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.

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.

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.

There are few voices included who are critical of its subject. “Hillary” is a generally flattering portrait, which makes it less grueling to watch than cacophonous cable news shows, but also muffles its impact.

For all its volatility and rough textures, after a few episodes, The Knick begins to draw you into its idiosyncratic rhythms.

The show skillfully moves from coming-of-age comedy to drama. This “Wonder Years” also does a fine job of telling the story from the point of view of a Black family, and honors their experiences.

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

What “Allen v. Farrow” does most effectively is illustrate how what happened – or didn’t happen – can make us examine our own preconceived notions. As with the HBO documentary, “Leaving Neverland,” which explored allegations of sexual abuse leveled against the late Michael Jackson, “Allen v Farrow” makes you think about who you believe, what you believe, and why.

The result is both charming and frustrating, entertaining but a tad underbaked. ... Carping aside, Season 3 has its pleasures, which include, as always, Midge’s color-coordinated, accessories-to-die-for ensembles (there’s an apt joke about her ridiculously huge wardrobe); the totally capable cast; awareness of the casual sexism that was an accepted part of life in the late ‘50s and early ‘60s; some snappy writing (“By the way, irregardless is not a word”); vivid production design, from a Vegas casino to Miami; and Luke Kirby’s lively performance as Lenny Bruce.

Downton Abbey Season 5 may cover some familiar ground, but its steps are so lively, the company so delightful, and the scenery so fine, it's a trip well worth taking.

“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.