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]