One of TV’s best shows. In Season 2, “Succession” continues to demonstrate that unlikable characters can make for riveting TV. ... “Succession” is good, nasty fun.

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.

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.

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

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.

With its light touch and affection for its characters’ foibles, “Los Espookys” is refreshing, different, and best, of all, funny.

Though there are a few moments where Kelley gives in to his tendencies for burlesque – as in the characterization of the principal of the elementary school attended by the main characters’ children – in the first three episodes, “Big Little Lies” retains the invigorating mix of dark comedy and drama that made the first season so special. ... Rather than running out of gas in its second season, “Big Little Lies” is more deliciously watchable than ever.

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.

“The Twilight Zone” has a lot to recommend it, but it’s hard not to feel that if the generally hour-long episodes were cut in half, the show’s overall quality would zoom up several notches.

Abby's is so familiar it makes “Modern Family” look experimental. ... The cast members all click, with an easy chemistry that makes it seem like they’ve been working together for years. ... There’s something to be said for a show that’s made with confidence, that knows what it wants to be, and is about characters who like each other.

Unfortunately, though Eisley is affecting, Fauna’s story feels like it’s skimmed over. The racial elements are intriguing. ... But, like Fauna’s character, this aspect of the tale is underdeveloped. Pine, who’s also an executive producer, has more success with Jay, giving a contemporary spin to a film noir-style antihero.

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.

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

This dramatization feels less like “The Jinx” or “Making a Murderer,” and more like a weird mix of Southern California lifestyle satire and a “Dateline” episode.

The first four episodes do an eerily good job of making us wonder why Heidi can’t seem to recall her time at Homecoming, and just what the heck happened there. The sound design of Homecoming is intriguing, as you’d expect from a series based on a podcast. ... The cast also keeps "Homecoming" watchable, with skillful performances that keep a fine balance between drama and thriller, spiked with moments of weird humor.

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.

Though there's comedy potential in watching Murphy and her co-workers try and function in a media world that includes a conservative cable news channel whose spin apparently influences the president's policy ideas, we hardly need a sitcom to shove it down our throats. Murphy Brown doesn't demonstrate a light hand in subsequent episodes, either. ... So much lecturing. So few laughs.

Too often feels like a show about an institution, instead of an exploration of characters. ... Forever has genuine warmth and affection for its characters, and it ends with some of the best work Armisen and Rudolph have ever done. ... But Forever would be better if it moved a little faster, and gave viewers more reasons to stick with it until the end.

Once you start watching the eight episodes, it's hard not to get hooked on solving the mystery, even if the show lays it on a bit thick when it comes to opining about the impact social media has on young people growing up in a world that allows them--or is that forces them?--to construct online personas to broadcast their every move via smart phones, Twitter, Instagram, Snapchat, YouTube and endless selfies.

Though many aspects of Williams’ life were sad, for two hours, Robin Williams: Come Inside My Mind brings him back to life, showcasing the brilliance, impact, and vulnerability that made Williams special, and that make his death still feel like such a loss.

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

The female wrestlers are a splendid ensemble, both in their silly show, and in GLOW. But they’re always individuals. ... The 10 episodes in GLOW Season 2 go by so fast, they’ll leave you wanting more.

Though “Yellowstone,” at least in the early going, has its flaws--please make scenes of people having sex standing up against a wall go away forever--it’s a solid piece of work.

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

The first two episodes of the new season highlight what makes Claws special, and at the same time, wonderfully unpretentious. Here's a show that makes the most of Nash, who is always great to watch.

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

This is some serious feel-bad TV, which would be OK if there were any character, human or android, we cared about, or if the show was saying something fresh and insightful.

Lonergan's gift for empathizing with characters while clearly seeing their flaws fills every scene with rich, unsentimental emotion. Lonergan's work is matched by director Hettie MacDonald, who, rather than leaning on handsome production design and costumes, makes the material feel immediate, and the characters' choices full of risk. ... The cast more than rises to the occasion.