The Expanse is indeed expansive with the universe it sets up within the pilot and through the characters presented. Unfortunately though there’s so much going on in the pilot that it quickly becomes a convoluted romp through space that’s more about showcasing the wasteland that humans have become than developing characters viewers will remember, let alone invest in watching.

None of these [Dick Wolf Chicago] shows are groundbreaking. All have dialogue is lumpy. But for viewers who crave the familiar, there is something comforting about attractive people saving the day.

The fictional Crystal and Gad have zero chemistry as the series launches, which becomes a pivotal part of the plot as the series progresses. Unfortunately, their real-life counterparts portrayed this lack of comedic chemistry so well in the beginning that it not only impacted the development of show within the show “The Billy & Josh Show,” it was leaving a lukewarm first impression of The Comedians as well.

Bull is certainly a light, breezy offering that could help you unwind after a long Tuesday. But if you’re looking for something with a little more meat and meaning, you’re going to have to visit another courtroom.

The show does a good job of setting up a lot of conflict in a very short time, but I'd be more invested if I got to know the characters more — and if they had more dimension..... It felt too contrived.

For a show about highly trained, incredibly intelligent agents, Quantico’s pilot often succumbs to lame-brained plotting and a less-than-convincing portrayal of its specialized milieu.

There is some chemistry between Perry and Lennon that I’d expect to grow on later episodes. But, it’s tough to say since comedies need some time for the cast to find their footing.

There's a fun dynamic between John and Chas that is yet to be explored, while we haven't even met the third member of our trio yet.

Outcast tries to maintain a sense of tension from episode to episode (only the first four have been made available to critics) but too many sags in the storytelling allow doubt to creep in.

Houston’s life comes across as if outlined in simple, declarative statements with limited depth of emotion and introspection.

Fantasy fare like this generally has a pretty low bar to clear and a pretty forgiving target audience, but the heavy-handed jargon, pointy elf ears and brooding self-seriousness of The Shannara Chronicles might be too much for even those fans. It doesn’t help that the characters seem to be allowed to switch from talking dour fantasy-novel heroes to bored millennials whenever the mood strikes them.

The show doesn’t cover new ground, but it gets a passing grade for being competent within the overly familiar territory of the spy genre.

The Get Down exudes the filmmaker’s operatic, lovingly campy spirit, and in small doses there’s a sugary rush to his ecstatic sequences of crowded dance floors, fervent gospel choirs and kids hanging out on the roof of their apartment complex, dreaming of a bigger world. But it’s what’s in-between those standalone moments where The Get Down gets bogged down, the drab storytelling lacking the punch of the show’s period-rich production design and outfits.

Onstage, Gaffigan can be winning as a regular guy. But The Jim Gaffigan Show is merely ordinary.

The series is appreciably unsettling, but thus far it won’t make your head spin.

Highlighted by a deliciously sleazy turn from Ellen Barkin, Animal Kingdom slowly finds its footing, but it remains to be seen whether the characters’ low-life machinations will produce sufficient drama to justify audiences’ patience.

The miniseries’ balance between individual narratives and humanity’s collective destiny remains a bit wobbly throughout.

The problem is that Gracepoint lacks the expression and personality of either "The Killing" or "Broadchurch."

[Davis'] performance is riveting; you can't take your eyes off this powerful creature when she's on the screen. Alas, the students aren't nearly as compelling.... When the action shifts to them, the drama suffers.

[Arthur Darvill's Rip Hunter is] definitely the best part of the show. Which is all the more aggravating when he gets sidelined for long stretches in favor of the more familiar characters.... Some things work great, though. A 1975-set bar fight involving Lotz, Miller and Purcell is quite fun, and the action in general scenes genuinely work, helping the fledgling series come together. But when the characters stand around and talk, things start to feel silly.

That the limited series squeaks by as just entertaining enough is a disappointment considering the pedigree of everyone involved and the reputation of its source material.

Madam Secretary has the pedigree and potential to be a great show. It just has to be more original.

On one hand, the microscopic nature of Kevin from Work is fresh and daring in a millennial-friendly sort of way as are Reid and Spara’s attractive visages and tangible chemistry. On the other hand, the webby approach and the caricature heavy supporting cast erode the show’s legitimacy.

An intriguing debut is marred by silly missteps, rough dialogue.

A serviceable but mostly by-the-numbers remake of a brilliantly nuanced French series.

While the pilot script excels in efficient plot building, it lags in dialogue and character development.

[Amy Schumer] remains a potent original, torpedoing gender inequality and smartly dissecting cultural and sexual norms. And yet, Season 4 of the show also unconsciously struggles with heightened expectations.

Maybe over time Roadies will settle into a groove, but as of now it’s yet to find its rhythm.