Not able to achieve the (expensive) scope of, say, an all-out, multi-pronged Avengers melee, the group fights aren’t nearly as grand but enjoyable in their own right. But again, just as when the Avengers first assembled, much of the joy here is seeing disparate personalities get to know each other and reluctantly embrace the T-word--team.

The fatal flaw here may actually be the hour-long format: Get Shorty could maybe work as a rapid-fire half-hour comedy, but at 60 minutes each, the episodes feel bloated and sluggish as they drag their feet getting to the good stuff.

The Sinner does have a nicely lyrical visual style: It’s shot with a keen eye for detail, with an appropriately gloomy, unsettling musical score. But strangely, the more we learn about Cora’s complicated past, the less interesting her story becomes. The answers we do get are either too pat--the flashbacks to her childhood, with a young Cora being tormented by her fanatically religious mother, are painfully overwrought-- or they’re simply erased by the latest plot twists.

A show like this sinks or swims on the lead performance, though, and Gilchrist (who previously played gay son Marshall on United States of Tara) makes the whole thing work as Sam. ... Gilchrist’s performance is so strong, in fact, that Atypical suffers a bit whenever Sam’s off-screen.

If you stick with the show, a sorta Law & Order: Forensic Linguistics, you’ll find that, OK, at times, it’s a little heavy-handed. ... Bettany is so compelling, in fact, that you’ll wish we got more of him sooner. Ditto Jane Lynch, who does fine, subtle work as Attorney General Janet Reno.

Tycoon completely misses what makes the movie business so special.

An overstuffed, often ridiculous supernatural drama that somehow manages to make a town filled with magical creatures seem crushingly dull.

The result is a show that’s far too scattered, and never builds any narrative momentum because it’s always cutting away to another plotline.

All told, the new Battle feels more like a skirmish.

[The actors are] saddled with unlikable characters, a distasteful infidelity plot and an erratic tone that never quite finds itself.

GLOW is the behind-the-scenes look that’ll suck you in faster than a Friday cliffhanger.

Claws is densely packed with fascinating characters and vibrant dialogue--and the cast grabs that dialogue and sprints off with it.

The comics’ jokes aren’t funny. Because of that, we don’t buy into their talent and can’t get invested in their journey. And as soon as they step offstage, any semblance of humor dries up completely.

The only redeeming factor here is Cohen, who does an admirable job making all of this as fun as possible.

It’s hard not to feel like I’ve been completely, utterly duped. The two-hour kickoff did not repair the damage wrought by Season 2. ... To say I was disappointed by the revival’s indulgent, incomprehensible, taxing opening act would be a towering understatement.

The framing device the ABC version uses to bring us into and out of the story is so clunky, it’s not worth discussing. ... The whole endeavor feels like the Disney ride version of Dirty Dancing: cleaner, prettier and way frothier than the already frothy real thing.

I Love Dick is a scruffy, unpolished work in progress... but there’s a whole lot to love about it.

Season 2 isn’t anchored to any plot thread at all. Sure, the self-contained episodes are fun, but eventually, I wanted to see Dev progress a little, to develop as a character from one episode to the next. ... The subtle joys of Master of None more than make up for any minor structural quibbles.

It feels like the producers didn’t trust that we would pay attention to Genius without some blood and nudity thrown in. But we would, actually, thanks to the stellar performances from Rush and Flynn. Both actors combine to bring a legendary genius vividly to life in a way that we’ve never seen on screen before.

It takes until Episode 3 for everything to gel fully, and that wait may feel interminable to those who haven’t read the book and can’t anticipate what’s ahead. Viewers who are familiar with the work, however, will be happy to know that the novel’s interstitial segments--which offer snapshots of gods at work in the lives of ordinary people--not only have survived the adaptation but provide some of the richest moments in the first part of the season.

Moss’ barely-restrained fury over her new lot in life is gorgeous to behold--the other characters are equally compelling. And when we see moments that Offred simply cannot (one book diversion pertaining to Bledel’s handmaid character, Ofglen, comes to mind), that story amplification pays off.

History won’t save the world or anything, but it’s a pleasantly goofy romp through the history books.

It sets out to be the comprehensive historical record of gay rights in America, but its unwieldy structure and clumsy writing make it more of a footnote.

Lange and Sarandon pay him [Ryan Murphy] back with performances so powerful, they could light up a row of Hollywood marquees. In fact, the two shine so brightly at times that we can hardly see all the other flaws.

The premiere spends a fair amount of time laying pipe, so Episode 2 provides a more accurate picture of what the series will look like moving forward. And it looks really good.

Big Little Lies is at its best when it plunges us into the trenches of the Monterey moms’ social warfare, fought on the battlefields of elementary-school functions and kids’ birthday parties... where words can cut almost as deeply as knives do.

Legion has created a compelling world that firmly stands on its own.