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.

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.

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.

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.

Legends, which is based on a novel by Robert Littell and produced by a team that includes "Homeland" veterans Howard Gordon and Alexander Cary, has an unusual sense of melancholy, which seems to emanate from Bean's soulful performance.

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.

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.

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.

“Dark Winds” immediately establishes its own tone. ... “Dark Winds” avoids stereotypes, and feels fresh and vibrant.

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

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.

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

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

“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.

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

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

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

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

Thanks to a brisk pace, straightforward storytelling and a terrific central performance by Russell Crowe, “The Loudest Voice” builds up considerable steam, even when we know what’s coming.

There’s something hugely refreshing about “Sherman’s Showcase,” a show that makes you giggle before you realize, “Hey, that’s pretty smart.”

Brutal and intense, the season opener is an powerful blend of darkness and a few threads of light, as Rick again takes on the role of doing whatever it takes to protect those he cares for.

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 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.

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.”

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.

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.