These characters are anything but flawless and one-dimensional. But, they are at their most believable and compelling when they relentlessly defend their children and loved ones and awkwardly try to make sense of their crumbling worlds.

The machine behind this effort needs to invest in even its smallest moving parts whose misfires can snatch a savvy “CSI” viewer right out of the Cyber realm; weak performances from bit players, leaps in logic or just plain by-the-numbers writing à la “This is where we introduce the character by providing some expository dialogue that the lead character will dismiss with ‘You always say that’ in words or actions.”

Will you care about this group of upscale suburban neighbors? Probably not. Will you be pulled into their web of interconnected secrets and lies? Possibly. Will you be treated to various shots of brooding Ryan Phillippe jogging, sweating and showing off his aforementioned abs? Definitely. Is that enough to keep you watching? Maybe.

House of Cards has traded in the fun of watching Frank shuck and jive in exchange for accomplishing his long game, which isn’t as fun as watching all the manipulative plays go down on each episode. In certain ways, Frank and Claire are being forced to grow up and have grownup jobs to prove it.

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.

In the end, it’s all about the stellar cast and the insightful and sharp writing.

Saul moves faster, but it has that same sense of mood and atmosphere. Scenes are set through lighting, sound and visuals in a way that you actually notice and appreciate. It’s television as artisitic expression rather than just pointing the cameras at the actors and having them read lines.

Fresh off the Boat has soul, flavor and an incredible cast. Time will tell if the comedy finds the audience it richly deserves.

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

Agent Carter hits the screen a much more confident show than “Agents of S.H.I.E.L.D.” did last season. This is a show with a clear vision, a powerful acting ensemble, and the perfect Marvel blend of action, excitement, pathos and humor.... [It is] easily one of the most entertaining premieres of the season.

No part of the equation that makes up Galavant is subtle. It piles on the songs, the choreography, the bawdy humor and the clever writing. That deep dive into the genre is what will help viewers shake off the doubts we had going into it. Galavant is a uniquely enjoyable ride.

Ultimately, once viewers overcome the sluggish pace there’s something for everyone with Marco Polo. History lovers will enjoy Googling along with the series as historical names and battles are introduced while martial arts fans will appreciate the intricately choreographed fight scenes. Although the series isn’t as riveting as “Game of Thrones,” strong performances and impeccable visuals make it worthy of a watch on a slow and rainy afternoon.

Ferguson's voiceover hits the holiday season sweet spot: Just sentimental enough. Frankly decorous sex scenes and brutal conditions for men and women help save The Red Tent from becoming overly cloying. It's got just enough red blood pulsing through it to avoid that.

Finding the proper balance for dramedy isn't easy and Girlfriends’ Guide fails miserably at that task.

Despite a handful of great performances, this small-screen drama is a forgettable, overly publicized splash in the pan unworthy of the woman it earnestly but clumsily attempts to honor.

The writing does no one any favors, failing even to make the most of Alfre Woodard as president.

There have been an awful lot of movies and shows about lost children, but The Missing elevates the familiar dynamic to a new level with a gut wrenching mystery. By the end of the first episode, you really want to know what happened to the tyke while dreading where the answer might take you.

Season 3 begins strongly and is a joy to behold--with heightened stakes.

Make no mistake, The Comeback earned its second season and celebrates its triumph, foresight and timing with twice as much depth, humor and awareness.

The production is exceedingly well put together and boasts a fine cast that also includes Ann Dowd (pivotal figure in HBO's melancholy post-Rapture series “The Leftovers”) and “Breaking Bad” co-star Jesse Plemons. McDormand is nothing less than extraordinary in the title role.

CBS's new comedy The McCarthys is well written and terrifically cast. Star Tyler Ritter is effortless in his delivery and grounds the comedy that can take family bonding to extremes.

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.

The pilot for NBC's Marry Me isn't love at first sight, but there's enough potential there to expect that with time viewers may adore it.

There's a lot more to Jane the Virgin than its soapy surface and you will cry just as much as you laugh--and love every minute of it.

Everything about this comedy felt canned, artificial and forced. The dialogue was awkward enough that the actors didn't look comfortable delivering their lines, the audience wasn't always sure when and how to react, and I wasn't sure how much longer I could take it.

After an exceedingly violent first episode, it eases up a notch, and the show is better for it.

In all, The Flash pilot is an entertaining hour. It doesn't ask for too much of its audience except to sit back and let the new adventure unfold.

The “Rashomon”-style storytelling elevates the series from being just another conventional story about a middle-aged affair. But, that can't completely make up for overwrought moments in the opening episode.... But the biggest problem for The Affair is that neither Noah nor Alison is particularly appealing.