Season 2 is bolder, stronger, and more audacious because now, actions have consequences.... For a TV show, the stakes don’t get much higher and Soloway nails it all with ease.

This big-box comedy is stocked full of broad and easy laughs familiar though they may be.

A compulsively compelling series that grows richer and more emotionally nuanced as it gains momentum, The Man in the High Castle milks its provocative what-if premise for plenty of smart suspense and subtle shading.

Meanwhile, there’s Bosworth, throwing glacial glares and selling her soul to impress her father and compete with upstart Connor, giving a beautifully restrained, imminently watchable performance that conveys depths with very little. Too bad there’s not more of her and less of everything else.

It’s a complex protagonist, the kind we don’t see enough of on television or in studio films.... This series feels like the first superhero show really just for grown-ups--and it totally works.

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.

Into the Badlands may not have a ton of smarts, but so far it’s a twisty, agreeable distraction.

Defined from the outset as a cheater, [Jean] comes across as pensive brat whose hot, supportive wife isn’t enough to keep him satisfied. Aside from his skills with bleach and a Q-tip, there’s very little so far that compels one to root for this hero to succeed. But that’s hardly a reason to dismiss the show entirely. There are some inventive twists and well-placed comic moments.

Despite the 17 years that have passed since the end of “Mr. Show,” the format still works and the guys are still funny, despite not doing much to get with the times.

On “Curb,” audiences can relate to life’s minutia as dissected by its lead, as he tackles everything from rude manners to a bloated sense of self. Donny! is more difficult to relate to, but at just six episodes, that might be OK.

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.

Unfortunately the end result is a cast of supporting characters that fall flat without the proper development, and a lead that never quite opens up to the audience.

Master of None is more articulate than any other show at putting under a microscope that generation’s neuroses, desires, and ambivalence. The series also happens to be sexy, hilarious, and very moving, a tribute to Ansari’s observational powers and ability to pinpoint the zeitgeist.

It is difficult to separate The Leisure Class from "Project Greenlight," and that’s probably to the film’s benefit, since it can’t stand up on its own. It’s a farce that’s not particularly farcical, a dark comedy with little humor, a screwball caper that wants to suggest great films of yesteryear without giving its own plotting and details the attention they need to work in that style. Everything feels undercooked.

Despite noticeable efforts to play Kent and Betty as wounded, troubled people with murderously kinky bedroom predilections, Westwick and Christensen’s stunted, one-note characters seem better suited as reenactments on an Investigation Discovery true-crime program than a prime-time series.

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

Unfortunately, the pilot is awkwardly written, so the cast doesn’t quite mesh.

Another season of fast-paced, dramatic antics with plenty of twists and turns to keep “Chapter Twenty-Three” on par with any of season 1’s installments.

Writer and executive producer Noah Hawley upped the game with a sharp, well-developed story involving multiple moving parts. It’s smart, thought out and full of watchable characters with convincing enough motives to create the perfect amount of viewer sympathy. The end result isn’t just a “Fargo” 2.0 (or 3.0 depending on your love of film), but an evolved story that takes television to a whole new level.

Almost every episode trades on our familiarity with the type--the heavy sidekick, the dumb, bullying jock, the knockout who wonders if she should be with the heavy sidekick instead of the dumb, bullying jock--but that familiarity too often comes perilously close to breeding contempt.

It’s a visual, visceral romp into what is being set up to be another haphazard foray into the world of horror, as imagined by Murphy and his writing counterpart Brad Falchuk. The show has rarely made sense in terms of story, and this is no exception.

Iif the path is well-worn, Casual mostly transcends predictability thanks to a finely calibrated tenor that mixes gentle laughs with a wistful, resigned air.

That we never really know the people whom we love is a powerful, popular theme that fits snugly into the thriller and horror genres (think of “Rosemary’s Baby” and all those early ’90s erotic thrillers) but to see it rendered so artfully and crisply and unsentimentally as a weekly drama is to understand why we are so often informed that we live in a golden age of TV.

Few current shows on TV approach The Leftovers level of contemplation and as a result, the show stays with you long after an episode ends. Though it’s sobering to watch, it’s also very moving and beautifully acted.

The show’s other players gently orbit Jeong’s bright star and are sometimes scorched by his flares of humor in an otherwise formulaic sitcom with its canned laughter and bright, uniformly lit set.

Harden’s unfortunate typecasting is the least of the ailments afflicting Code Black. When blood isn’t flying everywhere and the doctors aren’t rushing from one disaster to the next, derivative characters bombard the screen with familiar tropes.

With Daniel Chun penning a quick-witted script, Grandfathered subverts every hokey cliche that it nearly crashes into by maintaining a savvy self-awareness.... The brand of humor will remind viewers of “The Mindy Project” and the short-lived “Ben and Kate” with one-liners delivered so quick you could almost miss them. The supporting--are largely believable and charming.

[A] very funny new sitcom.... Lowe and Savage have a crackling energy together.