displease her) or warm (Rip’s sympathetic understanding of Beth). But Sheridan also indulges in a few too many speeches from John. ... If the Season 5 premiere of “Yellowstone” doesn’t exactly soar, it does serve up “Dallas”-style drama, juicy performances (particularly by Reilly) and gorgeous scenery.

Based on the first few episodes, Season 3 of The Newsroom has a few signs of life, notably a timely storyline about ACN getting spun off its parent company. The actors are, as always, doing their best with one-dimensional characters.

“Grand Crew,” like “American Auto,” boasts actors who work well together. ... After a rocky pilot episode, “Grand Crew” has gotten better. The show makes the characters’ Black identity part of its fabric, without anyone stopping to deliver lectures. ... “Grand Crew” keeps the comedy front and center.

Laurie’s witty touch helps keeps things afloat, even when “Roadkill” loses velocity because of clumsy plotting and some too-blatant declarations of character flaws.

Based on the first two episodes available for screening, Crisis is more promising than other recent network attempts to create a series that tells an ongoing story.

Looking into some murders that remind Molly of what she learned last season, Berry and [Jeffrey Dean] Morgan have the makings of a strong team. It also helps that the intriguing Gummer is still around, and that the cast now includes David Morrissey as a General who's in charge of an international security team. The Season 2 opener doesn't make it particularly clear, but apparently, we're still in for some blather about threats to humankind, global conspiracies, and blah, blah, blah.

Wolk is likable, but so far, the show is so heavy on concept – what would life be like if you made different choices at a crucial moment? – that it skimps on characterization. Will I watch it again? Yes, to see if the show can move beyond its premise, and get into some actually absorbing drama.

Whether rising to consult a dictionary, delivering a full-throated rendering of the all-star swear word, or simply sending up the mock seriousness of the enterprise with wry humor, Cage’s appearances are genuine highlights. If only the rest of the series were as consistent.

The Slap has the complexity and subtlety that's hard to find in a lot of broadcast network programming, and it's to NBC's credit that they're taking a chance with a limited-run series we'd expect to find on cable.

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

It comes off as way too broad to be witty, and too raunchy to be a comfortable fit for family viewing.

True Detective Season 2 may not be subtle ("this is my least favorite life," a performer mournfully sings at the Vinci bar.) But the actors provide enough light to make it worth navigating the gloom.

Even with its plot holes (everyone seems to greet the abrupt arrival of Jim’s not-previously-mentioned son with a remarkable lack of curiosity), “Dexter: New Blood” is made with care. Solid performances from Hall, Alcott, Carpenter, Jones and Clancy Brown as a town businessman who’s clearly keeping some secrets, pump energy into the series.

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.

While “Moonbase 8” is often more relaxed than laugh-out-loud funny, it’s a step up from Netflix’s “Space Force,” which tried way too hard and wound up being seriously underwhelming.