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.