It packs some punch, though. And Isaacs certainly doesn't sleepwalker through a decidedly distinctive role.

This elongated version makes its own mark, although certainly not an indelible one.

Ashton Kutcher and Danny Masterson from That ‘70s Show are reunited as siblings in The Ranch, which turned up on April Fool’s Day with the 10 episodes that make up “Part One” of Season 1. It’s a decent vehicle for both of them.

Ritter brings solid appeal to the title role while Herbert Gregory has a strong grip on her “warrior for God.” Even so, Saves the World can be overly goofy at times and remains murky in terms of just what Kevin represents or is supposed to do as “the last of the righteous.” Whatever the potholes in the plot, Saves the World commendably aspires to be bracing and uplifting in times when a second coming of Touched By An Angel might just do a world of good.

There’d be no hope for the future were every millennial this way. But as voices of a hopefully very small subset of their generation, Povitsky and Aflalo are funny enough in spots to make a go of it as two oddly self-aware non-starters.

Rise doesn’t elevate to the heights of Friday Night Lights with either its storytelling or performances. But it’s heartfelt from start to finish while also offering an overall feel-good respite from television’s ongoing obsessions with “true crime” and all things Trump.

Ripper Street is pretty ripping good for the most part.

Its two featured newcomers skid along just fine, earning exceedingly small victories en route.

Through the first four episodes, Sorkin teeters between abject fantasy and believable fiction. Strong performances by Daniels, Waterston and Mortimer serve to offset some of Newsroom's excesses and missteps.

On the surface at least, it's hard to imagine responding to CW's three-pronged tagline attack of "Small fish. Big pond. Huge dreams." Wonder of wonders, though, this series sells its premise while only occasionally trying way too hard.

PBS made all but the final two hours of Season 4 available for review. And while certainly not a slog, they end up being more than a bit saggy.... ownton Abbey has no scenes or sequences of knockout import during these first seven episodes.

Good Behavior so far is a work in progress with two leads who show considerable promise in terms of making it all work.

Mom isn’t a comedic high point, even if one or more of its principal characters falls off the wagon during a ratings “sweeps” month. But it gets this particular job done with flair, vigor, a punchy script and two leads who make it all fairly addictive.

CBS for the most part still clings to over-active laugh tracks and broadly played scenes and situations. Still, this is a nicely clicking ensemble that gets sharper as the show goes on.

This is still a quality, provocative series that’s unlike any other and has already been renewed for Season 4. But much work needs to be done during the off-season--beginning with restoring an ominous sense of disorder and peril in a place that’s gone more than a little too soft and soapy.

A show that can make you feel this way can't be all bad. Even if its clandestine millionaires can be more than a little grating.

It’s a pretty good wallow so far, a real-life Dallas or Dynasty whose more diabolical Ewings and Carringtons swallowed their enemies and family members whole when they weren’t simply spitting them out.

His [Kelsey Grammer's] center-ring performance pulls Boss along even when it gets bogged down. The supporting actors likewise are all capable, although Grammer's glower clearly is the series' tower of power.

Looming Tower, for which author Wright is a co-executive producer, is visceral and fully engaging in its best moments, but also head-hurting with some of its efforts to diagram the myriad goings-on abroad. By the end of Episode 3, however, the story has gotten a firmer grip.

Winfrey’s performance, as Henrietta’s tormented youngest daughter, Deborah, is jump-off-the-screen terrific. ... Director George C. Wolfe (Nights In Rodanthe) has a tough story to tie together--and at times ties himself in knots.

Veep has some funny lines and sight gags during the course of doing its dirty Washington business.

House of Lies' excesses tend to be counter-balanced by its overall look and feel. The production values are first-rate and the storytelling is crisp.

What we have so far is a sturdy cops/crooks/corruption series that falls short of The Shield but is certainly capable of someday earning its own stripes.

Jane the Virgin tries to walk a tightrope between comedy and poignancy. It sometimes teeters, but Rodriguez is perfectly calibrated throughout.

Angry Boys showcases his considerable talents in the notably imperfect world he's created.

As end-of-the-world tales go, it’s watchable, fairly unpredictable and garnished with a palpable subplot that in some ways is more intriguing than whatever the end game might be.

Harlots tends to teeter between being a lark and a social tract. The flesh is willing throughout, but the structure can be a little weak. Still, this is a decidedly different and bracing look at ye olde England, with power struggles aplenty as women strive to assert themselves while men mostly just want to insert themselves.

Principally armed with Ritter and Van Der Beek, [series' creator/executive producer/writer, Nahnatchka Khan] makes Don't Trust the B a find if not a treasure just yet.