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.

Based on the first three episodes, Dunham is ready to end her story with satirical precision and self-aware compassion.

With all this world-building going on, Legion doesn't, at least in these early episodes, make the most of Hawley's talent for letting his characters express themselves in distinctive, individual voices. And the horror of David's situation hardly lends itself to Hawley's characteristic wit. But those are small problems, considering that Legion is a trippy explosion of creativity.

The satire isn't especially sharp, but the cast members throw themselves into the grotesque goings-on with full-on commitment.

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."

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

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.

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.

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.

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.

[Killing Reagan] feels rushed and incomplete, compressing this historic episode into a flat pancake of pointlessness.

In Season 3, the superb writing and performances make Transparent more satisfying than ever. If there's a standout, it's Light as Shelly, providing most of the comedy as Shelly works on her own one-woman show.

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.

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.

The fourth one isn't as much silly fun of the first two, but it's a few bites better than last summer's dismal "Sharknado 3: Oh Hell No!"

It's all very naturalistic, and at times, a little slow. But the affectionate, accepting atmosphere casts a warm glow over everyone.

Vice Principals isn't just a show to skip. It's a show to actively avoid.

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.

For every slight improvement--more fully developed female characters, the always watchable Chris Noth as an American General who arrives as part of U.S. efforts to help bring democracy to Abuddin--Tyrant still fizzles more often than it sizzles.

The characters are corny--Bill's a rock-and-roll lifer who's flawed but lovable, Shelli's a no-nonsense independent woman and dispenser of wisdom--but Wilson and Gugino are total pros, and they have a genuine chemistry. Which is more than can be said for the rest of the cast, despite the actors' best efforts.

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.

Even when the plot gets a bit muddled, it all goes down easily, with elaborate gowns on the women, beautiful furnishings in elegant rooms, and rolling green fields to keep us diverted even as we're wondering who that gentleman or that lady is related to. The cast is hit-and-miss.

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.

All the Way shows so much of the backroom dealings, influence-peddling and strategic threats that typified Johnson's approach that it can be a bit plodding and talky. ... Fortunately, the events are so momentous, and the cast so outstanding, they keep the stakes high.

The Night Manager combines luxurious production with razor-sharp writing, and it's brought to life by a brilliant cast, headed by Tom Hiddleston and Hugh Laurie.

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.

Though there are moments where the film feels a bit too diffuse, what makes Robinson's life so remarkable is how many aspects of American life he touched.